• 한국의상디자인학회지
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• 제7권3호
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• pp.39-52
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• 2005

This paper is to study about paisley shawl and paisley motif to focus on Kashmir shawl. Kashmir shawl and paisley shawl of Europe can be identified by the use of 'pine cone' motif. Early 19th Europe textile manufactures began imitating the Kashmir shawl, the motif began to be called 'paisley', after Paisley, Scotland, one of the largest producers of imitation Karshmir shawls. This study is to analyze on origin of shawl and paisley motif at the theoretical background. And main issues are to study on organization of the Kashmir shawl indusry, weaving technic and producing process, development of motif, change of size and border design of shawl, difference of Woven Kashmir shawl, Patchwork shawl and hml shawl, causes of decline to shawl industry, differences of between Kashmir and European shawl etc. The result of this study can help to understand correct and accurate information, knowledge of paisley motif and paisley shawl.

• 한국의류산업학회지
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• 제7권1호
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• pp.101-105
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• 2005

This study surveys the warp and weft tension differences between projectile and air-jet looms and analyses the mechanical properties of worsted fabrics for garment with relation of these loom characteristics using KES-FB system. The paper is divided by two parts. In the 1st paper, the worsted fabric is woven as 5 harness satin weave using 1/40 Nm sirofil worsted warp yarn and 1/30 Nm worsted weft yarn by projectile(Sulzer) and air-jet looms(Picanol PAT and OMNI), respectively. The weavability is also analysed by measuring warp tension variation according to the warp position and weft tension of 3 kinds of looms. The relationship between shed amount and the warp tension is surveyed, and the relationship between end breaks and warp and weft tensions is also discussed.

• 한국의류산업학회지
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• 제6권6호
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• pp.765-771
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• 2004

This study surveys the warp and weft tension differences among 3 types of rapier looms and analyses the mechanical properties of worsted fabrics for garment with relation of these looms characteristics using KES-FB system. Raper is divided by two parts. In the 1st paper, the worsted fabric is woven as 5 harness satin weave using 1/40 Nm sirofil worsted warp yam and 1/30 Nm worsted weft yam by rapier looms such as FAST-R, THEMA-11-E and PICANOL-GTX respectively. The weavability is also analysed by measuring warp tension variation according to the warp position and weft tension of 3 kinds of looms. The relationship between shed amount and the warp tension is surveyed, and the relationship between end breaks and warp and weft tensions is also discussed.

• Fibers and Polymers
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• 제6권2호
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• pp.139-145
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• 2005

The paper reports the physical and mechanical properties of hand-woven carpets, which have been put under static force. Two groups of wool fibres, from two parts of Iran, were prepared to spin pile yams for the carpets. Each group of the fibres included both conventional and tanned wool. Then two yam counts, $N_m$ = 4/2 and 6/2, were spun for two different knot densities. After weaving the carpets, they were put under static force and their thickness variations were measured and plotted against time, in logarithm scale. The resiliency of the carpets piles after eliminating the static force, were measured and plotted against time, in logarithm scale, too. The results were compared to each other and analysed with respect to parameters such as the type and quality of the wool fibres as well as knot density of the carpets.

• 패션비즈니스
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• 제22권2호
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• pp.1-13
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• 2018

3D printing technology, which is expected to play a leading role within the Fourth Industrial Revolution, is becoming distinguished not only in the space, automotive, medical and engineering industries, but also in the area of design. The fashion and textile structures created by 3D printing technology were classified into three types - basic structure, unified structure, and a new physical structure. When traditional weaving, knitting, and stitching was reinterpreted through 3D printing, there were apparent limitations in reproducing the characteristics of fabric structures due to differences in the materials and structures of traditional textiles. New physical structures are being developed to break away from merely reproducing traditional textile structures, and to bring out the characteristics of 3D printing technology. As examples of new physical structures, there are the kinematics structure which utilizes the hinge method, mesostructure cellular material, and the N12 disk structure. Such techniques potentially open a new paradigm of fashion and textile structures. Some innovative aspects of 3D printing technology may result in changes in the methods of collaboration, manufacturing, and distribution. Designers are receiving help from specialists of various backgrounds to merge 3D printing technology to create original works. Also, 3D printing not only makes personalized custom designs available, but shortens the distribution channels, foretelling a change within the fashion and textile industry.

• 한국의류산업학회지
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• 제25권5호
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• 한국의류학회지
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• 제19권6호
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• pp.866-886
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• 1995

The purpose of this study is to analyze the pattern and the meaning of textiles, and decorative techniques of ikat weaving and dyeing in Indonesia. The textile design also analyzes by examining the method of ikat techniques such as warp ikat, weft ikat and double ikat, and by classifying the style of regions. The most common motifs are geometric designs of spirals, meanders, straight lines, triangles, and circles which are influenced by outside world. Although these motifs or symbols have been evident since prehistoric times, their design and meaning have been continually reinterpreted as changes in the ceremonies and rituals. While motifs such as reptiles, birds, and human figures, depicted in spiral, hooked and rhomb configurations, have been identified among the most resilient features of Indonesian textile design, new meanings have been added to these ancient forms, and designs have been transformed and reinterpreted to suit local conceptions. Since textiles are a visual expression of Indcufsian life, textiles place the individual symbolically within social milieu, identifying rank, family, locality and religious affiliations. Textiles represent a link between the human and the spiritual realm, and a vehicle for the display of sacred and secular potency Ikat textiles play to embody special transforming powers and sacred mediating qualities, providing protection and evoking life-enriching forces for individuals or social group.

• 한국의류학회지
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• 제33권8호
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• pp.1203-1214
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• 2009

The theory of household arts and practical acts are two traditional mainstream topics of official South Korean secondary home economics education. The clothing and textile education within the Secondary School Home Economics Textbook (1948) is various and practical. The first year textbook discusses the symbolism and maintenance of uniforms that provides information on the characteristics of cotton. Clothing and textiles are covered in 26 pages out of the 76 page book. The second year textbook includes the theory of color and form, along with the characteristics of flax and silk. Clothing and textile education is covered in 33 pages out of the 97 second year textbook. The third year textbook deals with the characteristics of wool, manufactured fibers, cross weaving, removing stains, clothing arrangements, and equipment; 5 chapters (56 pages out of 137) are spent on clothing and textiles. The fourth year textbook introduces the history of clothing, laundry principles, dyeing, bedclothes, and bed accessories; 4 chapters (63 pages out of 125 pages) are spent on clothing and textiles. The Secondary School Home Economics Textbook (1948) is highly extensive and profound in depth. It is comparable with modern college or specialized high school level clothing and textile education in terms of clothing materials, clothing maintenance, color theories, and dyeing.

• 한국의류학회지
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• 제21권7호
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• pp.1215-1226
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• 1997

Textiles in Bali have traditionally played a vital role in the social economic and religious life of the people. Textiles defined the status of the individual in term of both costume and wealth. Use of the various textiles is in Balinese tradition dictated primarily by rules of the Hindu-Balinese faith. Cloths and clothing are employed in worship of God and the ancestors. Gold songket patterned textiles are perceived as symbol of wealth and prestige and provide a fitting display of affluence at important cerenlonial events. The specialized pieces of clothing, temple banners and hangings are unique to each tribal group ranging from weft -patterned textiles in Bali. The impact of Indian ideas and techniques was important in the field of textiles, and many of the characteristics in Bali's fabric design derived from Hindu-Buddhist mythology that has furnished subject-matter for songket textile art. The purpose of this study is to examine the background of Balinese culture and to define the characteristics of Hindu-Balinese textiles. The songket textile design also analyzes by examing the techniques of songket weaving and the meaning of design, pattern, and motif. Many design and motifs convey important messages significant only to those familiar with the particular social religious principle of people who have produced them. It is only by seeing cloths in their cultural context that we can begin to understand their true value and meaning.

• 한국염색가공학회지
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• 제17권6호
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• pp.42-50
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• 2005

Silk fabrics are widely used as high quality cloth, interior, quilting and bedding materials because of having excellent touch, drape, resilience and low specific gravity characteristics. But, many waste silk materials are produced during the reeling, spinning, weaving, dyeing and finishing processes. From this fact, the recycle of waste silks is interested in studying for the application of industrial textile materials such as filter, oil absorbent and wound protector. Thus, this research has surveyed the decolorizing and carding characteristics in order to recycle the colored waste silk materials. As the results, the carding condition of waste silk fabrics was optimized with different fiber lengths and curding passage. In addition, the fiber failure mechanism from the wasted silk microdamage caused by carding process was investigated. Also it was found that longitudinal and transverse cracks, abrasion and pilling were formed on the surface of wasted silk fibers.