• Journal of Fashion Business
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• v.21 no.6
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• pp.77-86
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• 2017

This study aims to explore the unethical issues in leather processing and to develop designs of leather products based on the concept of reincarnation by ecosystem circulation. The method used in this research include the review of previous literature and the design process for development fashion accessories using waste leather. The design process comprises collecting waste leather, classifying waste leather by type, color, and size, and developing leather products according to line carnation method. For this research, the material was limited to waste cowhide leather collected from leather workshops and leather product factories. The leather pieces were divided into typical and atypical types and developed leather accessories based on the leather piece's color and size. A twill brooch, four-string bracelet, a brooch using the four-stringed leather strap and mini handbag designs were developed using regular type waste leather. An armband of abstract patterns and a cellphone case with graffiti pattern using irregular type over-splitting waste leather. The environmental issues in design are observed as part of understanding the significance of this study. Development of waste leather accessory can expand the usability of the waste leather as well as increase the product value by creating limited-line editions. By understanding the role and benefits of sustainable upcycling, this research suggests an efficient way to use waste materials in fashion to coexist with the natural environment.

• Journal of Fashion Business
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• v.10 no.6
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• pp.122-130
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• 2006

The purpose of this study is to develop the appropriate brassiere pattern for women. Total of 6 brands with same design and 75A, 80A size brassieres(total 12 brassieres) were compared and analyzed for pattern, cup size and patterns. SPSS 10.1 statistic process was used for data analysis. The outcom of this study is summarized as follows. Total length of brassiere by grade were performed smaller than the standard difference 5cm. For 1/2 front cover length, There were no significant differences between 75 and 80. The reason for lower line of wing is shorter than upper line of wing is because side support is cut side ways considering lower line of wing is sewn more toward front than upper line of wing. Even it is same A cup size most cup related sizes become larger according to underbust comparing with cup capacity, they range from 146.67cc to 172.83cc for same A cups. Among same A cups with difference underbust there was average of 26.16cc differences. For relations of material, sewing technology and expansion rate, all 6 brands had zigzag type sewing for upper line tape. For every 0.3cm height, there were $17{\sim}21$ stitches. When urethane mixture is similar expansion rate is higher while number of 1 inch zigzag are high. For elasticity, zigzag stitch expand side ways for more expansion.

• Textile Coloration and Finishing
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• v.9 no.6
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• pp.58-67
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• 1997

PTCA(1,2,3-propanetricarboxylic acid) and BTCA(1,2,3-butanetetracarboxylic acid) are selected as new nonformaldehyde agents for ester crosslinking of cotton cellulose to replace the traditional DMDHEU reagent. A goal of this research is to propose unknown ester mechanism of cotton cellulose by PTCA or BTCA using crystal structure model suggested by Meyer and Takahashi. In pursuit of these goals, we have treated 100% cotton broad cloth with PTCA or BTCA and different catalysts. They were used with $NaH_2PO_2,\;NaH_2PO_4,\;Na_2HPO_4,\;NaH_2PO_2,\;Na_3PO_4,$ catalysts to produce nonformaldehyde fabric finishes. Treatments were applied to all cotton fabrics using a pad-dry -cure process. The esterfication of cotton treated with BTCA or PTCA was investigated using Fourier transform infrared(FT-IR) spectra and the breaking strength, abrasion retention and discoloration properties were determined to prove the durable finished fabrics. Patterns with respect to abrasion resistance were more complex. Because PTCA and BTCA add-ons were comparable, the data suggest that the more effective catalysts, $NaH_2PO_2$ and mixed phosphate $NaH_2PO_2/NaH_2PO_4$) are effecting either a great number of crosslinks in the cotton or producing crosslinks that differ in actual structure.

• The Journal of Information Systems
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• v.32 no.4
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• pp.149-162
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• 2023

Purpose In the textile industry, fabric defects significantly impact product quality and consumer satisfaction. This research seeks to enhance defect detection by developing a transformer-based deep learning image segmentation model for learning high-dimensional image features, overcoming the limitations of traditional image classification methods. Design/methodology/approach This study utilizes the ZJU-Leaper dataset to develop a model for detecting defects in fabrics. The ZJU-Leaper dataset includes defects such as presses, stains, warps, and scratches across various fabric patterns. The dataset was built using the defect labeling and image files from ZJU-Leaper, and experiments were conducted with deep learning image segmentation models including Deeplabv3, SegformerB0, SegformerB1, and Dinov2. Findings The experimental results of this study indicate that the SegformerB1 model achieved the highest performance with an mIOU of 83.61% and a Pixel F1 Score of 81.84%. The SegformerB1 model excelled in sensitivity for detecting fabric defect areas compared to other models. Detailed analysis of its inferences showed accurate predictions of diverse defects, such as stains and fine scratches, within intricated fabric designs.

• 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 the Korean Society of Costume
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• v.50 no.3
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• pp.59-72
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• 2000

Dragon robe was defined as a robe on which the principal design consisted of dragon. Dragon patterns have been used on princess robes during T'and Dynasty. In Sung, Dragon-figured robes seem to have an Imperial prerogative. Yuan took over the use of robes with dragons patterns as a definite institition. Ming tried to reject all Yuan innovations, the dragon robe was retained as an unofficial court costume. The Emperor's semiformal robes which at first had four dragon medallions, later had twelve along with the 12 Symbols(십이장문). As Ch'ing dragon robes were only intended fro semiformal use. The Later Ch'ing robes date from after 1719, when the Ch'ien-lung(건륭) introduced 12 Symbols on Ch'ing robes. The Ch'ien-lung laws were disobeyed, notably the ones that specified the number of claws on the dragons. THe Emperor's dragon robe, lung-p'ao, (용포) was described as bright yellow in color, having four slits and horsefoof cuffs. The basic pattern consisted of nin dragons, in addition it had 12 Symbols. The elaborate textile techniques reached their peak in Ch'ing Dynasty-with its Weaving and Dyeing Office in Peking, and this factories at Hangchow(항주), Soochow(소주), and Naking(남경) -helps to explain why the decay of the Ch'ing bureaucracy hastended the decline of dragon robes. In the Ch'ing Dynasty tow terms were used for dragon robe, depending on the number of claws on the dragons. Those with five-clawed dragons were called lung-p'ao, while those with four-clawed dragons were called mang-p'ao(망포). The Court felt compelled to take corrective meausres. It decreeed that Ninisters of State and other officials, who had been bestowed five-clawed lung dragons, must take out one claw. Finally, the sale of ranks and the attendant privilege of wearing dragon robes gradually increased during the 18 th century, reaching its height in the 19 th century, Finally, after the Taiping Rebellion, when the Imperial Treasury was depleted by the wholesale destruction of revenue-producing lands, the Chinese government came to depend on such sales as an important source of revenue and the practice became even more widespread. The ensuing mass production of dragon robes, and the necessity of conforming to the fairly rigid basic pattern established in 1759, resulted in marked deterioration of workmanship, and a comparative monotony of decoration. The patterns on the dragon robes slight changes continued to be made in the ways of representign them. The li shui (입수) portion at the base of the robe become inreasingly wider throughout the 19th century. The background became cluttered with symbols of good fortune, scattered among the clouds and waves. As a result of all this extraneous decoration, the dragons were so crowded that they had to shrink back into the small size that they had originally occupied in the medallons. Kuang-hsu(광저) was a long one, allowing time for the manufacture of numerous robes. Also, it would seem likely that Occidental museums and collections would have a considerable number of his robes, in view of the widespread looting of his palaces during the Allied occupation of Peking in 1900, and the frequent sales of Late Ch'ing imperial textiles by destitute Manchu courtiers in the '20's.

• Fashion & Textile Research Journal
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• v.16 no.6
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• pp.945-953
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• 2014

This study aims to develop protective pants to relieve impact from falls and to present basic data for the development. The survey results are as follows; First, 45% of the respondents were in their 60s and 55% of them were in their over 70s and older. Also, 64% of them have fallen once for the past year and 36% of them have fallen twice or more. The older they were, the more there were those who have fallen twice or more. This indicated the older people has experienced more fall accidents again after a initial fall accident. Second, as per accident situations, the survey showed that fall accidents happened the most in the winter and in the afternoon (12-18 pm). Also, it happened on a street mostly and they were wearing sneakers or hiking boots when they got a hurt slipped in a front or side by missing their step in a walk. The injury areas are mostly knee and ankle. They had the bruises or a sprain in their knee and ankle mostly. The rate of bone fracture was 19.5%. Therefore, the protection area to falls in lower body is the knee. But hip and hip joint should be protected with knee as well because those are usually be broken when it is damaged. Third, approximately 80% of those who were hospitalized for treatment had surgery. Patients who had surgery were rather in their over 70s than in their 60s. The older they were, the more serious their fracture was. The period of hospital or outpatient treatment is more than three weeks in many cases. They responded their health got worse after falls. Aftereffects of accidents were physical discomfort, anxiety and medical costs. Falls to the old makes physical damage, psychological damage, which cause reduced physical activity and the increased cost of health care with economic losses. So it results on a negative impact on the life of the old. Fourth, elderly females were rarely aware of impact protective clothing and they have never purchased such clothing. For impact protective pants, the major consideration was suitable design for their body types. They liked casual style with front or side pockets and simple designs without any patterns or decorations. As per pants materials, they responded that they need functionality, activity and elasticity. Among the functional points, insulation of cloths are considered importantly, so the heat reservance of material in the impact protective pants should be considered carefully.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.25-33
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• 2001

This study is to analyze Korean-Chinese women's Costume in Yabian with factors such as reform opening-up, economic growth, change of social values, development of technology, more education opportunities and influence of mass media. It divides the 1990's into two halves. Photos, interview, observation and relevant literature were used for this study. Even though economy grew rapidly, they needed to purchase daily goods other than clothes. In a way that they preferred practicality, it showed somewhat it was still developing. The trend in the first half of the 1990's was characterized : first, Synthetic or artificial fibers and ready-made suits were popular ; second, there still remained the men's style ; third, they wore Tanrikoo(彈力袴), Tisingkoo(體型袴), Jiaotakoo(脚袴) because of its properties of activeness and comfort ; fourth, shoulders looked ore prominent with pads as they were used in Chungsanfoo(中山服) ; fifth, clothes in grey and dark blue was in fashion ; sixth, they wore hand-made knit vests and sweaters and often mountain-climbing gears for its light and warm quality ; seventh, along with opening-up, various materials and colorful clothes were in style, which satisfied women's desire for beauty. They decorated Hanbok(韓服), using sleeves with colors, golden ornaments, flower patterns embroidery, materials of different color in collar and tie and dyes of sleeves and skirts. In the first half of the 1990's when the opening-up was beginning, there were diverse styles and colors in fashion, yet not close to good quality. As the economy grew, the second half of the 1990's was characterized by good palate, individuality, favouritism on foreign goods, rapid change of fashion. For instance, fur coat and woolen fabric were favored. Economic growth led to abundance of cloth, dyes and decorative materials. In addition, people possessed more clothing and it was possible for them to wear both Hanbok and wedding dress in wedding ceremony. People placed their standards on competency and financial ability rather than ideology. Worship disappeared and individuality arose. Therefore, apparel functioned not only as protection but as suits with aesthetic purpose. This resulted in introduction of bold style, imitation of western countries and extension of use of Hanbok. With the help of mass media, transportation, telecommunication, contact with Korean company and civilians, Korean and western cultures, through Korea, were accepted. Change in structure of economic status caused excessive spending and more educational opportunities that enabled people to accept foreign culture quickly. Values moved onto new, beautiful and better characteristics. it was possible to have suits ready-made due to improvement of mass production and cotten, wool, linen, silk became popular owing to technology. New technology, the bases of mass consumption, increased possession of clothing and accelerated change of fashion. In summary, women's Costume in Yanbian were affected by the factors in economy, politics, culture contact as well as change of society and technology.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.37-52
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• 2007

Dan(緞) is satin damask. It was a newly popularized fabrics in the Joseon Period and is one of main traditional fabrics at present. The purpose of this study is to suggest a theoretical basis to name Dan(緞) remains properly by comparing and analyzing the name, pattern, usage, feature, length and width, value of Dan(緞) recorded on documents made at the end of the Joseon Period. The results of this study are as follows. 1. The kinds of Dan(緞) recorded on documents made at the end of the Joseon Period are various. Among fabrics named Dan(緞), were not only silk fabrics but also cotton fabrics, woolen fabrics, mixture fabrics with silk and cotton, and mixture fabrics with cotton and wool. 2. Some newly revealed patterns in the case of Dan(緞) are as follows. The shape of Byeolmun(別紋) is assumed to have originated from that of character symbolizing the Royal Family and developed into a variety of circular ones of dragon, phoenix, flower, or character. O-ho-ro-mun(五葫蘆紋) was five-gourd-shaped patterns that form a circle, turning their narrow mouth to the center, and vines between each two gourds. 3. When considering the usages of Dan(緞), Dan(緞) was used for various detailed usages according to their kinds. But it was't mostly used for underwear. 4. Features have been examined are Godan(庫緞), Mobondan(模本緞), Handan(漢緞), Daedan(大緞), Yangdan(洋緞), Waedan(倭緞), and Geumdan(錦緞). 5. The length and the width of 1 Pil(疋) silk fabrics are various. It is normal for the width being different, but for 1 Pil(疋)'s length being different is very unusual. The width of Dan (緞) was about 47-76.20cm, it was wider than Ju(紬), Cho, Gyeon(絹), Sa(紗), Ra(羅) and Reung(綾). 6. As for the value of each fabric per $10,000cm^2$, Dan(緞) was the most valuable silks at that time. Among them the most valuable Dan(緞) was Udan(羽緞).

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.2
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• pp.276-287
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• 2009

Apparel professionals need to understand the customer to effectively develop, select, and promote apparel products. Analysis of consumer preferences can help in the creative design process. Therefore the purpose of this study was to identify consumer preference by gender in two segmented group; $20{\sim}34$ aged group and $35{\sim}49$ aged group toward men's apparel consumers, considering target customers and female influences on men's wear purchasing. We used questionnaires that were distributed to 600 males and females aged in their 20s to 40s, using stratified sampling method. Only 547 reliable questionnaires were selected for statistical analysis. Chi-Square and t-test were used to analyze the data, using SPSS program. We obtained the following results: 1. We found that there was a significant association between segmented age group and the preference of men's jacket style. Specially $20{\sim}34$ aged group had a significant association with styles of formal jacket, casual t-shirts, casual pants, but $35{\sim}49$ aged group had formal pants style. Looking at the general percentage, semi-formal jacket, slim fit t shirt, straight casual pants were the most favored styles. 2. Age has an significant effect on the preferences of formal menswear fabric patterns and shirt patterns. The results of t-test showed that there found to be significant by gender in character and check pattern of shirts. 3. In design details, the number of button had not significance by gender, and 2 buttons was th most favored by both age groups. The number of gather at the waist had an significant association in $34{\sim}49$ age group. $20{\sim}34$ age group prefer high waist of pants, while $35{\sim}49$ age group prefer low waist of pants. 4. For on time outfit, formal wear and tie ensemble was the most favored with significant difference by age and gender. Formal wear and no tie ensemble favored by about one third of respondents, and more favored by the younger group. For off time outfit, casual jacket and casual pants ensemble was the most favored.