• 한국의류산업학회지
• /
• 제6권6호
• /
• pp.765-771
• /
• 2004

This study surveys the warp and weft tension differences among 3 types of rapier looms and analyses the mechanical properties of worsted fabrics for garment with relation of these looms characteristics using KES-FB system. Raper is divided by two parts. In the 1st paper, the worsted fabric is woven as 5 harness satin weave using 1/40 Nm sirofil worsted warp yam and 1/30 Nm worsted weft yam by rapier looms such as FAST-R, THEMA-11-E and PICANOL-GTX respectively. The weavability is also analysed by measuring warp tension variation according to the warp position and weft tension of 3 kinds of looms. The relationship between shed amount and the warp tension is surveyed, and the relationship between end breaks and warp and weft tensions is also discussed.

• 감성과학
• /
• 제11권4호
• /
• pp.449-460
• /
• 2008

중동지역은 PET 합섬직물이 이들의 평상복으로 많이 사용되고 있으며, 여성복은 차도르(Chador) 그리고 남성복은 토베(Thobe)라고 불려진다. 그리고 이들 PET 직물은 미세한 촉감특성에 따라서 수출가격의 큰 차이를 가져오며 원사의 특성과 제조공정 특성에 의해 미세한 감성촉감의 차이를 유발한다. 본 연구에서는 고가에 팔리고 있는 일본 데이진 제품과 비교하여 본 연구에서 개발된 중동 남성복 Thobe 제품의 감성특성을 분석하고 미세한 감성촉감의 원인을 규명하여 원사 및 최적 생산공정조건에 관한 연구를 수행하였다. 본 연구에서는 일본 데이진 직물 4가지를 목표품질시료로서 준비하였고, 개발을 위한 시생산제품으로 5가지 직물을 시생산하였다. 실의 굵기, 꼬임수 그리고 실의 세팅조건 및 직물의 밀도 등을 바꾸어 연축과 직축 그리고 가공축 등의 설계조건을 바꾸어 주었다. 본 연구수행의 결과 데이진 Thobe 제품의 감성특성을 원사 및 직물에서 분석하고 이들 감성특성 분석 자료를 바탕으로 사가공(絲加工)기술과 3차원 직물설계 시뮬레이션 기술을 바탕으로 감성 토베 직물의 설계기술을 확립하였다.

• 패션비즈니스
• /
• 제21권2호
• /
• pp.105-112
• /
• 2017

A string wallcovering is a kind of textile wallcovering which is made of cellulose fiber yarn laminated on base paper. Compared with normal paper or PVC wallpaper, a string wallcovering is preferred continually in the interior design market, as it is not only environmentally friendly but it also has less cost on mass production without the weaving process and has a natural visual effect, excellent functionality such as thermo keeping, permeability, sound absorption. However, in the dyeing process, it is not appropriate to use plenty of energy such as water, electricity, steam or chemicals considering the environmental trend and the government policy plenty of energy such as water, electricity, steam or chemicals. Currently, a string wallcovering is made of raw white yarn and padding with direct dye or pigment which includes toxic elements, especially the use of direct dye is restricted in a part of the developed country due to inclusion of azo. In this study, we researched dyeing based on cold pad batch dyeing of a string wallcovering with reactive dyestuff. The peel strength and bending depth test confirmed that the optimum adhesive type and spread amount improved the water resistance of the string wallcovering. Also, pad batch dyeing with optimum reactive dyestuff enhanced the color fastness to light and rubbing in dry and wet conditions. Additionally, for improvement of color fastness to rubbing in a wet condition, the additional treatment finishing without soaping process which is used water. The results of this study can be used as basic data for environmentally friendly and energy saving of the textile wallcovering.

• 한국의류학회지
• /
• 제35권3호
• /
• pp.359-370
• /
• 2011

This study analyzes the textiles design of natural indigo dyed products in Korea and Japan. In this study, a total of 556 Korean natural indigo dyed products, and 2,730 Japanese natural indigo dyed products were used for analysis. The subjects of this study were 556 natural indigo dyed products and 2,730 Japanese natural indigo dyed products selling natural indigo dyed products which were found using search engine keywords of natural indigo dyeing and natural dyeing. Research and analysis was treated regarding the products, items, patterns, and the representation techniques of the patterns. The results of this study are as follows. In the pattern used for natural indigo dyed products, 71.4% of Korean products have no pattern, but 77.1% of Japanese products have patterns. On the representation techniques of the patterns, Korean products used tie-dyeing and a dip patterned fabric. While in the Japanese products, the most frequent patterning techniques were paraffin dye, followed by tie-dyeing, yarn-dyed and weaving, screen printing, and yarn-dyed and knitting. Regarding the kinds of patterns for natural indigo dyed products, only 8 kinds of patterns were used in Korean products; however, over 50 kinds of various patterns were used in Japanese products. Most patterns in the Korean products were ion patterns made by tie-dyeing. While in the Japanese products, the most frequent patterns were stripe patterns, followed by flower, dot, and ion patterns. Based on these research results, the problems of the textile design of Korean natural indigo dyed products were that most of the products have no pattern, and even though there were patterns, they lacked variations between the products. While in the case of Japan, they used the traditional and modem patterns of various textile representation techniques.

• 한국의류산업학회지
• /
• 제5권3호
• /
• pp.299-303
• /
• 2003

Some of historical textiles were analyzed to identify the imprinted textures on the metal remains of Haengyeup(a horse strap pendant) and Doja (a knife), which were excavated in the ruins of Hwangsung-dong, Kyungju city in the fifth century and textiles imprinted on the human bones that were excavated in the Pungnae 4th Area, Namyangju county in the sixteenth century. The results analyzed arc as follows ; It was confirmed that the imprinted textures of Haengyeup and Doja are white ramie since the structural characteristics of cellulosic bast fibers, partially projected long oval cross sections with large lumens and the imprinted textures of human bones are silk fabrics since the triangular cross sections of fibroin is showed. All of the textiles were designed in plain weaves. In the case of weaving yarns, the warp threads were thicker than the weft threads, that is, the imprinted textures of Haengyeup were measured by 1.35 mm for warp and 1.21 mm for weft, and the Doja by 1.16mm for warp and 1.11 mm for weft. In connection with the direction of the yarn twist, the Z-twist were observed in the imprinted textures of human bones, whereas it presented the S-twist in the case of Haengyeup and Doja. The warp yarns were mostly harder twisted than the weft yarns on the amounts of twist, that is, it was observed that the case of Haengyeup were amounted to 0.33 twists per centimeter for warp yarns and 0.25 twists per centimeter for weft yarns. Also it was showed 0.32 twists per centimeter for warp yarns and 0.26 twists per centimeter in the case of the textures of human bones. On the fabric counts, it was showed that the finer the yarns the higher the densities since it were $4.3{\times}5.1$ threads per sqaure centimeters and $7.6{\times}7.1$ threads per sqaure centimeters each in the case of Haengyeup and Doja, whereas it was $18.2{\times}33.7$ threads per sqaure centimeters in the case of the textures of human bones.

• 패션비즈니스
• /
• 제18권3호
• /
• pp.73-90
• /
• 2014

Paper, once known and used only as a medium for printing or handicrafts, is now being used in new fields including artistic clothing, and an environment-friendly material for fashion, while the functionality of its formative characteristics and esthetics have been newly highlighted. On this basis, this study performed a content analysis of paper couture and categorization of types of paper modeling techniques based on 904 paper couture submitted to paper fashion shows, exhibitions and contest exhibits from 2001 to 2013. Analysis results showed that paper textile types were most common at 86.64%, while techniques using laminating, bonding, overlapping or paper as-is represented 62.17%. Expressive techniques in which paper was cut or torn and attached to paper clothing was 11.62%, paper folding was 5.75%, drawing and coloring 4.65%, and finally, paper cutting was 2.65%. Meanwhile, among paper modeling techniques using paper yarn textiles, a paper weaving technique was 6.75%. Moreover, other techniques in which paper modeling techniques or subsidiary clothing was blended were 3.65%, and Dak peeling textiles were 1.33%. Paper paste moulding textiles types represented 1.44%, above all papier $m{\hat{a}}ch{\acute{e}}$ techniques of 0.55% and creasing and holding techniques were 0.88%. Paper is sufficient to express the artists' creativity as well as having qualities as an artistic medium, such as variability through combined use with other materials, variation in form, suitability for reuse of waste paper, and environmental friendliness. Also, various paper modeling techniques can be blended with textiles for a generalized technology that overcomes the limits of paper and textiles.

• 복식
• /
• 제61권2호
• /
• pp.88-101
• /
• 2011

This study emphasizes on the characteristics of the excavated fabrics from the tomb of Kimwhoak in the late 16th and early 17th centuries. All of 118 kinds of fabrics are used in excavated costume from the tomb of Kimwhoak. Classified by its materials, it is divided into small groups as follows: 63 pieces of spun silk tabby(53.6%), 14 of spun yarn silk(11.9%), 13 of thin filament silk tabby(11.0%), 8 of thin silk tabby(6.8%), 4 of satin without pattern(3.4%), 3 of filament silk tabby(2.5%), 3 of twill without pattern(2.5%), 2 of satin damask(1.7%), 2 of mixture fabric with silk and cotton(1.7%), and 2 of ramie fabric(1.7%), 1 of simple gauze without pattern(0.8%), 1 of damask with supplementary gold thread(0.8), 1 of cotton(0.8%), 1 of etc(0.8%). Classified by ways of weaving: 106 pieces of plain weave(89%), 6 of satin weave(5%), 3 of twill weave (3%), 1 of gauze weave(1%), 1 of compound weave(1%) and etc(1%). In point of patterns, the most of textiles are without pattern, there are only two of them are patterned textile. such as lotus patterns with vine, peony patterns with vine. Their patterns are very similar to those of other tombs in the same age.

• 복식
• /
• 제36권
• /
• pp.53-75
• /
• 1998

The kind, the structure, and the motif of the Chosun dynasty's fabrics found mainfy within the Buddhist statues were studied. The total of 62 pieces of fabrice can be classified chronologically as follows ; 27 pieces in the year of 1431, 20 pieces of 1550, 9 pieces of 1664, and 6 pieces of 1735. These 62 fabrics also categorized by the weaving method as follows; 27 plain weaved, 17 twill weaved, 10 pieces of satine weaved, 7 pieces of Leno weaved, and 1 piece of double weaved fabrics. Most of the studied fabrics were silk, the rest were 2 pieces of yam and 1 piece of cotton, Kyun, Chu, and Cho were the plain weaved silk as Nung and Ki were the twill weaved silk, Satine weaved silk was called as Dan and double weaved silk was called Chikum in the Chosun dynasty. 1. The antique fabrics were composed of mainly silk. This is believed due to the utmost devotion to the buddhist statue as an object of worship. 2. In the fabric's structural point of view, th ecrossed 4-ply threads of warp yarn which is one of Leno weaved can be observed fre-quently in the period of Korea dynasty's fabrics. But it started to disappear in the beginning of Chosun dynasty, since only one piece of Ra could be found in the 1431's fabrics. Keum, one of the double weaved structure is assumed to be extinct from the Korea dynasty. Satin weaved fabrics started to be woven from the latter period of Korea dynasty and was very popular in Chosun dynasty. 3. The widths of fabrics in the Chosun dynasty gradually decreased compared with those of Korea dynasty.

• 감성과학
• /
• 제13권1호
• /
• pp.279-284
• /
• 2010

본 연구는 직물구조 디자인의 데이터 베이스에 대한 기초 연구를 수행한다. 이를 위해서 소모직물과 면직물들의 직물밀도계수가 월츠 교수와 피카놀 회사에서 제안된 커버팩터와 관련시켜 분석되고 토의된다. 또한 소모직물과 면직물의 직물밀도계수와 커버팩터와의 관계가 직물조직과 실의 번수에 따라 분석 토의된다. 끝으로 이들 천연직물들의 염색 가공공정에서의 공정수축률이 직물밀도계수와 함께 직물구조 디자인의 데이터베이스 시스템의 예비 연구로서 분석 토의된다. 그 결과는 소모직물과 면직물의 밀도계수, K 값은 600에서 1000까지 분포하였으며 이들 직물들의 직물밀도계수는 0.4에서 0.8 그리고 0.2에서 1.0의 범위에서 각각 분포하였다. 모직물의 가공축은 2%에서 10% 그리고 면직물의 가공축은 2%에서 20%까지 분포하였다. 그리고 모직물과 면직물의 직물밀도계수는 직물구조디자인에 대한 데이터 베이스의 개념으로서 직기와 직물구조 그리고 직축과 가공축에 따라서 분포됨을 보여주었다.

• 한국의류산업학회지
• /
• 제15권2호
• /
• pp.231-239
• /
• 2013

This research developed a smart girdle for adult women in their 20's that has an inserted carbon weaving heater to help with relief from coldness and abdominal disease through the thermal insulation effect. A pocket of powernet fabric was attached to the inside of the girdle for the easy insertion and separation of the heating device, while the heating device was fixed to a mesh material by cotton yarn and was wrapped with elastic lining material to prevent the mechanical devices from being exposed. A set of 3 hooks was attached to the center of the back of the heating device in consideration of convenience and mobility. Whereas the switch was inserted into around the right waistband, and the battery into the inner pocket around the waist, to integrate the heating device with the girdle. The satisfaction and usability of the fabricated smart girdle was verified by having research participants wear it to evaluate the appearance change caused by the device, the inconvenience of wearing/unwearing, mobility, and the satisfactory functionality of the device. As a result, the grand mean was evaluated to be high, with appearance (4.19), mobility (4.17), and functionality (4.51) being higher than 4.00; which indicates that the heat generation function of the smart girdle is effective. It may be said that such collection and analysis of data that reflect users' opinions have value and significance in that they can be grafted onto future research on new technology as well as they contribute to taking a step forward in the rapidly increasing research of smart clothing, with the new-type clothing equipped with new function.