• 디자인학연구
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• 제13권
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• pp.123-137
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• 1996

직조는 예술과 기술과의 상호 관계에 관심을 가지고 있는 디자이너에게 이상적인 연구 대상이다. 특히, 이중적인 4종광 이상의 제제에서 만들 수 있는 두 겹 직물로서 여러 가지 목적 및 기능에 따라 광폭 직물, 양면 무늬 직물, 등 특수 직물을 생산하기 위해 산업에서 사용되고 있다. 그러나 가 지니고 있는 매력적인 특징은 미적 이 요구되는 섬유 작업에서 의견로서 다양하게 응용되어질 수 있다. 본 논문은 문헌 자료와 sample 제작을 통해 이중 직의 개념과 종류 및 특징을 설명하였으며 이중 직을 연구한 작가들의 대표적 작품들을 분석함으로써 기법이 가지고 있는 잠재적 특성을 강조하였다. 이중 직 기법은 구조 및 의견 에 따라 다양한 이미지를 나타낼 수 있으므로 직조가 들이 기술에 의한 독특한 표현을 하여 시킬 수 있는 창조 적을 제시하고 있다.

• 한국의류학회지
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• 제11권1호
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• pp.1-10
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• 1987

We selected four kinds of cotton velvet and chafed before and after cleaning, then in accordance with abrasion times we measured of pile exclusion rate and examined the relationship of the pile exclusion rate, its thickness and the air permeability. An experimental study was carried out the pile weave construction, the density, the yarn to yarn, the shrinkage, and the pile substantiality. The results were as follows: 1. In accordance with increments of shrinkage phenomenon of pile fabric for cleaning process, pile exclusion rate was decreased. 2. The ground weave of pile fabric and the yarn to yarn of warp and weft direction were affected by the pile exclusion. 3. It is linear of pile substantiality of pile fabric and pile fastness. 4. In estimation of pile exclusion rate, it is proper to make use of air permeability and measuring value of thickness.

• 복식
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• 제58권1호
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• pp.9-16
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• 2008

Six of the Imdang tombs containing remains with imprints of ancient fabrics and textiles were investigated. Within the tombs, a total of 120 pieces of imprinted fabrics and textiles were investigated, all of which belongs to $5{\sim}6C$ Shilla period. All of the hemp textiles examined exhibited similar characteristics found in ancient hemp textiles: they were woven by plain weave technique with s-twist threads. The examined silk could be categorized into plain woven silk, cho, and double woven brocade, all of them made with non-twisted threads and degummed silk. The density of the plain woven silk ranged from 39 threads to 144 threads. Cho was also found, which showed similar characteristics to those of Gaya and Bakjae tombs. One piece of 2/1 twill weave on plain ground and 12 pieces of double woven brocade were found and their average density was $97.4{\times}33.4/cm$ with denser warp than weft. The various thickness of the threads were observed in the examined plain braid. The silk with twining technique showed thicker warp than weft. This is similar to the techniques of fabrics found in the King Muryeoung's Tomb of the Bakjae period. Fabrics with the purple-like color were observed in the some of the double woven brocades and also on the plain woven silk imprinted on the remains. The purple-like color was revealed to be purple with a tint of violet. The two tombs from which the imprinted fabrics with purple-like color were found belonged to top-class social level of the Shilla period, which informs that the purple color was used exclusively for the people of higher social status. The floss silk was found between the double woven brocade and plain woven silk of the belt, which is an important evidence that the floss silk was used for stuffing in the early 6th century.

• 복식
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• 제59권6호
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• 복식
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• 제53권4호
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• pp.113-129
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• 2003

This study examined textiles used for the ancient costumes that are excavated from tombs of the Chosun dynasty, focusing especially on Po(overcoat). The result of the study is that silk occupies 79.8% of all the textiles used for Po, and cotton and linen follow. The weaving method of silk was primarily plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo dynasty, are considerably decreased in Chosun dynasty. Danlyeong(단령) and Cheollik(첩리) had been made of various textile fabrics like cotton, linen, silk and blended fabric before Imjinwaeran(임진왜란). After the war, they were simplified in gauze weaved silk or satin weaved silk, And also patterned fabric were widely used for them than other Po. Simple fabrics like cotton, linen and plain weaved silk had been used for Aekjureum(액주름) and Jiklyeong(직령) before Imjinwaeran. After the war, Jiklyeong was used as underwears of Danlyeong, so it was made of high quality patterned silk. Dopo(도포) and Changuiryu(창의류) were mainly excavated from tombs after the war, high quality plain weaved silk are used than gorgeous Patterned silk. For the Dopho(답호) and Bansuui(반수의), before the war, they were made with various textiles such as plain weaved silk, twill weaved silk, satin weaved silk, cotton, linen, and blended fabric. But after the war plain weave was mainly used. In Jangui(장의), since it was mostly for women, many kinds of women's patterned silk were used in than any other Po. There were only a few excavation of Simui(심의) and most of them were made of ramie and were hemmed in black satin without pattern.

• 한국의상디자인학회지
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• 제12권2호
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• pp.119-129
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• 2010

오늘날 인간의 수명이 연장되고, 웰빙과 건강에 대한 관심이 증가됨에 따라서 언제 어디서나 건강을 모니터링 할 수 있는 건강 스마트 의류 시스템이 개발되고 있다. 이를 위하여 최근에는 생체신호의 모니터링이 가능하도록 디자인된 의류에 통합된 형태의 직물 전극이 개발되고 있다. 혁신적으로 의류 시스템에 통합되어 착용 가능한 니트, 우븐, 자수방식의 텍스타일 전극에 대한 다양한 연구가 개발 제시되고 있으며, 이의 일부는 상용화되어 있다. 이에 본 연구는 경위사의 일정한 직조제어 자동화 시스템이 가능한 컴퓨터 자카드 직기의 캐드(CAD) 직조디자인 방식을 통하여 생체신호 센싱 기능이 향상된 새로운 텍스타일 전극디자인을 연구하고자 하였다. 이를 위하여 본 연구에서는 기존 생체신호 센싱 전극의 개발 및 연구 동향, 비직물/전극 타입에 대한 단점과 장점에 대한 비교 분석을 이론적으로 살펴보고, 자카드 직조 직물 기반으로 심전도 센싱용 텍스타일 전극을 디자인하여 실험 연구하였다. 자카드 직조 방식의 심전도 센싱용 직물 전극은 전극 인터페이스 디자인 방식, 이중직물형 직조 디자인 방식, 사가공 등의 요인들을 고려하여 개발하였다. 본 연구에서 도출된 최종 자카드 직조 직물 기반의 텍스타일 전극은 스마트 의류에 통합시킨 텍스타일 전극 모듈로서 적용되여 향후 상용화 방안을 모색할 수 있다.

• 한국의상디자인학회지
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• 제11권2호
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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.

• 복식
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• 제54권8호
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• pp.113-128
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• 2004

This study examined textiles used for ancient costumes of the $16{\cdot}17th$ century in Joseon period, focusing on fabric types and patterns of the costumes from tombs. The purpose of this study was focused on investigating the relationship between fabrics and social backgrounds, especially change in using fabrics through the war from Hidyoshi's Invasion of Korea in 1592. Since the war must have had an effect on the life of people's. The result of the study is that silk occupies $69{\%}$ of all textiles, and cotton, linen follow The weaving method of silk was primarily Plain and satin weaves. However the use of twill, gauze, and double weave, that had led weaving methods of silk during the Koryo Period, were considerably decreased in Joseon Period. Types excavated fabrics in the $16{\cdot}17th$ century Joseon period can be said various. Of this, silk was the most remarkable one till Hidyoshi's Invasion of Korea in 1592, when the ratio of patterned silk dramatically decreased. Contrarily, the ratio of cotton and plain fabric increased rapidly in Hidyoshi's Invasion of Korea in 1592. It is supposed that the result is largely due to unusual condition of the war time. After the war, it is estimated that use of pattened fabric as well as silk was decreased. Patterns of textile fabrics in $16{\cdot}17th$ century were various. In result of surveying a trend of increment and decrement, it is known that the ratio of patterned textile fabrics decreased dramatically in Hidyoshi's Invasion of Korea in 1592 and Manchu war of 1636. Tendency of textile use by social Position is more notable. It is appeared that a lot of silk fabrics were used in High hierarchy. The excavated remain and ratio of silk were the highest in Kyonggi Province including Seoul.

• 복식
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• 제67권3호
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• pp.99-114
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• 2017

The uniqueness of Bali is inseparable from its culture and religion. Embedded in the cultural environment, textiles become one of the most important aspects in Balinese life as it is used as a medium in sacred ceremonies. Balinese textiles are made and used under special conditions according to Hindu teaching. This paper aims to observe the aesthetics of Balinese sacred cloths that are seen in their techniques, colors, and patterns. Quantitative research included in this study is based on 261 images taken from literature review and Museums. Field research was done in eastern part of Bali. This paper has divided the era between ancient and modern times. The ancient era before the 20th century used textiles for religious purposes. Modern era started from the colonialization period by the Dutch in Bali during 1910-1942 added economic values to the textiles. The independence of Indonesia in 1945 created Balinese textiles as a unifying value as one of the identity of Indonesia. The techniques are classified as Weft Ikat, Double Ikat, weave with Supplementary Weft, and Prada. The colors of the ancient era are 'fixed' with the restriction of the colors red, black, and white. The colors of modern era are 'festive' with combination of yellow, green, blue, and purple. The characteristics of patterns are geometric, natural, human, and animal groups. Field research in this paper observes Klungkung Village that produces Endek and Songket cloths. The aesthetics of Endek cloth is 'royal statement' and Songket cloth is a 'cultural heritage.' Nusa Penida Island produces Cepuk cloths and is a 'protective guardian.' Satria sub-district produces Prada cloths and appears to be an 'opulence charm.' Lastly, Tenganan Village produces Geringsing cloth which possesses a 'legendary legacy.' To sum up, Balinese sacred cloth essence is a balance of tradition and modern.