• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.6
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• pp.788-799
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• 1999

This study was performed to investigate the effect of mordants on the dyeability colorfastness to light and to laundering and biological properties of mordanted and natural-dyed cotton and silk substrates. Natural red dyes were extracted from Caesalpinia Sappan L. (Sappan wood) and Rubia Akane Nakai (Madder) by boil water Five different compounds of Al, Cr, Cu, Fe and Sn were used as mordanting agents. The result of this study are sumarized as follows ; 1. In the of the fabrics mordanted and dyed with sappan wood K/S value increases and λmax shifts to the longer wavelength as mordant concentration increases. Color of the fabrics dyed with sappan wood and madder change to redder bluer and lighter after mordanting. 2. As the number of repetition of dyeing-mordnating process increase the color of the dyed fabrics tend to be redder bluer and darker. Mordanted dyes with Al and Sn make chroma increase. The quantity of mordant absorbed in the silk fabric increase as mordant concentration increase. More Fe is absorbed in silk than Cr is. 3. After being exposed to light the fabrics dyed with sappan wood and madder change to less red Fe and Cu mordanting yeild better colorfastness to light than others does. Natural-dyed fabrics exposed to light tend to be faded and whitened in CIELAB chromaticity co-ordinates. So we might trace back the original color of ancient faded fabrics by changes in color of natural dyes. 4. After washing the colors of natural dyes change to more blue, Fe and Cu mordanting give better colorfastness to wash than others do. 5. The soil-burial cotton is more susceptible to mildew and rot than the silk is. Antimicrobial activity of the natural-dyed cotton can be enhanced by Cu and silk can be enhanced by Cu and Cr mordanting respectively.

• Journal of Sericultural and Entomological Science
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• v.29 no.2
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• pp.58-66
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• 1987

This study was investigated on the effect of degumming of cocoon shell, raw silk yarn and grey silk crepe by use of Papain, comparing with soap, soda and soap-soda. The obtained results may be summarized as follows : 1. Degumming loss, when the pretreatment was done, was completed by Papain more than by alkali. 2. Lousiness result of Papain degummed silk yarn was apt to be improved more than that of alkali degummed one. 3. As a result of tensile property test, elasticity and resilience of Papain degummed crepe were good compared to those of alkali degummed one. 4. Not only bending rigidity of Papain degummed crepe was reduced more than that of alkali degummed one but also hysteresis of bending moment was decreased in papain degummed crepe. 5. Handle of Papain degummed crepe was superior to that of alkali degummed one.

• Journal of Sericultural and Entomological Science
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• v.36 no.1
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• pp.44-52
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• 1994

Degumming with enzyme Degummase can be a viable alternative to the existing methods of degumming. Degumming, carried out with the conventional method of Marseille's soap 25%(owf) for 1.5h at boil gives a weight loss of about 24%. On Comparison, degumming with 10 enzyme at 5$0^{\circ}C$ for 60 min gives a weight loss of about 22%. Treatment with enzyme requires a much lower temperature and also the treatment time is shorter than the conventional process. Processing of silk at these conditions is likely to retain the lustre and softness of silk. To economise on the quantity of enzyme, conditions were optimised for a pad-store process. An enzyme concentration of 0.5% at 5$0^{\circ}C$ for a time period of 5~6h resulted in a weight loss of 22%. Though the concentration of the enzyme used was 20 times less than that used for long liquor method there was some strength loss. At 5$0^{\circ}C$ treatments carried out for 7~8 h resulted in some degradation. Strength loss occurs because enzyme in the absence of any stirring keeps acting at the place where it is deposited. Effect of temperature was more pronounced than time in degrading silk.

• 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.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.56-69
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• 2013

This study studies the fabrics from excavated 17th century tombs of Mrs. Min from Yeoheung family(1586~1656), Yeo-on Kim(1596~1665) and Won-rip Choi(1618~1690) and attempts to clarify the relationship between the fashion trend in fabrics of those times and the background behind it by viewing and examining the proportion of twill fabrics to the total silk fabrics and the characteristics of its weave and patterns. Looking into fabrics from the above tombs, twill fabrics accounted for 10.4%(13 pieces) 19.3%(16 pieces) and 9.2%(9 pieces) of total silk fabrics in each of the respective tombs. This forms a remarkable contrast with the fact that there was only one piece of twill silk fabrics(0.5%) and not any from the 16th century tombs of Mrs. Yoon from Papyeong family (0.5%) and Soo-ryoon Sim(0%). In particular, the percentage of hwamun-neung(patterned twill fabrics) in each of the tombs is 8.0%(10 pieces), 13.3%(11 pieces), 9.2%(9 pieces), which is much higher than that of non-patterned one. This is common to the twill fabrics from above three 17th century tombs. Patterns of hwamun-neung(patterned twill), simplified small flower patterns or geometrical figures, from the three excavated tombs are mostly arranged sporadically with blank space. It is supposed that these figurative characteristics reflected the aesthetic sense of the gentry at that time which valued simplicity and moderation for their Confucian standard. This phenomenon of increased use and production of twill fabrics in the 17th century resulted from different factors such as wars like Japanese Invasion of Korea(1592~1598), economic difficulty, government regulations against the production of high-class fabrics, development of weaving skill and its fixation, changes of fabric production environments, and changes of aesthetic sense preferring naive and moderate things to showy ones. As for the weaving characteristics of twill fabrics from the three 17th century tombs 3 leaf warp-faced twill was often used for the ground texture and 4 leaf warp-faced one was occasionally used. For pattern texture 6 leaf weft-faced twill was frequently used, 4 leaf weft-faced twill and 3 leaf weft-faced twill were used at times, and floating one was occasionally used as well.

• Journal of Conservation Science
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• v.20
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• pp.9-22
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• 2007

Three kinds of natural pesticides extracted from plants which are being sold in the Korean markets, were estimated effects on materials of art of museum. Tested samples were 1) silk fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gallut(copperas post mordancy), gardenia, turmeric, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+amur cork tree, indigo+sappanwood) 2) cotton fabrics : undyed, dyed(amur cork tree, gallut, gallut(alum post mordancy), gardenia, acorn, acorn(copperas post mordancy), gromwell, madder, madder(alum post mordancy), safflower, sappanwood, sappanwood(alum pre mordancy, post mordancy), indigo, indigo+sappanwood) 3) undyed ramie fabric 4) Korean papers : undyed, dyed(sappanwood, indigo, gardenia, amur cork tree, safflower) 5) pigments : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white 6) painted plates : azurite, malachite, red lead, litharge, orpiment, hematite, iron oxide, cinnabar, vermilion, indigo, lake indigo, kaolin, lead white, oyster shell white. Conditions of tests were that after samples were exposed to 10 times of promoted concentration for 9 months in relative humidity $55{\pm}1%$ and temperature $20{\pm}2^{\circ}C$, they were compared with standards. Items of estimation were color difference(${\Delta}E^*$) and tenacity. After exposure to pesticides, undyed silk cotton ramie fabrics and Korean papers were not nearly changed in their colors, but colors of most of dyed samples were clearly changed by pesticides except for partial samples(acorn- and madder-dyed fabrics etc, gardenia-dyed samples). Especially changes of colors of turmeric-dyed silk fabrics were most distinct. And colors of pigments and painted plates containing lead, copper, arsenic, mercury and vegetable pigments, were clearly changed. Tenacities of yams of undyed silk fabrics were not nearly changed and undyed cotton fabrics were a little reduced as compared with standards. But tenacities of yams of dyed silk and cotton fabrics were clearly reduced or increased as compared with standards. Especially, madder-dyed silk fabrics were increased 10% or more and indigo-dyed silk fabrics were reduced 10% or less in all pesticides. Also madder- and sappanwood(alum post mordancy)-dyed cotton fabrics were increased 10% or more in all pesticides.

• Textile Coloration and Finishing
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• v.13 no.6
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• pp.359-366
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• 2001

In this study, wool, silk and cotton fabrics were dyed with natural dyes derived from Ginkgo biloba bark using various mordants, and their dyeabilities were discussed. Additionally the fastness to washing, perspiration, light, rubbing, and drycleaning were investigated. And the effects of bacteria reduction and UV-B protection rate were also checked. The optimum dyeing condition of the colorants extracted from the Ginkgo biloba bark was three repeated dyeing at$95^\circ{C}$ for 1 hr. by using post mordanting. Mordanting improved the fastness to washing, Perspiration and drycleaning, but the fastness to light and rubbing were not increased. The bacteria reduction rate of the wool fabric increased drastically by dyeing with extract of Ginkgo biloba bark and its effect maintained after repeated washing and drycleaning. UV-B protection rate of the natural fibers increased by dyeing with extract of Ginkgo biloba bark and the dyed wool fabric was the best of the three fabrics.

• Textile Coloration and Finishing
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• v.13 no.6
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• pp.1-1
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• 2001

In this study, wool, silk and cotton fabrics were dyed with natural dyes derived from Ginkgo biloba bark using various mordants, and their dyeabilities were discussed. Additionally the fastness to washing, perspiration, light, rubbing, and drycleaning were investigated. And the effects of bacteria reduction and UV-B protection rate were also checked. The optimum dyeing condition of the colorants extracted from the Ginkgo biloba bark was three repeated dyeing at 95℃ for 1 hr. by using post mordanting. Mordanting improved the fastness to washing, Perspiration and drycleaning, but the fastness to light and rubbing were not increased. The bacteria reduction rate of the wool fabric increased drastically by dyeing with extract of Ginkgo biloba bark and its effect maintained after repeated washing and drycleaning. UV-B protection rate of the natural fibers increased by dyeing with extract of Ginkgo biloba bark and the dyed wool fabric was the best of the three fabrics.

• Journal of the Korean Society of Costume
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• v.28
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• pp.205-212
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• 1996

This paper is to study the characteristics of fabrics dyed with astringent unripe persimmon juice. The cotton silk rayon and nylon fabrics were dyed with astringet unripe persimmon juice. The structures of natural fabrics dyed fabrics and dyed fabrics followed by washing were examined by scanning electron mi-croscopy. Surface reflexibility of VIS trans-mittance of UV VIS and NIR were analyzed. The study conclues as follows: 1. Colour of cotton fabrics dyed with persim-mon juice became darkended as a function of exposing time to sunlight. That colour was chaged after washing. 2. Blocking effect of ultraciolet light and visible ray was increased in all dyed fabrics. Especially dyed cotton fabric blocked UV light perfectly and the blocking effect was still remained after 9 washings. 3. Persimmon juice dyeing produced coating effect to fabrics besides dyeing effect accord-ing to the scanning electron micrographs. In a word the cotton fabric dyed with per-simmon juice has blocking effect of UV light stiffness. Therefore I think persimmon juice dyeing is a very useful textile finishing and ex-pect a wide application of the technique in fu-ture.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.1
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• pp.85-95
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• 1986

Sonia Delaunay(1885$\~$1979) was one of great pioneers of abstract art, who looked at clothes and fabrics with a plastics eyes. In Association with her husband Robert Delaunay, they were instrumental in founding the movement of Orphism, she proceeded to mix strong and bright colors into her art and had a brilliant influence on the decoration and women's fashion of the 1920's. Having a strong sense for dramatic and decorative color derived in part from childhood remembrances of Russian folk art she initiated a total revolution in which she created her first simultaneous dress with multi-colored samples of materials. She extended the principle of color's simultaneity to the field of fashion, fabric design and applied art. She was interested in the dress for ballet and opera. Fashion designer Paul Poiret asked her to design the fabrics and she created the geometric and abstract patterns with her strong color. It seemed that her design was revolutionary and avant-garde. Always she desired not only art of seeing but also art of living. The purpose of this study is to recognize the influence she had upon the history of modern fashion and fabric design. It was remarked that her paintings served as a basis for later developments in Kinetics Art and had influences on 1980' s abstract patterns for silk dress. Finally, the concept 'simultaneity' of her art signifies endless rhythmes in space and time.