• 한국의류산업학회지
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• 제22권6호
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• pp.834-843
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• 2020

This study develops 1/2 dress forms for draping. This study investigated the production status of domestic and foreign products in order to model their shape using CLO 3D. In addition, it developed torso-type and torso-crotch-type products that allowed for draping using a 3D printer. This study analyzed shape and size compared to developed ones after referring to the Size Korea 7th Survey data as well as seven domestic and foreign company websites. The results are follows. First, an investigation of the production status of the products for the size of most of the domestic ones (except K-4) indicated that the waist circumference was slimmer than Size Korea. Bust, waist, and hip circumferences ranged from 42.0 cm, 32.0 cm, and 45.0 cm - 49.0 cm, respectively, in Chinese products; 42.0 cm - 43.0 cm, 30.5 cm - 31.5 cm, and 46.0 cm - 46.5 cm in Japanese products; 43.0 cm, 35.0cm, and 46.5 cm in American products (Japanese body shape applied). Second, an avatar was produced on a 3D software with the average size of 20-24year-old women, and its file modified as a dress form for 3D printing with PLA filament to produce dress forms for draping, workable with pins, using quilting cotton and cotton cloth. Third, the comparisons of the form and flattening between the developed dress forms and the selling ones indicated that flattening was bigger in the waist part of the former than the latter. The waist is produced too slim in the existing dress forms; therefore, it is necessary to correct the waist circumference. Unlike existing dress forms, the developed ones were produced in proximity to the average size of 20-24 year-old women in the Size Korea 7th Survey.

• 한국안전학회지
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• 제39권2호
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• pp.1-8
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• 2024

Unwanted effects of electrostatic phenomena occur in various industries. Electrostatic problems originating from the human body in flammable atmospheres in the industry are especially concerning. A substantial volume of experimental data on the electrostatic charging voltages created on the human body owing to the rubbing of apparel were generated and reviewed during this study. The data were reviewed to determine whether the resultant charging levels of the human body are hazardous in flammable atmospheres. This study was conducted under several conditions, such as different fiber types used in apparel, shoe types, and relative humidities (RHs). The following conclusions were drawn in this study. ① The electrostatic charging levels of the human body owing to the rubbing of apparel increase with the increase in the surface resistances of apparel; however, the electrostatic charging levels may be different depending on the condition of the cloth surface. ② The discharging energy of 1.98-18.5 [mJ] from the human body exceeds the minimum ignition energy of most flammable materials, when removing an overcoat made of polyester, cotton and wool under severe conditions such as wearing height-raising shoes for men. ③ When removing antistatic apparel, the maximum discharging energy of 0.128 mJ from the human body is dangerous if the minimum ignition energy of the flammable material is between 10^-5-10^-4 [J] Grade; however, a minimum ignition energy of 10^-3 J Grade of the flammable material is considered safe. ④ While wearing antistatic shoes, the electrostatic charging voltage generated in the human body when removing an overcoat is 30 V; therefore, wearing such shoes is a suitable countermeasure when handling flammable materials. However, the antistatic abilities of shoes reduce when thick socks are worn. ⑤ As RH increases, the electrostatic charging levels of the human body decrease. ⑥ The electrostatic charging levels of the human body from removing a cotton overcoat can ignite the majority of flammable materials when RH is less than 30% under severe conditions such as wearing height-raising shoes for men.

• 한국의상디자인학회지
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• 제13권2호
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• pp.13-26
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• 2011

The purpose of this study is to analyze the preference of design and body shape for korean baby-boom generation women. For this study, in-depth interviews were carried out to 11 women who were born in 1955~1963. They are called korean baby-boom generation. The results were as follows; 1) Korean baby-boom generation women care to their body shape, and they make much of the balance of body, not just looking slim. 2) Korean baby-boom generation women become more interested in their clothing, and they want to look with casual image than elegant image before. But overweight women preferred elegant image. 3) Korean baby-boom generation women prefer mix-match style for everyday clothes, but they prefer suit-set for formal wear. 4) When Korean baby-boom generation women choose of jacket or coat color, they consider more of their body-shape than season color. 5) Korean baby-boom generation women prefer plain style and jacquard with metal yarn. 6) Korean baby-boom generation women prefer out-door cloth fabric, at special time, they choose pure wool and pure silk. At ordinary time, they like more comfortable fabric like cotton mixed spandex or wool mixed spandex blends.

• 대한가정학회지
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• 제29권2호
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• pp.1-15
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• 1991

The purpose of this study was to understand the diversity and speciality of Aztec dress which has not been well known, and to overcome ethnocentrism in clothing perceptions. From 15 century to early 16 century, the Aztec empire based on the unique view of the world, most flourished in Mesoamerica. Ritualistic and official side of Aztec life was reflected well on dress. Most Aztec garments consisted of unsewn pieces of cloth, draped on the body as loincloth, mantle and wraparound skirt. Slightly more complicated garments such as women's blouses(huipils) and men's simple jackets were created by sewing together two or more pieces of material. In the sharply stratified world of Aztec, strict sumptuary laws controlled dress. The garments of lower classes were made of maguey or yucca fiber, and only the upper classes were allowed to wear cotton clothing. In addition to material, color, elaborateness and even manner of tieing the mantle were carefully controlled by government edict. As the Aztec empire expanded and became wealthier, the sumptuary laws could not actually dictate what people wore everyday but rather provided a set of rules governing clothing for ceremonial occasions. Aztec's warrior costumes, consisted of headdress, towering back devices, feather garments, were sufficient to suggest the theatrical grandeur of what must have been one of the most magnificiently attired armies ever assembled.

• 한국의류산업학회지
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• 제14권2호
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• pp.211-221
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• 2012

The word 'chintz' is thought to be a corruption of spotted cloth. Printing remained a relatively primitive method of decorating textiles in Europe until the second half of the 17th century. The formation of the English East India Company sparked the influx into the West of painted and printed Indian cotton textiles. A William Sherwin took out the first English patent in 1676. The earlist European designs were florals in the Indian manner. Patterns of European flowers returned to England as birds, flowers, trees, vines and stained glass for Victorian chintz. In France, the original and most successsful manufacturer of the distinctive printed fabrics from Jouy was Christophe Philippe Oberkampf. Copperplate printing was introduced to Jouy in 1770, probably reaching the pinnacle of achievement in the craft after 1783 when Jean-Baptiste Huet became chief designer. Huet's style was widely imitated in France and abroad, and the term 'toile de Jouy' has come to be universally applied to monochrome figurative designs wherever and by whomsoever they were produced. Oberkampf served his apprenticeship as an engraver with some leading manufacturers, including a period in Mulhouse. In Alsace, which was not part of France until 1798, the first factory had opened in 1746 in Mulhouse, and the area soon had the largest number of print-works in France.

• 대한가정학회지
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• 제32권5호
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• pp.217-227
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• 1994

The Korean clothing industry according to historical documents has a long and deep history. We can deduce the fact that cloth in material was self reliant during the pre-historic period. Although we can not find evidence of clothing material trade from the Three Kingdom era we find active trade with Kang, Jin of China and Japan followed by the spread of Korean clothing material manufacturing skills to Japan. Meanwhile the actual progress of the clothing industry came with the manufacture of cotton stuff in the Koryo era and the official and unofficial trade which brought import and export activity to Korea. Also the manufacture of clothing material by women labor although backward as it may be can be seen as stroug evidence that women labor continuously kept up the development of Korean industry. After the Koryo dynasty trade in clothing material and other clothing items contined with other nations. In conclusion we must not think that the Korean clothing industry started active development from the Chosun dynasty. It is important that we realize this fact and looking at the continuous progress of the Korean clothing industry through historical documents from early history to the Chosun era we rightly evaluate history and be proud of this legacy and also reevaluate the wrong views held before.

• 복식
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• 제64권5호
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• pp.141-153
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• 2014

Buddhist articles from various periods in the Vairochana Buddha statues, which are currently housed in the Haeinsa Temple's Supreme Buddha Hall and Beopbojeon Hall. This research concentrates on the artifacts found inside the storage boxes, which was placed inside the Buddha statues in 1490. A total of 24 pieces of fabric articles found inside the Virochana Buddha in Beopbojeon and 213 pieces from the Supreme Buddha Hall were examined. The types of textiles are as follows: bast fiber, silk, cotton, and union cloth. Bast fiber consisted of ramie and hemp. For silk, tabby woven with plain weave, spun silk, and thin tabby were found. And twill damask made with twill, Sa and Ra with the leno weave, and satin damask made with the satin weave were also found. Also the two Jeogoris and three Jogakbos were found, the one Jeogori was made with Hwan. The Buddhist articles in the Vairochana Buddha of Haeinsa have been preserved well and its colors have remained virtually the same from the time of its original placement. Therefore these articles are very important in understanding the textile characteristics, weaving techniques, dying techniques as well as traditional colors.

• 복식
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• 제65권7호
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• pp.19-31
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• 2015

Futurists put forward creative fashion by combining art and functionality. This led to a new aesthetic approach in how we view modernized industrial cities. Ernesto Thayaht, a futurist, introduced the "Tuta", which was simple and practical clothes. Tuta expressed the imagination and aesthetic values of Futurism. The characteristics of the Tuta were categorized into the following: Form, Colors, Materials, and Details. The results of examining its characteristics as follows: Tuta had a linear and simple planar pattern, which could be made with one cloth. The same modernized urban colors were used for the top and the bottom. Practical Materials, such as cotton and linen were used because they were easy to wash. Tuta excluded unnecessary ornaments, and only included functional details that would allow for comfortable movement. These design characteristics of Tuta revealed functionality, popularity, modernity, and innovativeness of formativeness. Tuta presented a new model of fashion in the early 20th century and completed the modernization of clothes. Tuta reflected the democratic and equal spirit of the era by innovating and overcoming the structure and form of conventional clothing.

• 대한가정학회지
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• 제43권3호
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• pp.131-145
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• 2005

The purpose of the study was to determine ae forms, patterns and structures of Huipils as traditional clothes in Guatemala and Mexico, and to cite possibilities of applying the findings of the study, acquired by comparing the differences of the two countries' Huipils, to textile or costume design. There are two types of Huipils. One is for everyday wear and another one is for special occasion. The latter is bigger in size, more colorful and is worn on top of the daily use Huipil. Huipils consist of 1 to 3 panels, and are usually made by weaving rectangular cloth which has 4 selvedges. There are various neckline such as - type, T type, 1 type, round type and square type. The types of the neckline depends on how many panels are used. The Mexican Huipils are worn usually over skirts, whereas the Huipils of Guatemalans are practically designed with white cotton that doesn't have any patterns so as to be easily put into skirts. Different from Mexicans' Huipils which mainly show big botanical patterns, the patterns of Guatemalans' Huipils combine animals, plants and abstract concepts display mixed aspects, and it seems to me that that expressed their emotions and dearest wishes.

• 한국응용과학기술학회지
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• 제12권1호
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• pp.29-34
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• 1995

Silicone softner(SSN-3) for permanent press(PP) finish was prepared by blending beef tallow hardened oil for Improving softness, water, the emulsion, which was synthesized from pentaerythritol monostearate as a softening component and silicone oil KF-96 as a lubricating component. The prepared SSN-3 and the PP finishing resin were applied to PP finishing cotton broad cloth and P/C gingham samples using one bath method. The properties such as crease recovery, tear strength, bending resistance test were tested. The samples treated with SSN-3 and PP finishing resin have improved properties, compared with nontreated samples, those treated only with PP finishing resin, those treated with commercial PP finishing softners and PP finishing resin. Also from the bending resistance test, the two kinds of fabric samples treated with SSN-3 of 3% showed grade 5 and these were good enough in feeling.