• Fashion & Textile Research Journal
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• v.13 no.1
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• pp.32-43
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• 2011

This study investigate the transition about Japanese national costume kimono. The prototype of the present kimono is a kosode. The origin of kosode dates back to the mid-Heian period, when this type of kimono served as the everyday wear of commoners and an undergarment for court nobles, both men and women. In the Muromachi period, particularly after the Onin war, the kosode began to be by people of all classes. In the Muromachi period, kosode consisted mainly of woven textiles. In the Momoyama period, kosode became very elaborate, employing such various techniques as tie-dyeing, embroidery, metallic leaf(surihaku) and free-hand painting. These were further combined resulting in such techniques as tsujigahana dyeing and nuihaku, which are now considered to epitomize Momoyama-period textile design. A category of kosode of the early Edo period, known as Keicho kosode, is fashioned mainly from black, white, or red figured satin(rinzu), or from figured satin segmented in these three colors. Books of kosode designs began to be published in the Kambun era, when the merchant class was becoming economically powerful, kosode began to reflect its taste. During its final stage of development in the late 17th and early 18th centuries, yuzen dyeing achieved wide acceptance. From the late 18th century toward the early 19th century, kosode worn by the merchant class underwent drastic changes, while those worn by the samurai class changed little. In the after the late 18th century, clear differences in design and decorative methods appeared between the kosode worn by rich merchants and those worn by middle and lower class merchants.

• Fashion & Textile Research Journal
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• v.12 no.1
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• pp.10-20
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• 2010

In this research, by yearly subdividing and analyzing the characteristic of the embroidery design according to the garment item with a season the high value added is raised for a differencing and high performance conversion of the high fashion design and there is an object. In 2004, when the total 474 chapter was selected in S/S season till F/W season in 2008 and the embroidery design characteristic according to the kind of an item the analyzing method and statistical method was used. As to the first, and the embroidery design in which it follows of the garment item showed the stylized, and the plant motive of the geometric pattern by an edge and composite arrangement in an one-piece and blouse with the satin stitch and cut work technique. A monotone and the bright tone were used. The second, and the season different difference, the out line stitch, an applique, and the cut work technique S/S season were a feature. A plant, and the animal motive were expressed as the front arrangement and the monotone of the achromatic color appeared. As to F/W season, the long short stitch and satin stitch techniques were with the characteristic profit. The abstract motive showed up as the edge alignment and composite arrangement. And the plain tone and the monotone of the chromatics combination color are used. In the third, and the chronological difference, an applique the embroidery technique showed up in the out line stitch, and 2007 years in 2004 years and 2006 years. And the sentence motive of the animal, and the abstract motive the embroidery motive are embossed in 2005 years and 2006 years in 2008 years.

• Journal of Fashion Business
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• v.1 no.3
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• pp.19-34
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• 1997

The role of fashion image in modern society is being diversified from product planning to consumer satisfaction. In this research, after surveying female college students, the diversified modern fashion image was patterned. On the analogy of the relationship between these patterned image and design factors, the following conclusion was obtained. 1. The most popular styles are jacket and pants suits, three-piece outfits, tight mini-skirts and X-silhouette. Little decoration is used in general. simplicity is shown as trend by utility fabrics in single color-black, brown, beige and blue-with no pattern. Various materials such as wool, cotton, wool or cotton blended with other materials, silk, satin, knit, lace, vinyl and leather are used. 2. Fashion image is divided into four factors; factors that show fad, dignity, activity and simplicity. 3. Factors that show fad; style of tops, material of bottoms and length of bottoms reflect fad. blousons, three-piece outfits, pants rather than skirts, X-silhouette and mini-skirts are prevailing. Vinyl, leather, knit, lace and satin are the materials well used. 4. Factors that show dignity; Style and material of tops, the way of top and bottom pieces are matched and length of bottom or pieces reveal the characteristics. Jackets, blouses, half-coats and one-piece outfits rather than two-pieces are popular. Tight skirts in natural or midi length or pleated skirts are common. Wool, wool blended with other materials, leather and X-silhouette are design factors that reveal dignity well. 5. Design factors that show active image; Straight pants, three-piece outfits, T-shirts, shirt -blouses, vests, and blausons are popular. Knit and lace are used for tops, leather and vinyl are used for bottom pieces and cotton is widely used. Y- or H-silhouette are used to show active image.

• Journal of the Korean Society of Costume
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• v.59 no.8
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• pp.132-151
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• 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.

• Fashion & Textile Research Journal
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• v.5 no.3
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• pp.267-272
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• 2003

Tactel(Nylon66) union fabrics were woven with the specification of 70d/34f nylon as warp for sport wear jacket. Weft yarn has three types; 100% cotton yarn, nylon core-spun yarn and nylon-polyurethane covering yarn as weft. Fabric structers were plain, twill and satin weave structure with the air jet loom. The mechanical properties of 8 fabrics were measured with KES-F and primary Hand Values and Total Hand Values were calculated. The results of the study were as follows: 1) There was little difference among LTs of N/CM fabric groups. RT of the fabrics with CM100's was bigger than that of fabrics with CM80's, resulting that the fabrics with CM100's have better formability. In terms of weaving structure, twill fabrics have shape deformation. 2) In comparison of RTs with weft yarn type, RT of N-PU covering yarn was the highest, followed by Nylon core-spun yarn and cotton yarn. Thus, the fabric with N-PU covering yarn has better stability of shape deformation. 3) Stretch yarn could express an excellent silhouette formation and twill and satin structures were better structure to make curvature on human form. 4) 2HG/G value of nylon core-spun fabrics was larger than that of N/C fabrics, but the silhouette formation of N/C fabrics was excellent. 5) The RC of N/PU was the highest, followed by N/P, and N/CM. 6) Koski of N/PU fabrics was the highest, Numeri of N/PU and N/Co-I were relatively higher than the others. THVs of N/CM-IV and N/CO-II were lower than the others, resulting that, twill structure was better than plain structure for a sport wear uses.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.6
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.1 s.160
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• pp.1-10
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• 2007

This research was designed to compare the subjective evaluation of Hand between on- and off-line by structure and sensible characteristics of fabric. 113 subjects who have a fashion design major evaluated the subjective evaluation of Hand of various 16 kinds of specimens on- and off-line. T-test and pearson correlation coefficient were used for statistical analysis by SPSS WIN 11.0. The results of this study were as follows: The results of correlation analysis of the evaluation score indicated that Crash and Satin show high correlation between two kinds of evaluation score. But, fabrics which have distinct characteristics such as Plush, Dobby, Seersucker represented low correlation coefficient. The results of t-test fer the difference of the evaluation score showed that thin fabrics like Organdy represent a large difference between on- and off-line evaluation. On the other hand, twill weaved fabrics like Drill, Tweed, Saxony did not show many differences. Analysing each item in terms of correlation of evaluation of hand between on- and off-line gave results that the shininess was most deliverable through on-line and density and the dryness was not so deliverable through on-line. Comparison of evaluation score between on- and off-line items showed that the estimation to real fabric is more negative than that of on-line. The results of most preferable hand between on-and off-line showed exact opposite preference between shinny, smooth and soft Satin and rough, woolen Tweed. Organdy showed the most different subjective evaluation of hand in real ones compared with that of on-line.

• Conservation Science in Museum
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• v.18
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• pp.35-50
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• 2017

As part of the NMK's research project on wooden Buddha statues, four items which contained fabric among their bokjang objects(腹藏物) were investigated. Firstly, when classified by the method of weaving, two items made of ra (羅, a four-end complex gauze) silk and five of neung(綾, twill damask) silk from the Goryeo era were identified, and the satin fabrics showing characteristics of the Joseon period were classified as either dan(緞, satin damask) or sa(紗, simple gauze). In particular, the fabric of the bokjang objects enshrined within the gilt-bronze Avalokiteshvara Bodhisattva(Deoksu 801) feature both early and late Joseon characteristics, suggesting that two enshrinements were performed(once in the fifteenth century and another in the seventeenth). Secondly, the patterns on the fabrics included flowers, treasures, fruits, plants with animals, and landscapes with clouds. Thirdly, patches of fabric were found that are assumed to be related with all cardinal directions according to their arrangement, albeit in small quantities.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.3
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• pp.1-11
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• 2019

This study examined the cause of the phenomenon of shrinkage in machine-embroidered fabrics, specifically those made of thin and pliable fabrics. Four woven fabrics and two knitted fabrics were selected as samples for analysis. The fabrics selected were silk organza, flax linen, polyester chiffon, cotton batiste, polyester raschel mesh, and cotton jersey. The thickness and drapability of the fabrics were observed and the shrinkage of the various types of embroidered fabrics produced using satin & step stitch techniques were measured. Moreover, the correlation between the shrinkage of the machine-embroidered fabrics and the drapability of the original fabrics was analyzed. Also, the colorfastness of six embroidery yarns was determined. The results of the study are as follows: first, the shrinkage of machine-embroidered fabrics increased at a greater rate than in embroidered knitted fabrics as compared to rates in embroidered woven fabrics. Moreover, in terms of stitch techniques, there was a greater shrinkage rate when satin stitch was applied compared to step stitch. Second, the shrinkage rate of machine-embroidered fabrics decreased when a stabilizer was fused onto the fabric. The shrinkage rate also decreased for fabrics when fused with paper stabilizer compared to those without it, and the rate decreased at a greater amount with paper stabilizer as compared to alginate film. Third, since there was a strong correlation between the shrinkage rate of the embroidered fabric and the drapability ratio of the original fabric, it was generally the case that the more pliable the fabric was, the greater the shrinkage rate was when the fabric was embroidered. Fourth, while the embroidery yarns mainly used in machine-embroidery presented an overall excellent level of colorfastness, there was slight color migration of level 4 to level 5 when using viscose rayon.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.230-250
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• 2013

possessed by Dong-A University Museum is designated as Treasure No. 595, and has been known for a more exquisite, delicate and realistic expression and a colorful three-dimensional structure compared to the 'grass and insect painting' work and its value in art history. However, it has not been analyzed and studied in fabric craft despite it being an embroidered work. This study used scientific devices to examine and analyze the Screen's fabric, thread colors, and embroidery techniques to clarify its patterns and fabric craft characteristics for its value in the history of fabric craft. As a result, consists of eight sides and its subject matters and composition are similar to those of the general paintings of grass and insects. The patterns on each side of the 'grass and insect painting' include cucumber, cockscomb, day lily, balsam pear, gillyflower, watermelon, eggplant, and chrysanthemums from the first side. Among these flowers, the balsam pear is a special material not found in the existing paintings of grass and insect. The eighth side only has the chrysanthemums with no insects and reptiles, making it different from the typical forms of the paintings of grass and insect. The fabric of the Screen uses black that is not seen in other decorative embroideries to emphasize and maximize various colors of threads. The fabric used the weave structure of 5-end satin called Gong Dan [non-patterned satin]. The threads used extremely slightly twisted threads that are incidentally twisted. Some threads use one color, while other threads use two or mixed colors in combination for three-dimensional expressions. Because the threads are severely deterioration and faded, it is impossible to know the original colors, but the most frequently used colors are yellow to green and other colors remaining relatively prominently are blue, grown, and violet. The colors of day lily, gillyflower, and strawberries are currently remaining as reddish yellow, but it is anticipated that they were originally orange and red considering the existing paintings of grass and insects. The embroidery technique was mostly surface satin stitch to fill the surfaces. This shows the traditional women's wisdom to reduce the waste of color threads. Satin stitch is a relatively simple embroidery technique for decorating a surface, but it uses various color threads and divides the surfaces for combined vertical, horizontal, and diagonal stitches or for the combination of long and short stitches for various textures and the sense of volume. The bodies of insects use the combination of buttonhole stitch, outline stitch, and satin stitch for three-dimensional expressions, but the use of buttonhole stitch is particularly noticeable. In addition to that, decorative stitches were used to give volume to the leaves and surface pine needle stitches were done on the scouring rush to add more realistic texture. Decorative stitches were added on top of gillyflower, strawberries, and cucumbers for a more delicate touch. is valuable in the history of paintings and art and bears great importance in the history of Korean embroidery as it uses outstanding technique and colors of Korea to express the Shin Sa-im-dang's 'Grass and Insect Painting'.