• 한국의류학회지
• /
• 제45권5호
• /
• pp.825-839
• /
• 2021

This study aims to develop jacquard fashion masks using traditional patterns and investigates the preference and emotions of consumers for them. Nine patterns were designed with the motifs of plum flower, turtle, and geometric patterns using an Adobe Illustrator program. After that, 20 kinds of jacquard fabrics were developed using those patterns, and prototype masks were made. Furthermore, data were collected using a survey of 231 adult consumers to understand the emotional images evoked by jacquard fashion masks with traditional patterns. The results of the research show that the emotional dimension derived from jacquard fashion masks with traditional patterns consists of seven factors: luxurious image, frugal image, feminine image, oriental image, sporty image, geometrical image, generous image. We found that consumers preferred the M6 with the plum flower pattern as the motif as the most preferred design, while M13 with the geometric pattern as the motif was the lowest preferred.

• 복식
• /
• 제59권8호
• /
• pp.132-151
• /
• 2009

All of 132 kinds of fabrics are used in excavated costume from the Dongrae Jung's Tomb. Classified by its materials, it is divided into small groups as follows: 58 pieces of silk tabby 43.9%, 2 of filament silk tabby 1.5%, 14 of thin filament silk tabby 10.6%, 19 of spun yarn silk 14.4%, 4 of twill without a pattern 3.0%, 8 of patterned silk tabby 6.1%, 23 of satin damask 17.4%, 1 of damask with supplementary gold thread 0.8%, 2 of mixture fabric with silk and cotton 1.5%, and 1 of ramie fabric 0.8%. Classified by ways of weaving: 96 pieces of plain weave 73%, 23 of satin weave 17%, 8 of patterned silk tabby consisting of plain weave material and twill weave pattern-6%, 4 of twill weave 3%, and 1 of compound weave 1 %. In point of patterns, the most often used ones are plant patterns such as lotus patterns, peony patterns, plum blossom patterns, flowers representing seasons patterns, and small flower patterns. For animal patterns, it has phoenix patterns designed together with flowers representing seasons patterns. And for natural scenery patterns, it shows cloud patterns with treasures patterns together. For object patterns, it also shows treasures patterns mixed with cloud or lotus together. For geometrical patterns, it has rhomboid patterns and 卍 character patterns; some show only rhomboid patterns and others show material patterns of 卍 character patterns blended together with fruit, lotus, etc.

• 한국복합재료학회:학술대회논문집
• /
• 한국복합재료학회 2002년도 추계학술발표대회 논문집
• /
• pp.20-23
• /
• 2002

In this paper, various tow parameters such as equivalent tow thickness, amplitude of longitudinal tow and tow intervals were investigated and compared with each other by using microscopic observation to find out the exact deformation patterns between both directions of the fabric structure (Longitudinal and Transverse Directions). Specimens for the observation were taken from draped helmet which is made of fabric composite (Five Harness Satin Weave). From the observation results, it was found that there are different deformation pattern between tow directions and effect of geometric condition on the deformation of the fabric materials during draping process was verified.

• 패션비즈니스
• /
• 제19권3호
• /
• pp.101-112
• /
• 2015

Because young men's slacks are becoming more slim-fitting today, this study attempts to identify room for improvement by comparing and analyzing the patterns of men's slacks in the literature and those of manufacturers. Selected for the study are two patterns from the literature and one from manufacturers (Slacks A, B, C); those from studies are slim silhouette pants with no tucking around the waist at the front. Subjects for the Fit tests and the pattern designs were men in their twenties with average body shapes in accordance with the figures in Size Korea 2010. Pants were made from muslin fabric and the Fit tests were carried out with three subjects and a panel of five experts to evaluate comfort and appearance. The analysis of the patterns revealed that Slacks A were the longest followed by C and then B. Slacks C had the most girth ease, and Slacks B were the slimmest in both length and girth. Movement tests showed Slacks A to be the most comfortable followed by B and then C. The appearance test found that Slacks B were the most attractive, followed by A, and then C. The fits at the front, back and sides of all three pants were more or less the same. We suggest that more studies be done on pants patterns adjusting them for proper ease and using elastic fabric in order to maintain the slim fit and also to be comfortable to wear.

• 복식
• /
• 제54권8호
• /
• pp.113-128
• /
• 2004

This study examined textiles used for ancient costumes of the $16{\cdot}17th$ century in Joseon period, focusing on fabric types and patterns of the costumes from tombs. The purpose of this study was focused on investigating the relationship between fabrics and social backgrounds, especially change in using fabrics through the war from Hidyoshi's Invasion of Korea in 1592. Since the war must have had an effect on the life of people's. The result of the study is that silk occupies $69{\%}$ of all textiles, and cotton, linen follow The weaving method of silk was primarily Plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo Period, were considerably decreased in Joseon Period. Types excavated fabrics in the $16{\cdot}17th$ century Joseon period can be said various. Of this, silk was the most remarkable one till Hidyoshi's Invasion of Korea in 1592, when the ratio of patterned silk dramatically decreased. Contrarily, the ratio of cotton and plain fabric increased rapidly in Hidyoshi's Invasion of Korea in 1592. It is supposed that the result is largely due to unusual condition of the war time. After the war, it is estimated that use of pattened fabric as well as silk was decreased. Patterns of textile fabrics in $16{\cdot}17th$ century were various. In result of surveying a trend of increment and decrement, it is known that the ratio of patterned textile fabrics decreased dramatically in Hidyoshi's Invasion of Korea in 1592 and Manchu war of 1636. Tendency of textile use by social Position is more notable. It is appeared that a lot of silk fabrics were used in High hierarchy. The excavated remain and ratio of silk were the highest in Kyonggi Province including Seoul.

• 복식
• /
• 제50권8호
• /
• pp.5-16
• /
• 2000

This study attempts to examine compound weave among silk fabrics of Cho-Sun Dynasty. These silk fabrics have colorful patterns. They can be classified into two types by their texture structure one is called polychrome woven silk of which structure is plain or twill fabric : another is called satan damask of which structure is stain fabric. Their texture structure consist of warp and weft. In addition. there are other types of warp and weft for pattern structure ; various twill structures were used for patterns. A variety of colorful threads, including gold and silver ones. are used fur patterns in them. The brocaded-type fabric was primarily developed during Won Era of China. It was most developed in Ko-Rye Kingdom. During that era flat strip was used the most but its length was usually not long enough to finish one pattern. However, wrapped thread was increasingly used during the middle and later period of Cho-Sun Dynasty due to the development of weaving technology for gold thread. The brocaded-type fabric was produced in Korea and it was also Imported from China according to some record. There are some domestic empirical documents that show the names of imported Satin Samite, Brocaded satin and these are good evidence to prove the nationwide use of the cloth during Cho-Sun Dynasty. The density ratio of warp and weft is almost same except Samite in the third and Satin with flower motif in the second period is most density among them. C·F of Brocaded satin with Mang motif in the third period values the highest price. Brocaded satin, used with both gold and silver threads, is thickest.

• 패션비즈니스
• /
• 제19권2호
• /
• pp.149-170
• /
• 2015

The purpose of this study is to link the Yi tribe's traditional patterns to bag design. Yi tribe is a minor ethic group in China, whose traditional pattern has a high artistic value in that its shapes are diverse and each one has peculiar elegance. Traditional patterns are also indicative of spiritual dept or symbolic stories, rather than being indicative of simple formative beauty. Thus, reorganizing these patterns and applying them artistically to design- in terms of resource utilization- would be significant. Out of all of the Yi tribe's traditional patterns, the cherry blossom_(马樱花), water wave_(水波), sky father and earth mother_(天父地母), pomegranate blossom, triangle, sheep' horn, wisteria vine_(藤条), square and diaper_(四角菱形) and the zigzag_(曲折) patterns were chosen for use during the development of a bag design. This study is based upon document study, including research papers and internet web sites, the point of which was to investigate the form of the traditional patterns, and the creative design process. The design procedure includes these sub-processes: selection, arrangement and color-scheme. In the selection process, the form of the pattern was edited using Adobe Photoshop. The pattern was freely arranged to reflect various emotions. In terms of the color-scheme of the patterns, the colors used by Henri Matisse(1869-1954) in his work were selected and adapted when dyeing the patterns. Subsequently, the final design resulting from these design development processes was applied to the actual production of the bag by using canvas fabric and leather, after which the bag image was proposed using computer simulation. In conclusion, six bag designs were created using traditional patterns from the Yi tribe. Through the processes explained above, this study confirmed that traditional patterns could be widely applied as design motifs and that more sophisticated, modern, and creative designs could be developed based on traditional patterns.

• 한국지역사회생활과학회지
• /
• 제22권1호
• /
• pp.53-61
• /
• 2011

We have made knitwear in a different way from the typical woven pattern; it does not have the dart, even for women's tops. The purpose of this research was to compare the fit and appearance of the torso pattern for circular knitted fabric between virtual try-on garments and real garments. First, a woman in her 20's was scanned by a 3D body scanner, and thus producing a virtual avatar. I prepared knit patterns and created a torso pattern appropriate for circular knitted fabric. Next, I measured the body size of the avatar. The 2D patterns for the torso and sleeves were developed using the Yuka Super ALPHA : Plus. The 3D virtual garments were made from the imported 2D patterns and were then tried on the 3D virtual avatars. Finally, the fit of the real garments and the virtual garments was compared. While the shape of the virtual try-on garments were similar to the real garments, the folding and sagging were different. This study found the length was the same as woven wear. However the actual bust size and the clothing size were the same which is not a typical characteristic of woven wear. In the case of hem measurement, more space was needed than actual body size but less space was needed than in woven patterns.

• 한국의류산업학회지
• /
• 제15권6호
• /
• pp.1010-1017
• /
• 2013

Current global textiles and fashion industries have gradually shifted focus to high value-added, high sensibility, and multi-functional products based on new human-friendliness and sustainable growth technologies. Textile design CAD systems have been developed in conjunction with computer hardware and software sector advances. This study compares the patterns or images of actual woven fabrics and virtual fabrics prepared with a textile design CAD system. In this study, several weave structures (such as fancy yarn weave and patterns) were prepared with a shuttle loom. The woven textile images were taken using a CCD camera. The same weave structure data and yarn data were fed into a textile design CAD system in order to simulate fabric images as similarly as possible. Similarity Index analysis methods allowed for an analysis of the index between the actual fabric specimen and the simulated image of the corresponding fabric. The results showed that repeated small pattern weaves provide superior similarity index values than those of a fancy yarn weave that indicate some irregularities due to fancy yarn attributes. A Complex Wavelet Structural Similarity(CW-SSIM) index resulted in a better index than other methods such as Multi-Scale(MS) SSIM, and Feature Similarity(FS) SSIM, across fabric specimen images. A correlation analysis of the similarity index based on an image analysis and a similarity evaluation by panel members was also implemented.

• 한국의상디자인학회지
• /
• 제24권2호
• /
• pp.27-44
• /
• 2022

The purpose of this study is to attempt to diversify artistic expression through combinations of the twelve zodiac animals and origami techniques and to propose new directions for fashion design by applying these to fashion accessory bag designs. For the research method, this study researched the representative forms and characteristics of twelve zodiac animals based on the cultural background. Also, diverse cases of origami techniques were sought to apply them to the development of bags. The results are as follows. First, expressed forms of the Chinese zodiac were newly expanded by realizing the form of Chinese zodiac animals through various origami techniques. Origami work displays abstract visual effects rather than intuitive feelings or expressions of flat designs. With this, detailed realizations could be made through the characteristics and cultural implications of animals. Second, the work created in this study utilized zero-waste patterns that use origami techniques on one whole piece. During pattern production, folded parts were marked without waste and the outer fabric and lining were produced. Patterns were all symmetrical lines so most forms were expressed with squares and equilateral triangles. Third, through actual work produced using fabric instead of paper, effects that are brought about through folding are determined in diverse ways according to fabric textures or material types and thicknesses. When paper is folded, shapes are created as folded, but fabric requires the use of supportive material to create the effects of origami. Polyester and blended fabric were easy to use with high levels of function and practicality. Through such diverse production attempts, fixing methods, hand sewing, sewing machines, double-sided tape, and leather adhesive were used.