• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.79-92
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• 2008

The purpose of this study is to develop knitwear design expressed not also Green but also LOHAS using natural yarns(wool and cotton) dyed with various natural sources(sappanwood, indigo plant, turmeric, cochineal, coffee, gallnut, and persimmon juice). This researcher tried to suggest solution scheme through the development of knitwear designs to break from the cottage industry and the limitation of design in Jeju and to preserve of traditional dye with persimmon juice simultaneously. Knitting is the formation of a fabric by the interlooping of one or more sets of yarns with hand knitting or industrial knitting. In hand-knitting, the two fundamental stitches are described as knit depending on the direction of the loop formation, front to back or back to front. In machine-knitting, the direction of loop formation is fixed, unless the stitch is mechanically transferred from front to back needle bed or vice versa. Industrial knitting technology can be divided into two main areas - weft knitting and warp knitting. Each has a different principle of construction. The majority of knitted fabrics for clothing are weft-knitted, and so this study is used weft-knitting and hand knitting technology. To achieve this purpose, researcher tried to present a lot of knitwear designs using yarns dyed with various natural sources focusing on Modern & Sophisticated Image and Elegance & Romantic Image to satisfy adult and missy consumer needs.

• Journal of the Korean Society of Costume
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• v.30
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• pp.153-166
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• 1996

The purpose of this paper is to examine the Ethnic Fashion which is influenced by the Anti-Fashion in 1960s. Anti-Fashion as Hippie style had an effect on high fashion in the 60s-70s and which was restored in the early 90s are ethnic and folk-lore style. The influence that the Anti-Fashion has had on the Ethnic Fashion is summarized as follows. At the Ethnic Fashion in 60s-70s: First Europian romantic style that is velvet doublet breecheese race cuffs ruffle flounce race jabbot embrioderd blouse frilled blouse Victorian mode and Pre-Raphaello style. Second handicraft ornaments style & peasant style what are embroidery weaving variaty ornaments tie-dye patch work smocking beads & bell paisely print peasant blouse dundle skirt long skirt to clinging layered look floral print dress and shepherd-ness style. Third folklore style that is Oriental mao-suit harem pants & Indian pants caftan monk robe Afgan vest burnoos dhoti pants Hindu robe Red Indian fringe head band feather ornaments Red indian embroidery & weaving body painting gaucho poncho and serapi. At the Ethnic Fashion in 90s.: First Europian classical romantic style that is Victorian style Pre-Raphaello style ruffle & race decorations and velvet materials. Second peasant look& handicraft orna-ments what are floral print long skirt to cling-ing uneven stitches top stitchings patch work embroidery crochet and tie-dye. Third folklore style that is Red Indian style South East mode is sarong skirt & Nheru jacket Tibet & Mongolian style South America style and gypso style.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.120-136
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• 2008

This study examined sewing methods used to reinforce the opening of clothes of the Joseon period. Through the analysis of a total of 117 clothing items of the Joseon period, the following results were obtained. 1. Most costumes of the Joseon period had the opening. The purpose of the opening was to allow one to put on and take off a costume, act comfortably, and turn a costume Inside out. The opening was located on the Side, Conte. Back, fgwi(Side opening of pants), Wristband, Armhole, and Godae(the bark part of the collar). 2. As the opening tended to get easily worn out, it was often reinforced. The 1911owing three methods were used to reinforce the opening of clothing items of the Joseon period: a method to attach a cloth such as Dang, Binding, and Badae; a method using a variety of knots; and a method by sewing stitches such as a sort of cross stitch called Satteugi, Prick stitch, and Loop. 3. The most frequently used reinforcing method was the one that used a knot(34 items), followed by the one by sewing Satteugi(27 items), and the one using Dang(25items). The most frequently detected location of the opening was Side(59 items), followed by Agui(37 items), Wristband(19 items), and Center Back(13 items). 4. The reinforced opening made a costume more endurable and elastic, decorative and neat.

• Journal of Chest Surgery
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• v.48 no.5
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• pp.307-310
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• 2015

Background: To evaluate our experience of early surgical plication for diaphragmatic eventration (DE) in infancy and childhood. Methods: This study evaluated infants and children with symptomatic DE who underwent plication through an open transthoracic approach in our childhood development department between January 2005 and December 2012. Surgical plication was performed in several rows using polypropylene U-stitches with Teflon pledgets. Results: The study included 12 infants and children (7 boys and 5 girls) with symptomatic DE (9 congenital and 3 acquired). Reported symptoms included respiratory distress (91.7%), wheezing (75%), cough (66.7%), and recurrent pneumonia (50%). Preoperative mechanical ventilatory support was required in 41.7% of the patients. The mean length of hospital stay was $6.3{\pm}2.5days$. The mean follow-up period was $24.3{\pm}14.5months$. Preoperative symptoms were immediately relieved after surgery in 83.3% of patients and persisted in 16.7% of patients one year after surgery. All patients survived to the end of the two-year follow-up and none had recurrence of DE. Conclusion: Early diagnosis and surgical plication of the diaphragm for symptomatic congenital or acquired diaphragmatic eventration offers a good clinical outcome with no recurrence.

• Journal of Chest Surgery
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• v.49 no.6
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• pp.485-488
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• 2016

Different suture techniques have been used for anastomosis in coronary artery bypass graft surgery. Bypass surgery may be difficult for patients who have small coronary arteries or marked size discrepancies between target coronary arteries and grafts. For proximal and distal anastomoses, three continuous stitches are first placed in the heel and toe of the small coronary arteries; for sequential anastomosis, an interrupted eight-stitch technique is used. We applied these anastomotic suture techniques in patients requiring coronary artery bypass graft surgery, achieving an early angiographic patency rate of 100%.

• Textile Coloration and Finishing
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• v.31 no.4
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• pp.298-311
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• 2019

In this study, the mechanical properties and hand characteristics of the knitted and woven fabrics for bedding items are investigated in accordance with fabric structural parameters including the fiber type and proportion, the density of the fabric, and the knit/weave structure. The knit stitches and structure of the knit samples made an effect on tensile properties. The bending, shear and compression properties for the knit fabric were mainly affected by fiber contents of the samples. The tensile and bending properties of woven samples were highly correlated with the fabric density, thickness and structure, and those shear and compression properties were affected by the fiber contents and structure. Consequently, the primary hand values of the selected samples we developed were estimated to have good smoothness, fullness and softness, and soft feeling, which is well correlated to the parameters of consumer preference such as softness, warmness, and bulkiness. Also, their total hand values were increased.

• Fashion & Textile Research Journal
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• v.13 no.6
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• pp.990-995
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• 2011

This study analyzed the effects of the knit stitch type, fiber composition, and yarn thickness on the mechanical properties of knitted fabric. The results were as follows: The course density was the highest in the case of the rib stitch. On the other hand, the wale density was the highest in the case of the float stitch. The thickness was the highest in the case of the rib stitch. The same results were obtained even for different fiber compositions and yarn thicknesses considered in this study. The burst strength of wool knit fabric was higher than that of A/W knit fabric. The stiffness was the lowest in the case of the plain stitch. The same results were obtained even for different fiber compositions and yarn thicknesses. The pilling properties were excellent for all knit stitches, fiber composition, and yarn thicknesses as pilling degree : 5. The air permeability decreased in the following order : rib > plain > float stitch. The same results were obtained even for different fiber compositions and yarn thicknesses. The heat retention rate decreased in the following order : rib > float > plain stitch. The same results were obtained even for different fiber compositions and yarn thicknesses.

• Archives of Craniofacial Surgery
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• v.19 no.1
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• pp.1-2
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• 2018

Theoretically, panfacial bone fractures involve all three areas of the face: frontal bone, midface, and mandible. In practice, when two out of these three areas are involved, the term "panfacial bone fracture" has been applied. We can use physical examination, simple radiologic examination, and computed tomography study for diagnosis. Linear fracture are treated by conservative treatment. But, most of panfacial bone fracture patients need to be treated by open reduction and internal fixation. Facial width is most important thing that we need to care during operation. There are many ways about sequence like "top to bottom," "bottom to top," "outside to inside," or "inside to outside" and the authors prefer "top to bottom" and "outside to inside" ways. The authors apply arch bar from the first of surgery and then, set frontal bone fracture, midface fracture and mandible fracture in sequence. Usually, we remove the stitches for 5 days after surgery and the intraoral stitch removed after 2 weeks. Usually arch bar is going to be removed 4 weeks after surgery. We could get acceptable results with the above way.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.198-210
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• 2008

The purpose of this study is to establish the conservation methods of embroidered textiles and textile works. The conservation of remained textiles is consisting of examination, cleaning, support and consolidation, restoration, and storage and display process. It aims to prevent the damage on textile remains for long time display and storage and to prolong their aesthetics and functionality. The embroidered textiles and textiles works, which are remained by handed down or excavated or included in the Buddhist are embossed with colorful threads on the fabrics: the stitches include embroideries on clothing, bed clothes, wrapping clothes, utensil pouches, panels and Buddhist goods; textile works include hats, ornaments, shoes, attachments of clothes etc. These are composed of mainly fabrics, precious metals, leathers and precious stones, etc., and are fabricated by several techniques such as braiding, twining, sewing as well as weaving. Metal threads were also used to add a decorative effect on these goods. In order to conserve and preserve the remained goods, a special care must be taken on the metal threads, which are the most fragile material among the constituents. Hence, characteristics of metal threads and its cleaning methods, general conservation techniques of a rank badge, which is brocaded and partly attached to Cheogori and Samo(men's hat) from the excavated old tombs are introduced here.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.1-16
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• 2013

Using the premise that fashion and art reflects the characteristics of its times, this study examines the influence of Anti-form in fashion with a focus on physicality. This study combines literary survey and case analysis of both Anti-form in 1960s and 1970s and the fashion collections since 1970s when the influence of Anti-form began to appear in fashion. The influence of Anti-form focusing on physicality is summarized as deconstruction of garment and visualization of the physicality of material. Deconstruction of garment visualizes the invisible structures of garment by deconstructing, restructuring, and deforming the construction and the shapes of the garment, which is illustrated by visualization of design process, overlapping and fusing of materials, loss of stitches, and use of fabrics with flaws, questioning and destroying the sartorial conventions and aesthetic standards. Visualization of the physicality of material exposes the imperfect inside of garment which is concealed conventionally by presenting unfinished garments with minimized sewing procedure, crumpling and flattening fabrics, rubbing and fading surfaces, pulling threads, as well as using the selvages of fabrics.