• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.33-42
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• 2009

The purpose of this study was to research the development of jacquard fabrics by the Bi-Dan patterns of Dan-Chung as one of the traditional korean symbols. For performing this design study, it designed a surface design of the geometric images in Bi-Dan patterns using by EAT Jacquard Textile CAD system and simulated to fabrics for the clothing & bags. To consider the modern image of Bi-Dan patterns in the Dan-Chung motives, the theoretical background was made on the basic elements, compositions and symbolic meanings of Dan-Chung patterns. To merchandise the fashion items and see the visual image, these jacquard fabric simulations was processed by two-dimension modeling through YoungWoo CNI CAD. The applied weave structure was based on a single layer of 5 or 10 points-satin and a double layer of 8 points-satin. Among the fabric simulations of Bi-Dan patterns, the six simulated fabrics were woven into the real jacquard fabrics under the electronic Stabuli jacquard loom in $120{\sim}130$ picks per inch and 171 ends per inch. These developed jacquard fabrics of Bi-Dan patterns were appeared a contemporary yet ethnic feeling so that they could make use of the unique korean cultural products by the further commercialization.

• 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.27 no.6
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• pp.715-724
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• 2003

The Korean clothing culture has shown rapid changes along with influences of western cultures, with social changes due to the liberation from Japan, the Korean War, and the economic growth concentrated on export since the westernization of Korea had begun. Also clothing materials, as a phase of such culture, have been changed. Among silk fabrics, "Dan (단: damask of satin texture with Korean traditional patterns are inwoven)", which has been concerned one of the most beautiful and precious fabrics due to its complexity and difficulty of processing. Since the beginning of the Era of Enlightenment(Kae-hwa-gi), Dan fabric materials and weaving methods have changed. It seems that the figured texture using the Jacquard loom began in 1936. when the Jacquard machine began to be imported from Japan into Korea. From that time on, new fabric materials, such as yangdan (양단), and popdan (법단), hobakdan (호박단), silk and rayon mixed Dan(교직양단) began to be produced. Before 1950's there were some restrictions about the Number of wefts, so the production of the one colored dan(단색단) was more common than that of the multi colored dan(다색단). But with the spread of 4$\times$4 shuttle box loom (양사정직기), various kinds of the multi colored dan have been produced after 1960's. Around the end of 1980's, automatic shuttle change loom have been generalized and 7 color dan(칠색단), 9 color gumsadan (구색금사단) have been current in multi colored dan. In terms of materials, synthetic and chemical textiles had been used widely and alter 1980's most fabrics, of which the ground weave is not being woven with satin-weave but being woven with plain or twill-weave, are named Dan in general.

• Journal of the Korean Society of Costume
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• v.36
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• pp.53-75
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• 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.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1322-1331
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• 2008

The purpose of this study is to design an official costume of Joseon Ginyeo in the scholar’s banquet in 16th century, thereby making correct historical animation, drama costumes, and various costume contents. Every Ginyeo in and wore a long yellow coat with short front edge. 'Dan-ei', Ginyeo’s court costume, had very similar shape except color and collar, therefore the size of Dan-ei was adapted to design a yellow coat for drama actress. Ginyeo’s Jogori in these paintings was wide and long enough to cover undervelly under the edge of yellow coat, but It was designed more slim and long for better appearence and comfortable movement in my work. A skirt of Ginyeo was designed with circumference of about 360cm and length of about 105cm according as a skirt style of Joseon ladies in 16th century. Ginyeo's Jam(hairpin) was consist of a vase, a plum blossom, and a lotus pattern. And, a wide underpants with a single suspender, portable pouch, Un-hae(women’s shoes) with low heel are needed for drama actress in the role of Ginyeo. In this design, it is very important to save an estimate and time, select suitable mordern fabrics, reform discomportable points, express a charater’s role, and make a trendy appearence.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.1-15
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• 2007

The purpose of this study is to classify the types of and to examine the characteristics of the golden decoration technique used for expressing patterns on the costumes from Dang dynasty to Cheong dynasty era. In order to classify the types of the golden decoration technique and to examine its characteristics, literature review, focusing on documents and records of China, and investigation on the relics from Dang to Cheong Dynasty era were conducted. The types of decoration technique using gold include china JigGeum (brocade technique), InGeum (attaching gold powder and flake technique), GeumSaJaSu (embroidery technique), GeumSaTapestry, mixed technique. Interestingly, it was newly found in this study that embroidery with golden thread was used in the GeumSaTapestry technique and that there were some cases of the mixture of 2-3 gold decoration technique. The GeumSajaSu technique was used the most frequently from Dang dynasty to Yo dynasty era. However, its use had decreased enormously while the use of JigGeum had increased a lot since Geum dynasty era. The mixture of 2-5 techniques was used frequently in JigGeum, GeumSaJaSu, and GeumSaTapestry, but not used in InGeum. Particularly, the mixture technique was the most frequently used in the GeumSaTapestry, which expresses by composition of paintings. All four methods were used the mostly frequently in costumes, while GeumSaJaSu and GeumSaTapestry were generally used for home accessories. InGeum and GeumSaJaSu were used a lot for gaze and leno fabrics such as Sa or Ra, while JigGeum was mostly used for satin weaved fabrics like Dan.

• Conservation Science in Museum
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• v.18
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• pp.35-50
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• 2017

As part of the NMK's research project on wooden Buddha statues, four items which contained fabric among their bokjang objects(腹藏物) were investigated. Firstly, when classified by the method of weaving, two items made of ra (羅, a four-end complex gauze) silk and five of neung(綾, twill damask) silk from the Goryeo era were identified, and the satin fabrics showing characteristics of the Joseon period were classified as either dan(緞, satin damask) or sa(紗, simple gauze). In particular, the fabric of the bokjang objects enshrined within the gilt-bronze Avalokiteshvara Bodhisattva(Deoksu 801) feature both early and late Joseon characteristics, suggesting that two enshrinements were performed(once in the fifteenth century and another in the seventeenth). Secondly, the patterns on the fabrics included flowers, treasures, fruits, plants with animals, and landscapes with clouds. Thirdly, patches of fabric were found that are assumed to be related with all cardinal directions according to their arrangement, albeit in small quantities.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.161-171
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• 2022

Traditional tie-dyeing is widely implemented in the clothing handicraft culture in China, South Korea, and Japan. Since it was developed 2,000 years ago, it has become a popular method of fabric making in the world and is highly respected by fashion designers. Based on the existing traditional tie-dyeing methods, this study conducted specific research on the 3D printing technology of the SLS laser method and the micro tool design application method of the clamp-dyeing process. Through the experimental methods of this study, it proposes to use the "7000 Nylon" material, which is commonly used in 3D printing, to develop a new clamp-dyeing tool. This new tool can be widely used in the clamp-dyeing of fabrics, such as cotton, hemp, silk, and some chemical fibers. The applied method and principle can be consistent with the traditional clamp-dyeing method. Therefore, the innovation of tie-dyeing technology is the best protection measure for the development and inheritance of traditional fabric making. The continuation of artistic life needs originality, which is also the best response to market competition. At the same time, this new design of the clamp-dyeing tool has the characteristics of novelty, innovation, and rich changes, which aligns with the new fashion demands of current fabric design.

• Journal of the Korean Society of Clothing and Textiles
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• v.10 no.3
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• pp.9-16
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• 1986

In this research, we tested the fertile physical and the sensory properties and the handle of the domestic polyester fabrics were treated with the varying alkaline concentrations and temperatures were tested. The tests were conducted to determine the effects of the alkaline treatment on the changes of the physical and the sensory chrateristics of the domestic polyester fabrics. The results were as follows; 1. When treated with the varying alkaline concentrations from $7.5\%$ to $15\%$ at temperatures from $60^{\circ}C$ to $90^{\circ}C$, the weight decreasing phenomena were shown to as a linear equations increase in that range. 2. As the weight loss increased, the softness and the smoothness were increased but the fullness and the tightness were decreased. 3. The positive correlations were found between the sensory and the physical properties, and the fullness ana the tightness, while a negative correlation was found between softness and the smoothness. 4. The regression equations obtained by the sensory chrateristics related with the physical chracteristics were as follows ; Softness: y=84.01-0.74x Fullness : y=0.06+0.78x Smoothness: y=88.67-0.82x Tightness : y= 0.34+0.79x

• Journal of the Korean Applied Science and Technology
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• v.12 no.2
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• pp.51-58
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• 1995

To prepare a durable softening water repellent, quaternized octadecyl methacrylate-2-diethyl-aminoethyl methacrylate as a mother resin and quaternized 1, 3-dioctadecyl-2, 7-dioxy-6, 8-di(2-hydroxyethyl)-1, 3, 6, 8-tetraazacyclodecane which increase the softening effect and the hydrostatic pressure blended with waxes and their emulsifier in various proportions to give water repellent PADWC. As the results of the measurement of water repellency, washable, tear strength and crease recovery to polyestercotton(P/C) blended fabrics treated with PADWC only or addition of textile finishing resin, the physical properties were increased. There was no significant lowering effect in water repellency when PADWC was treated the antistatic agent by the one-bath method, and the effect of water repellency by the adding the catalyst was studied. PADWC was confirmed as durable water repellent with the results of making little difference of water repellency as ${\pm}5$ point after and before washing.