• Fashion & Textile Research Journal
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• v.8 no.6
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• pp.721-726
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• 2006

In this article I visually assessed the relation between luminous source and color, and analyzed subjective recognition of color by light source and image of color, aiming at giving guidelines in selecting source of light suitable for each purpose, thereby contributing to enhanced quality of life. For this purpose, I subjectized, by applying a quantitative method, the objective measurement that employs sensory evaluation method for 14 categories of color, light and feelings in visual perception of textile colors (blue, green and yellow) by color of light source (color temperature of 2800K, 4200K and 6500K), Followings are the conclusions derived form this study. Colors of textile were differently perceived according to the color of light source. When examining common recognition of textiles in blue, green and yellow, 2800K was said to give dirty, soft and blurred image, as for 4200K clear, wide and fine feelings were said, and pure, vivid, refined and bright image were marked for 6500K. As for 2800K, it got the most low appraisals compared with others. In conclusion, image and feeling of the same colors can differ according to light source, which indicates the importance of appropriate selection of light source for purpose of use. As for yellow, the number of assessment result that shows significant difference was the smallest among the three colors. So, it can be concluded that when we consider the recognition of color in mixing different colors, mixing with yellow can result in difficulty in visually perceiving difference of colors. Therefore, it is regarded that more considerable attention is required when dealing with yellow color.

• Fashion & Textile Research Journal
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• v.7 no.3
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• pp.301-308
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• 2005

The purpose of this study is to design men's clothing pattern that supplemented the problems of body shapes, by grasping the physical characteristics of middle-aged men and classifying their body shapes through comparing measurements after carrying out the human-body measurement targeting 120 middle-aged men at the age of 35-49 in full. As to the technical-statistic analysis of the measurement items, it could be seen that the middle-aged people who are the research target, have the obese body shapes. As a result of carrying out the factor analysis by the measurement analysis, it was derived the totally five factors such as thickness and width, stature and height, weight and girth, the bust length, and the shoulder shape. The total communality is 78.47%, and as a result of the cluster analysis by the factor score, it was classified into three clusters. Type 1 is the body shape with the great stature, the waist region a little obese, and the biggest thickness, width and girth. It is a flat body shape with the narrow shoulder and the smallest difference between the breast width and the waist width. As type 2 is the body shape that is small stature and is relatively not fat, it is the shape with the biggest difference between the breast width and the waist width and with the wide shoulder. Type 3 is the body shape that belongs to the middle of type 1 and type 2, has the upper-part body longer than other body shapes, and has the developed breast region with the biggest bosom width and bosom thickness.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.661-671
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• 2011

This study was designed to produce rounded belt pattern and tight-skirt pattern drafting method using 3D body scan data. Subjects were thirty women in their early twenties. In order to figure out the optimum cutting points, namely, where darts are made, using CAD program, curve ratio inflection points on the horizontal curve of waist, abdomen, and hip to find 1 point in the front, two points in the back part. The average length from center front point to maximum curve ratio was 7.7 cm(46.3%) on the waist curve; 7.9 cm(39.4%) on the abdomen curve. And the average length from center back point to maximum curve ratio point was 6.9 cm(39.0%) for first dart and 11.2 cm(63.3%) for second dart on the waist curve; 8.9 cm(35.8%) for first dart and 15.7 cm(63.3%) for second dart on the hip curve respectively. The cutting lines from were made up by connecting curve inflection points. After divided using cutting lines, each patch was flattened onto the plane and all the technical design factors related with patternmaking were measured, such as dart amount, lifting amount of side waist point, etc. Based on the results of correlation analysis among these factors, regression analysis was done to produce equations to estimate the variables necessary to draw up pattern draft method; F1=F8+1.1, $F4=2.5{\times}F2+0.9$, $F5=0.9{\times}F4+1.0$, $F6=0.3{\times}F4+0.4$, $B1=0.9{\times}B8+2.3$, $B4=2.1{\times}B2+1.3$, $B5=0.9{\times}B4+3.5$, and $B6=0.3{\times}B4+0.4$.

• Fashion & Textile Research Journal
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• v.13 no.5
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• pp.672-678
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• 2011

This was written based on the type and structure of korean man's waist belt in the early and middle era of the Chosun era. The waist belt was excavated from the Mokdaldong in the Daejeon city. The types of korean man's waist belt in the Chosun era were classified into Wondahae (i.e., round shape belt) and Gwangdahae. The Wondahae consist of two types which are circle shaped and straight types. The circle shaped wondahae contain one fringe in the main body of the belt and its joint part is decorated with a small network such as lacing decoration with the size about 1 cm around. The shape of the Wondahae has been changed from the circle shaped into the straight types and also has a tendency to be wider and longer as time went by. The standard form of the Gwangdahae is straight with about 2-3 cm width and elaborated by lacelike fringe as well. This also has a tendency to be wider starting from the 1600s show. The structure of this belts were divided into braid and ornament parts. The ornament part was constructed with the lacelike netting and fringe parts. The sophisticated craft techniques have a great decorative beauty. Through an analysis of FT-IR, the materials of those three belt are known which are made of the silk and the core thread was filled with cotton. Moreover, it can be confirmed that the glitter material of the ornament part were designed with gold foil and has been analyzed with SEM-EDX.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.242-248
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• 2008

This study was aimed to find whether the Chelidonium majus which grows naturally in Korean soil and has a various medical ingredient is valuable as a natural dyeing material and to examine the functionality of Chelidonium majus extract. As the test result of dyeing colorfastness, colorfastness to sunlight was 1st grade for all the dyed fabrics. The colorfastness to laundry for discoloration showed from 1st to 4th grade and that for discoloration showed from 4th to 5th grade through all the dyed fabrics. Colorfastness to perspiration, rubbing, and drycleaning showed from 4th to 5th grade through all the dyed fabrics. In the result of antibiosis test, the dyed cotton fabric showed the bacteria reduction rate of 99.0% for Staphylococcus aureus and Escherichia coli evenly when washed one, three, and five times, The dyed silk fabric, when washed one, three, and five times, showed the bacteria reduction rate of 99.0% for Staphylococcus aureus, but didn't showed the significant bacteria reduction. As the test result of sun protection test, in the case of the cotton fabric which was dyed but don't use mordant, after one-time washing, S.P.F.(Sun Protection Factor) showed 20.4, the interception rate of UV-A showed 94.3%, and that of UV-B showed 95.2%. After five-time washing, S.P.F. showed 14.3, the interception rate of UV-A showed 90.0%, and that of UV-B showed 93.2%. In the case of the silk fabric which was dyed but don't use mordant, after one time washing, S.P.F. showed 30.5, the interception rate of UV-A showed 95.9%, and that of UV-B showed 96.9%, after five-time washing, S.P.F. showed 31.0, the interception rate of UV-A showed 95.6%, and that of UV-B showed 96.7%.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.249-253
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• 2008

The purpose of this study was to investigate the properties changes of wool fabrics dyed with safflower red and yellow colorants under Ultraviolet(UV)-light. For this purpose, the wool fabrics dyed with safflower red and yellow colorants were compared with each other after uv-light exposure in terms of K/S value, color changes(${\Delta}E$), morphology, and strength retention. K/S value rapidly decreased with increasing exposure time, but K/S value of the samples dyed with safflower yellow colorants decreased less than that of the samples dyed with safflower red colorants. In color changes, as increasing exposure time, $L^*$ and $b^*$ increased, $a^*$ decreased, and thereby ${\Delta}E$ increased in the samples dyed with safflower red colorants, $L^*$ increased, $a^*$ and $b^*$ decreased, and so ${\Delta}E$ increased in the samples dyed with safflower yellow colorants, indicating fading away by uv-light and changes of hue, value and chroma value. But the color change of samples dyed with safflower yellow colorants was less than that of samples dyed with safflower red colorants. SEM pictures showed a severe degradation by uv exposure, regardless of colorants type. Tensile strength slowly decreased until 14 days, and rapidly decreased until 21 days and slowly decreased. Strength retention of the samples dyed with safflower yellow colorants was higher than that of the samples dyed with safflower red colorants.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.680-688
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• 2014

The aim of this research is to classify intrinsic attribution of 'la diff$\acute{e}$rance images' which are core propositions of changeability of fashion style. The specific questions of this research are; what are the definition of 'changeability of fashion', 'la diff$\acute{e}$rance' and 'supplement' and what are the relationships?, how the la diff$\acute{e}$rance images which are intrinsic of changeability of fashion style exist? and what is intrinsic attribution of 'ultimate la diff$\acute{e}$rant image', 'immediate la diff$\acute{e}$rant image' and 'la diff$\acute{e}$rant image of the trace'? The researchers deployed a qualitative research method providing a systematic review of the previous studies. In conclusion, the 'supplement' phenomenon and 'la diff$\acute{e}$rant images' shown in the changeability of fashion style, covers up the gap between the structural layers through the play led by supplement logic in the subconscious place of la diff$\acute{e}$rance of dialectical frame. They produce styles that have current value and become generalized la diff$\acute{e}$rant images of trace through the play of 'la dissemination.' These images repeat their individual play to reproduce a new different 'la diff$\acute{e}$rant images' and complete the aesthetics of harmony in the state of 'reservation,' 'deferment' and 'postponement'. The images are ready to make history and they create 'ultimate la diff$\acute{e}$rant images' from the demand of different period, and tries to combine with 'supplement' within 'the gap of la diff$\acute{e}$rance.' This process endlessly repeats in the dialectical frame through the la diff$\acute{e}$rant' play led by time and space, and it continuously produces new style that is required by different time and space.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.745-755
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• 2014

The purpose of this study was to observe school education system, higher education, and fashion education in Germany to find a good model for an desirable future education to lead a creative students in Korea, thereby reshaping curriculum. We also analysed the curriculum of the fashion design offered in Hochschule Pforzheim and Berlin University of Art. We used secondary data collection by literature reviews of articles and web sites on the internet. Results of this study are as follows: German school and education system oriented with differentiation even though there are variety of them. Students can select their education system, considering work field and their own life & humanities. Various fashion education institutions were found to have their own education concept to enhance creativity with different system. Our results of analysis of the fashion design program of Hochschule Pforzheim and Berlin University of Art show their creativity education in their curriculums with module basis. Two universities have a differentiate education direction for the same aim to do creative design study and research. We realized that students learn and get the knowledge and apply to the field with a long term internship, communication skill and presentation development courses. Project based modules enable students to be creative, and active human. Strong design basis, and humanities disciplines will support people to creative design works. These two universities offer a good model of program to build up self education drive, academic and practical ways of training, and project based, internship, etc.

• Fashion & Textile Research Journal
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• v.16 no.2
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• pp.333-338
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• 2014

This study identifies the effects of sodium sulfate and surfactants in the papain treatment of wool fabrics using L-cysteine and EDTA as activators. The research method involves the use of 2% L-cysteine and 7% EDTA as activators at optimal conditions, papain treatment of wool fabrics with the joint use of sodium sulfates and surfactants, and measurements of the weight loss rate, tensile strength, and whiteness. Results showed that for both 2% L-cysteine and 7% EDTA, the maximum papain activity appeared at 0.5% sodium sulfate concentration. In both cases, the papain activity was enhanced at sodium sulfate concentrations lower than 0.5%. In contrast, the papain activity declined at sodium sulfate concentrations higher than 0.5%. The joint use of EDTA with 0.5% sodium sulfate was proven to be very effective in improving the papain activity. The joint use of 2% L-cysteine with 0.5% sodium sulfate appeared slightly effective in improving the activity but resulted in excessive decrease in the tensile strength and whiteness, compared to improvement in the activity. The joint use of surfactants, in the case of L-cysteine, interrupted the papain activity and decreased the tensile strength regardless of the surfactant type and concentration. In the case of EDTA, however, the joint use with 0.1-5% non-ionic surfactants, 0.1-0.5% anionic surfactants, and 0.1% cationic surfactant appeared to improve the papain activity. The maximum papain activity was observed when 0.1% of surfactant was used, regardless of the surfactant type. The nonionic surfactant was the most effective in improving the papain activity.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.695-707
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• 2016

This study presents quantitative evaluation standards for the shape fitness test, conducted in the process of the slacks fit test. This study aims to quantify appearance sensory test of slacks for the objectification of qualitative evaluation methods in existing shape fitness tests. The subjects were women of standard body type between the ages of 18 and 24. Slacks differing in their ease in waist girth, hip girth, crotch length and knee length were designed to test their shape fitness. The gap volume distribution between the body and slack, angle of the baseline by body part, and ratio of total thickness from the sideline using 3D human body scan data (which reflect the results of the appearance sensory test) were presented as quantitative evaluation standards. There were less wrinkles in the wrinkle/overstretch and ease categories of the appearance sensory test; in addition, ease was adequate and small enough to comfortably perform basic human activities in the standing upright posture. The gap volume distribution analysis between body and slacks showed that curves increased in the slacks surface along with an increase of ease in slacks and suggested that wrinkles also increased. In the baseline's horizontal categories in terms of a $0^{\circ}$ horizontal angle, the range of angles were evaluated as adequate by the clothing expert group. The total thickness ratio of 0.5:0.5 divides into the sideline from the baseline.