• Science of Emotion and Sensibility
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• v.10 no.1
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• pp.99-111
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• 2007

In order to identify tactile sensibility factors of traditional silk fabrics and to provide prediction models for the sensibility factors by mechanical properties, seventeen different traditional silk fabrics were evaluated in terms of both tactile sensation and sensibility by using a modified magnitude estimation line scale Gongdan and Newttong with lower values for surface roughness(SMD), bending rigidity(B), and compression resilience(RC) were rated as softer, smoother, fluffier, and more pliable in tactile sensation than any other traditional silk fabrics whereas Nobangju haying higher B, SMD, and tensile resilience(RT) was touched as crisper, more rustling, and springier. Three different tactile sensibility factors including 'Feminine', 'Natural', and 'Casual' were obtained significantly by grouping fifteen different tactile sensibility descriptors. In the prediction models sensibility 'Feminine' was explained positively by SMD, which was supported by the fact that both Gongdan and Newtton were perceived as more feminine. Sensibility 'Natural' that was felt stronger as for Myoungju and Sa was predicted negatively by both fabric thickness(T) and RT. Finally, RC, elongation at maximum load (EM), and T predicted sensibility 'Casual' negatively, which results in its higher factor scores for Myoungju and Shantung, respectively.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.7
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• pp.882-891
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• 2004

The purpose of this study was to improve dye effect and method in order to facilitate the use of persimmon juice dyeing. Silk fabrics were pad-dyed to 100% pick-up using padding machine after dipping in persimmon juice extracted from unripe persimmons indigenous to Jeju. The color of dyed silk fabrics by padding method was more even and repeatable than that by traditional hand method. Persimmon juice concentrations were 4 types 10, 25, 50 and 100%. The silk fabrics were pad-dyed to 100% pick-up and were repeatedly dyed two times and three times with 100% concentration. The higher the concentration, the more color deepened. UV Irradiation instead of sunlight was applied to color developing. Irradiation times were shortened to 1-8hrs. Color values which reguired 30-50 hrs. in sunlight irradiation. were obtained in 3-5 hrs. with UV irradiation. Tensile strengths of silk fabrics in UV irradiation decreased but not decreased in sunlight irradiation. Elongations of silk fabrics in sunlight irradiation increased but decreased in W irradiation. Drape stiffness increased up to three times.

• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.1-16
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• 2013

This study analyzed the characteristics of Korean traditional plain weave excavated from Sang-go period to Joseon Dynasty. To do this, this study classified the Korean traditional plain weave into fiber types(cotton, hemp & ramie, plain weaved silk), analyzed and compared the thickness, twist type of yarns and density by times. First, in characteristics of cotton, the average and maximum density of Joseon Dynasty were higher than those of Goryeo, twist type was mainly s-twist and the density of warp was higher than that of weft. Second, the maximum density of hemp & ramie was found in era of Three Kingdoms of Korea. In common characteristics of hemp & ramie, twist type was mainly s-twist(sometimes non-twist) to the Three Kingdoms of Korea and was changed into non-twist from the Goryeo. The density of warp was higher than that of weft in common. Generally, the average density of ramie was higher than that of hemp. Third, in the characteristics of plain weaved silk, twist type was mainly non-twist(sometimes s and z-twist) from Sang-go period to Joseon Dynasty. Warp-faced ribbed tabby was excavated in Goryeo, the average density of warp-faced ribbed tabby was higher than that of other fiber types plain weave. Generally, in all fiber types, the density of warp was higher than that of weft.

• Science of Emotion and Sensibility
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• v.9 no.1
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• pp.39-48
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• 2006

This study was carried out to investigate sound sensation of Korean traditional silk fabrics with similar sound pressure levels (SPL) and to identify secondary physical factors excluding SPL which determine sound sensation of the fabrics. Sounds of the silk fabrics tended to be perceived differently from one another as for some of sensation such as clearness ant roughness. They were felt more strongly in aspects of loudness, roughness, and highness than of softness, sharpness, clearness, and pleasantness. Subjective clearness, roughness, and highness were significantly correlated with some of sound parameters including roughness(z), ${\Delta}L,\;and\;{\Delta}f$. Especially, both of clearness and roughness which were varied among the fabrics were found as determined by ${\Delta}L$. This result means that ${\Delta}L$ as well as roughness(z) and ${\Delta}f$ could be utilized secondary to SPL in order to satisfy some of human sensibility for sound from traditional silk fabrics without variation of physical loudness.

• The Korean Fashion and Textile Research Journal
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• v.13 no.4
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• pp.472-477
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• 2011

In the tide of globalization, culture products play pivotal role in effectively introducing our tradition and culture to the world. This research is about developing culture products using our traditional lady's art craft work to attain the purpose of modern application through recreation of tradition along with modern technology. First, the types of traditional lady's art craft work include pouches, wrapping clothes and other accessories made by sewing except costumes. The materials used were cotton, silk, ramie, hemp and decorating techniques involved were embroidery, patchwork, quilting, knot. Second, the purpose of this study is developing culture products with traditional images which also satisfy modern sense. Therefore, items that could be used readily in daily life were selected. Such items include bags, mufflers, name card cases, brooches. In addition, the Korean traditional Patchwork images which have both western-style and modern sense were selected out of the many kinds of traditional lady's art craft works. Third, cultural products (bags, mufflers, name card cases, brooches) were created by DTP in silk with sacdong and free-styled division Korean traditional Patchwork images and quilting technique. The significance of this study lies in examining the possibility of developing modern culture products using traditional lady's art craft work. A way to further develop this study would be to shed new light on traditional crafts and local cultural resources and actively carry on the study of cultural product development to provide the foundation for developing cultural products with modern applications.

• The Research Journal of the Costume Culture
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• v.28 no.1
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• pp.62-75
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• 2020

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.141-153
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• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Journal of the Korean Home Economics Association
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• v.45 no.2
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• pp.51-62
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• 2007

This study explicates some properties of the fabrics used in the 16th century by examining and analyzing the 90 pieces of fabric excavated from the graves of Mr. Ryu of Jinju and his wife Mrs. Park of Euiin. The fabrics were classified into silk tabby(紬), thin silk tabby, satin damask(段), complex gauze(羅), mixture fabric with silk and cotton(絲棉交織), cotton(棉布) etc. Compared to other contemporary fabrics excavated previously, the fabrics unearthed from the couple's graves presented very naive feelings. Patterned satin damask occupied a small portion. In the case of plain fabric, little filament silk tabby(絹) or thin filament silk tabby(細紬) was unearthed. Important data on the history of Korean costumes are provided by the noteworthy, first-ever excavation of a small cap made of complex gauze(羅) and the tiger-leopard embroidered patches called hyoongbae(胸背), which were worn on the front and back of official robes made of tabby with supplementary gold thread(金線). Only 3 pattern types could be clearly identified in form, cloud pattern, lotus and vine pattern(蓮花蔓草), and small flower and treasures pattern(七寶細花). These three patterns are very similar to those of other 16th century fabrics unearthed previously in terms of the form and arrangement of patterns.

• Textile Coloration and Finishing
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• v.26 no.3
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• pp.242-253
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• 2014

Morinda citrifolia, commercially known as Noni, is a tree that grows widely throughout the Pacific, and is recognized as one of the most significant sources of traditional medicines among Pacific Island societies. All parts of the plant have traditional and/or modern uses, including roots and bark(dyes, medicine), trunks(firewood, tools), and leaves and fruits(food, medicine). The bark and the roots of the tree contain red and yellow pigments respectively, which are both used in the manufacture of dyes. Dyes from Noni are being used traditionally, to color clothing and fabrics. In this study, mordanting effects on the dyeing properties of Noni root extract on silk fabrics were investigated.