• The Research Journal of the Costume Culture
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• v.11 no.3
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• pp.431-440
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• 2003

The purpose of this study is to investigate the feasibility of applying the chitosan for a natural mordant. The chitosan, a natural chelate macromolecule, is acquired from the crustacean. Investigation was focused on the change of the dyeability according to the chitosan treatment based on the Caesalpinia sappan and the color change of the dyed fabric according to the application of heavy metal mordant. The change of air permeability of the fabric with the dyeing condition was also investigated systematically. The effect of dyeing with/without mordant on the air permeability of the fabric after the chitosan treatment. It seems that the increase in the dye-uptake is attributable to the fact that chitosan forms a complex with the Caesalpinia sappan and Al during mordant dyeing of cotton fabric. For nylon fabric, the darkest color was achieved on the occasion of non-mordant dyeing of the fabric. The mordant treatment or chitosan treatment, however, reduced the dyeability. While the dyed nylon fabric could maintain the same air permeability as the grey nylon fabric, the cotton fabric lowered the air permeability after dyeing.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.27-44
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• 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.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.16-32
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• 2016

This study examines music visualization characteristics appearing in Giorgio Armani's S/S 2000 Collection and Genny's F/W 2000 Collection, which elicited and reinterpreted the characteristics through an analysis of Kandinsky's paintings. Study results are as follows. First, music visualization characteristics were extracted through an analysis of Kandinsky's works to examine music visualization that appears in contemporary fashion. Further analysis of Kandinsky's works were done in regards to music visualization (Impression, Improvisation, and Composition), and music visualization characteristics were categorized into 'spatial element', 'mobility', and 'overlap'. Second, the analysis of contemporary fashion with a spatial component showed that space was often clothed through color contrasts that highlighted concise and playful effects. Emphasis on line and three-dimensional effects were shown by overlapping lines and costume pleats with exposure expressed by semiotic forms and fabric character4istics. Third, the analysis of clothes that express mobility shows that they commonly express mobility through free color arrangements and a shading of colors with playfulness. The effects of emphasis, uniformity, and exposure were shown through the gloss and transformation of fabric that emphasized fabric characteristics; in addition, the effect of simplicity, three-dimensionality, and uniformity were expressed by adopting the forms of geometric shapes. Fourth, the analysis of clothes that manifest the overlap showed a predominant overlapping of colors and fabric. The esthetic effects of playfulness and exposure were emphasized through colors, shapes, and lines.

• Journal of Fashion Business
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• v.19 no.6
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• pp.28-41
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• 2015

Properties of textile fabrics influence the appearance, aesthetics, and performance of garment. Drape and related properties of fabrics affect profoundly the static and dynamic appearance during wearer's movement. The three dimensional shape of the folded structure often deforms with time or with subtle vibration around the fabric specimen during the drape measurement. Due to the uneven and complex nature of fabrics, the overall shape of the fabric specimen on the drape tester often becomes unstable. There is a need to understand the fundamental mechanisms of how draping may generate pleasing forms. Two drape test methods, conventional Cusick drape test, and in-built drape tester, based on a depth camera, are compared. Fabric specimens including cotton, linen, silk, wool, polyester, and rayon are investigated for the fabric drape and other physical/mechanical parameters. Drape coefficient values of fabric specimens are compared based on the final drape images, together with the intermediate 3D drape images of the specimens during elevation process of the drape tester equipped with a stepper motor system. The correlation coefficient between the data based on the two methods is reasonably high. Another advantage from the depth camera system is that it allows further analysis of three-dimensional information regarding the fabric drape shape, including the shape of nodes or crest and trough.

• Proceedings of the Korean Geotechical Society Conference
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• 1998.12a
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• pp.115-122
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• 1998

• Textile Coloration and Finishing
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• v.21 no.1
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• pp.21-29
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• 2009

In order to enhance the functionality of a cotton fabric actually used as a clothing material for patients, the fabrics were treated with a chitosan/nanosilver mixed solution. The nanosilver had excellent biocompatibility, provided expectation of an additional performance, did not harm human beings, and supplements chitosan, which was disadvantaged if used alone for fabric treatment. The nanosilver was mixed thereto and a treatment effect due to a mixing ratio was considered. This study was observed through mechanical properties and hand value which were the important function. The treatment of chitosan/nanosilver mixed solution gave a smoother surface than the treatment of chitosan alone. As a result of evaluation of the forms according to KES-FB system, Koshi was deduced, and both Numeri and Fukurami were increased. Thereby, the cotton fabric was a little smooth to provide elasticity, due to the treatment of chitosan/nanosilver mixed solution. THV of the treated fabrics calculated from this basis increased at all mixing ratio as compared with the untreated fabric. The fabrics treated with chitosan/nanosilver mixed solution were shown a better THV than the fabric treated with chitosan alone.

• Archives of design research
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• v.13
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• pp.123-137
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• 1996

Weaving, is an ideal subject for study to designer who is concerned with interrelationship between art and technology. Double cloth is a two layered fabric that can be woven on the loom with more than 4 harnesses, is often used to produce special woven fabric such as double width fabric or reverse pattern fabric, etc, in textile industry. Because of the attractive characteristic of two layered structure, double cloth technique can be applied as expressive media in fiber art requiring aesthetics and creativty. in the work, the concept, types, and characteristics of double weave have been studied through literature survey and sample production and the potential characteristics of this technique is, especially, emphasized by analysing the representative works of artists specilized in a double weave. Double weave technique can provide various images or forms throught the variation of structures and expressive styles and therefore suggests another characteristic expression creative means for weaver to develope.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.4
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• pp.229-235
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• 2014

This study conducted a research on burn-out printing convergence technology for cellulose blend knit fabrics. Printing technology, which forms color pattern on the fabric, can be generally classified into four according to printer or printing method, e.g. screen printing, roller printing, rotary printing, digital printing. However, these printing methods are flat in design or pattern, which have limitation to overcome monotonousness of fabric, so that recently burn-out process method, which expresses three-dimensional pattern effect by treating chemical on the surface of fabric as the method to appeal its esthetics to the customers. Particularly, in case of cellulose/polyester composite material, first, it is proceeded in 2 processes, by dyeing cellulose or polyester fabric and burning out cellulose fabric, in this process, due to pollution caused by disperse dye migration, color of polyester fabric part could be discolored, which has high falt risk. This research considered coloring burn-out technique, which simultaneously proceed dyeing and burn-out by reducing dyeing and burn-out process to 1 stage, which were proceeded in 2 stages previously. As the research result, it was confirmed that reasonable depth of roller was 0.04~0.06mm in roller printing process, heat treatment condition of burn-out far-infrared radiation was $185^{\circ}C{\times}30m/min$. Color fastness to washing was confirmed to be 4-5 grade, color fastness to rubbing, 3-4 grade, color fastness to light, 4 grade. Also, it was confirmed that energy reduction effect appeared 38.19%, in case of energy cost per yard compared to the existing production, also, 19.74%, in case of production cost.

• Journal of Fashion Business
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• v.16 no.4
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• pp.29-45
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• 2012

The purpose of this study is for providing not only the latest design technique trend for zero waste fashion, but information about creative fashion design education through eco-fashion industry trend in globally and domestic which is focusing on eco-fashion labelling. The research were processed with literature related eco, sustainable, green fashion books, former articles, newspapers, and web sites. The results as follows; The certification about eco-fashion product is moving to 'Life Cycle Assessment' from focused on primary process like material, finishing, dyeing. Especially simplicity of process means reducing the wastes. And fabric wastage for adult outwear was estimated 15% percent of total fabric used in general design studios. Three cases for Zero waste fashion were as follows; First, Jigsaw puzzle by Timo Rissane and Mark Liu were different zero waste methods, but the result was same. Rissene's method was based on traditional cutting like 'cut and sew' but traditional cutting can lead to design that have an abundance of fabric and drape. Jigsaw of Rissene was approached with description a pattern-cutting technique in which all piece interlock with each other generating no waste from design production. Another Jigsaw by Liu was related with innovative textile design. DTP makes the possibilities for zero waste garment production almost endless. The dress intricately cut from 10 pieces, wastes none of the fabric required to make it. Second, Subtraction Cutting by Julian Roberts provides unexpected fluid, organic forms and zero waste fabric. Utilizing Roberts plug(tunnel) technique enables any part of the garment that is removed for fit or aesthetics to be reincorporated into the design of garment. Third was 'Bio Couture' by Suzanne Lee. She has created garments from cellulose bacteria which grow in a bathtub using only green methods addressing in such as way ecological issues and exploring the future of fashion design in conjunction with technology.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.396-406
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• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.