• Journal of Fashion Business
• /
• v.14 no.4
• /
• pp.91-101
• /
• 2010

This paper has the purpose of suggesting a development-method on the fashion products that would secure the competitiveness in the global markets through creating supersensitive practical products on the basis of developing originative fashion-goods being made of jacquard that is fine quality of couture. This paper has collected data through the cases of the developed nations in fashion, precedent studies and all the related literature on the subject. The results of this researching are as following: The first, it is expected that the necessity of developing new fashion products would be appealed toward the prestige group of consumers who are seeking for the fine quality and super-sensitivity in female fashion in Korea, and it is the current situation that the products made of jacquard are gradually expanding not only in the area of apparel, fashion goods and interior but also another areas. The current situation of the global market suggests the necessary strategy of survival, that is, the development of supersensitive materials and creative products which would be able to keep the high quality and lower the selling price through cost reduction. The second, the suggestion of the direction in developing the products of the female fashion made of jacquard has two points - the development of the texture that would realize a unique form and the development of the material that would be able to realize planar pattern and three dimensional pattern which are woven with thin and light materials with various solidity and delicacy through various techniques of mixing and three dimensional expression. The third, the expected ripple effect and utilization generated from the development of fashion products are as followings: As material characteristics of jacquard, It needs the specialization of various techniques and specialized production system in using jacquard, and the specialized technique and system would make it possible to produce not only the higher value-added products through expressing affluent colors and delicate design but also competitive products through cutting the process and cost, eventually, it would lead to the expansion of the jacquard market of super-sensitive prestige. Therefore, it is remarkable that various development of products toward the global market and the prestige female fashion market can suggest the vision that make the national fashion industry develop into the higher value-added knowledge industry integrating technology and culture.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.17 no.2
• /
• pp.247-264
• /
• 1993

This study deals with the manufacturing of the foundation garments for the well-balanced somatotype of the Korean middle-aged womenhood. In order to get hold of the different somatotypes, a survey of a total of 134 middle-aged women in Kwangju area, ranging in their age from 45 through 59 was made. The statistical methods used for the analysis of the basic data were the Pearson's correlation coefficient, Anova, Cluster analysis and Stepwise. Emphasis of the try-on test was placed on (1) the comparison of anthropometric data before and after trying on the foundation garments, (2) sensory evaluation, (3) a rating on fit and performance, (4) the comparison by means of photograph. The conclusions obtained are as follows : 1) The 134 women sampled and measured were classified into the five groups of somatotype : the 52 women (34%) belong to Cluster 1 ; the 22 women(14.5%) belong in Cluster 2 ; the 12 women(7.9%) belong in Cluster 3 ; the 15 women(9.9%) belong in Cluster 4 ; the 33 women(27.7%) belong to Cluster 5. 2) As for the characteristics of the foundation garment design, the V-shaped neckline and chest dart was used. The adjust point is right above the perineum point. The foundation garment length is as far as trochanteric point. The materials used are cotton/polyurethane, lace, 100%cotton. The materials used for corrections were the sponge pad for the chest, and non-woven fabric pad for the back, shoulder and the hip. 3) The comparison of the anthropometric data of the subject when dressed in foundation garments showed a significant difference in bust point height, in bust point length and in nipple-ta-nipple breadth, which proves the foundation garments to be effective in correcting such part as the chest, the hip and the abdomen. 4) As considered in terms of the sensory evaluation, the item except for the shoulder and the armhole coincided with each other in the mean value and in the composite reliability coefficient, which also proves the foundation garments to be effective. 5) Subjects were satisfactory on fit, performance, design, of the foundation garment, and their changed appearance. 6) In the case of the comparison through the photographs, the silhouettes of all the five women subjects were found effectively to be balanced.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.4 no.2
• /
• pp.139-161
• /
• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• Composites Research
• /
• v.31 no.6
• /
• pp.332-339
• /
• 2018

Fiber metal hybrid laminate (FML) can be used as an economic material with superior mechanical properties and light weight than conventional metal by bonding of metal and FRP. However, there are disadvantages that it is difficult to predict fracture behavior because of the large difference in properties depending on the type of fiber and lamination conditions. In this paper, we study the failure behavior of hybrid materials with laminated glass fiber reinforced plastics (GFRP, GEP118, woven type) in Al6061-T6 alloy. The Al alloys were coated with GFRP 1, 3, and 5 layers, and fracture behavior was analyzed by using a static test and a low cycle fatigue test. In the low cycle fatigue test, strain - life analysis and the total strain energy density method were used to analyze and predict the fatigue life. The Al alloy did not have tensile properties strengthening effect due to the GFRP coating. The fatigue hysteresis geometry followed the behavior of the Al alloy, the base material, regardless of the GFRP coating and number of coatings. As a result of the low cycle fatigue test, the fatigue strength was increased by the coating of GFRP, but it did not increase proportionally with the number of GFRP layers.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.28 no.5
• /
• pp.582-590
• /
• 2004

The purpose of this study was to evaluate thermal properties of Taekwondo wears with three different materials. As a begging step, the questionnaire survey about the actual condition of Taekwondo wears was conducted. With the results of the questionnaire, cotton/nylon(70/30) blended fabric(CN) that was newly woven with sweat absorbent finishing and cotton/spandex(95/5) blended fabric with flexibility property were developed. The same designed 3 Taekwondo wears with 3 different materials which were two different materials(CN and CS) and a current material(cotton/PET, CP) were made. Four young males volunteered for this study, they kicked and punched as Taekwondo action for 20 minutes. Mean skin temperature was the highest in CS(33.1${\pm}$0.8$^{\circ}C$) and the lowest in CP(32.7${\pm}$0.6$^{\circ}C$). Increasing degree of rectal temperature didn't show any significant difference. Clothing microclimate temperature on the thigh was higher in CS(32.8${\pm}$17.4$^{\circ}C$) than in CN(29.4${\pm}$1.1$^{\circ}C$) and CP(29.4${\pm}$1.0$^{\circ}C$). Clothing microclimate temperature on the back and humidity on the thigh didn't show any significant differences. Clothing microclimate humidity on the back was higher in CP(65${\pm}$20%RH) than in CS(61${\pm}$17％RH). Heart rate, total body weight loss, and local sweating were not significantly different by materials. Most subject responded more hot in CN than in others, but there were no significant differences at the subjective sensation of thermal humidity. They answered more comfortable in CN than in others. Tectile sensations were the best in CN and the worst in CS. From those results, first of all, it is necessary to be weighted on Taekwondo wears made of CN in the aspects of the dignity of military arts uniform. Secondly, CS was required to be lighted and enhanced for the subjective sensation. Third, CP weaved honey comb was asked more various design to eliminate sweat high competition power within the scope of the dignity of military arts uniform.

• Art History and Visual Culture
• /
• no.21
• /
• pp.126-147
• /
• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• Composites Research
• /
• v.20 no.5
• /
• pp.64-69
• /
• 2007

Matrix dominant properties of composites are largely degraded under harmful environments such as temperature and humidity. Therefore we should consider the harmful environmental factors in the design of an UAV integral fuel tank subjected to high temperature and high humidity. The harmful environment experiment was performed for carbon/epoxy composites made of a unidirectional prepreg USN175B, and a plain woven fabric prepreg WSN3. The immersion experiment was performed under $90^{\circ}C$. The specimens were tested when the weight gam of specimen was saturated. The specimens were tested under $74^{\circ}C$ to obtain tensile and inplane shear properties. The results showed that the matrix dominant properties were extremely degraded by hygrothermal environment. To consider the variability of load, the anti-optimization method was applied. By using this method, the worst load case was found by comparing the load convex model and stability boundary. The stability boundary was obtained by analysis of the integral wing fuel tank of UAV using degraded properties. To do this, it was known that the worst load case of the integral wing fuel tank was the hovering mode load case.

• Korean Journal of Heritage: History & Science
• /
• v.46 no.2
• /
• pp.4-25
• /
• 2013

Goli-su is the innovative special kind of the embroidery technique, which combines twining and interlacing skill with metal technology and makes the loops woven to each other with a strand. The loops floating on the space of the ground look like floating veins of sculpture and give people the feeling of the openwork. This kind of characteristic has some similarities with the lacework craft of Western Europe in texture and technique style, but it has its own features different from that of Western Europe. It mainly represents the splendid gloss with metallic materials in the Embroidered cloth, such as gold foil or wire. In the 10th century, early days of Goryo, we can see the basic Goli-su structure form of its initial period in the boy motif embroidery purse unearthed from the first level of Octagonal Nine-storied Pagoda of Woljeong-sa. In the Middle period of Joseon, there are several pieces of Goli-su embroidered relic called "Battle Flag of Goryo", which was taken by the Japanese in 1592 and is now in the Japanese temple. This piece is now converted into altar-table covers. In 18~19th century, two pairs of embroidered pillows in Joseon palace were kept intact, whose time and source are very accurate. The frame of the pillows was embroidered with Goli-su veins, and some gold foil papers were inserted into the inside. The triangle motif with silk was embroidered on the pillow. The stitch in the Needle-Looped embroidery is divided into three kinds according to comprehensive classification: 1. Goli-su ; 2. Goli-Kamgi-su ; 3. Goli-Saegim-su. From the 10th century newly establishing stage to the 13th century, Goli-su has appeared variational stitches and employed 2~3 dimensional color schemes gradually. According to the research of this thesis, we can still see this stitch in the embroidery pillow, which proves that Goli-suwas still kept in Korea in the 19th century. And in terms of the research achievement of this thesis, Archetype technology of Goli-su was restored. Han Sang-soo, Important Intangible Cultural Heritage No. 80 and Master of Embroidery already recreated the Korean relics of Goli-su in Joseon Dynasty. The Needle-Looped embriodery is the overall technological result of ancestral outstanding Metal craft, Twining and Interlacing craft, and Embroidery art. We should inherit, create, and seek the new direction in modern multi-dimensional and international industry societyon the basis of these research results. We can inherit the long history of embroidering, weaving, fiber processing, and expand the applications of other craft industries, and develop new advanced additional values of new dress material, fashion technology, ornament craft and artistic design. Thus, other crafts assist each other and broaden the expressive field to pursue more diversified formative beauty and beautify our life abundantly together.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.2
• /
• pp.80-98
• /
• 2023

In the late Joseon Dynasty, when the bride would ride a palanquin when she went to live with her in-laws, it was a custom to cover the palanquin with tiger skin to ward off misfortunes that may come her way. The higher classes used tiger skin or leopard skin for this purpose, but the common people had to substitute this expensive item with a tiger pattern painted on a blanket. Such blankets were called hotanja, hogu, hoguyok and the like. The term "hotanja" is a pure Korean word. It is not known when the cover for the bridal palanquin was first used, but it was popular from the end of the 19^th century and then gradually disappeared. This is due to the introduction of new Western style weddings that eliminated the need for a bridal palanquin. The tiger print blanket was used not only to cover the bride's palanquin but also to cover a table or floor during the wedding ceremony. This study ran a material analysis on nine pieces of tiger print blankets. All of the blanket artifacts examined in this study had an outer cover and a lining made of fabric that used cotton thread for the warp and wool thread for the weft. Two kinds of wool were found in the weft thread in the outer covers: fat-tailed sheep hair from China and goat hair for carpets from the Hebei province, China. Records show that "blankets with painted tiger patterns" were imported from Russia, and the imported blankets were from Russia and China. The outer cover can be categorized into six types, and the lining into three types depending on the weave and direction of the thread twist. The hem facing can be divided into four types. The lining and outer cover use the full width of the fabric, which was woven in wide widths of 135 cm or wider. The tiger pattern on the blanket was made by stenciling. The stencil design of the body and tail of the tiger were placed on a red blanket to be painted in white, and then the background color of the tiger, which is yellow, would be painted over the white, and then black stripes would be added. The pattern of the tiger varies, which shows that the blankets were made by various craftspeople. The pattern of the tiger print blanket is usually of a tiger lying down, but there were tiger print blankets with a tiger standing up. The pattern of the tiger grew smaller over time, and flower patterns were added in the background. Decorative elements were gradually added to the tiger print blanket patterns, but its function as a palanquin cover became lost. By taking the features of tiger print blankets into consideration, it can be assumed that there are imported pieces among the remaining pieces, and were produced in various places because it was popular at that time.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.4
• /
• pp.49-56
• /
• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.