• 복식문화연구
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• 제19권1호
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• pp.71-82
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• 2011

This paper examined the kinds and characteristics of leather and also analyzed the expression techniques and characteristics of leather in contemporary fashion. The objective of this study lies in re-interpreting the current location of leather in contemporary fashion design, enlarging unlimited potential expression fields of leather, and at the same time, helping create new viewpoints and expression types of leather. For this purpose, this paper examined the kinds and characteristics of leather through the existing literatures, and it also carried out positive analysis of the expression techniques and characteristics of leather clothes through local and foreign fashion magazines and collection papers, such as Gap, Vogue, and Mode & Mode, focusing on the works presented in the fashion collections after 2000. Leather in contemporary fashion is expressed in different colors through dyeing. Through various expression techniques such as wrinkles, ruffle, stitch, embossing, quilting, patchwork, holing, nailing, cutting, laser cutting, fringe, weaving, printing, and collage, leather breaks the fixed ideas of itself and further, it makes the images of fashion design affluent. Leather clothes, which are made through various expression techniques, have some characteristics. First, leather clothes emphasize women's voluptuous beauty. Second, leather clothes create a decorative effect through mixture of materials and various expression techniques. Third, through the feel of materials and the emphasis of shapes, primitive beauty is expressed.

• Electronic Materials Letters
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• 제14권6호
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• pp.739-748
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• 2018

ZnS nanowalls, microspheres and rice-shaped nanoparticles have been successfully grown on graphene oxide (GO) sheets by the hydrothermal method. The morphologies, structures, chemical compositions and optical properties of the as-synthesized GO/ZnS have been characterized by X-ray power diffraction, energy dispersive spectrometer, scanning electron microscope, Raman spectra, photoluminescence spectroscopy and ultraviolet-visible absorption spectroscopy. It was found that the concentration of CTAB and the reaction temperature were important in the formation of GO/ZnS microstructures. The photocatalytic activity of the as-synthesized GO/ZnS was investigated through the photocatalytic degradation of textile dyeing waste. Results showed that the catalytic activity of the GO/ZnS porous spheres to methyl orange and methylene blue is higher than those of other samples. The degradation rates of methyl orange and methylene blue by porous spheres in 50 min were 97.6 and 97.1%, respectively. This is mainly attributed to the large specific surface area of GO/ZnS porous spheres and high separation efficiency between photogenerated electron and hole pairs.

• 패션비즈니스
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• 제14권3호
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• pp.116-127
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• 2010

Metal acid dyes are usually used to dye wool fabric to achieve high concentrated color and strong color fastness. However, metal acid dyes contain lots of heavy metal. That causes not only environmental pollution but also diseases to human. In this study, wool reactive dyes instead of metal acid dyes for wool, which are environmental friendly, are compared and analyzed in the evaluation system of their harmfulness, containing heavy metals and examined exhaustion rates and dyeing characteristics.

• 한국의류산업학회지
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• 제11권2호
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• pp.242-251
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• 2009

Traditional patterns of Korea vary greatly and have excellent value in terms of artistic merit. Nevertheless because there are not enough the research and development of them, traditional patterns of Korea are not yet recognized in internationally aesthetic value. Therefore the development of designs modernizing traditional patterns of Korea is urgently needed. In this study, I chose Four gracious plants as the subject materials of textile design development. Before everything I examined data of Four gracious plants expressed on Blue and white porcelain. And I chose data that are suitable to express modern image among them. I set my face to develop the textile design of Korean images by adding modern scenes with them. Also, I were trying to make fashion products like muffler and tie by using techniques such as burn out, crayon dying and spray dyeing.

• 대한가정학회지
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• 제20권2호
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• pp.37-43
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• 1982

The white color is the main characteristics of the traditional color of clothes. From the historical point of view, the Korean's pattern of wearing Baik-Eui can be found its origin from many people of North-East Asia in ancient time. The beginning of wearing Baik-Eui in Korea was at the age of tribes, and it was delivered to middle age, later on, to modern age near the end of Yi Dynasty. The other charactics of the traditional colors. are summarized as follows: 1. Prefered light color to dark color and light blue was noble and worthy. 2. The kinds of color were not various. 3. Color was native and pure not including grey or other colors. From the economical point of vie, the first thing is that Baik Eui was primitive in ti's color Though some say that wearing Baik-Eui is considered as a kind of worship of the Sun, yet we can also find that the every reason of it is that we had little dyes at that time. Especially the reddish dyeing materials were in short supply, so that had been imported mainly from Japan.

• 한국염색가공학회지
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• 제32권3호
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• pp.135-141
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• 2020

The primary and secondary alcohols in cellulose reacted with acrylonitrile(AN) in the presence of strong alkalis to form cyanoethylated cellulose. The partially cyanoethylated cotton(CEC) fabric with AN in the presence of aqueous sodium hydroxide solution was described, including effects of treatment time and reagent concentrations. The weight increases of cotton fabric were shown to be linearly related to the treatment time, temperature and concentration of sodium hydroxide. The physical properties such as shrinkage ratio and tensile strength were proportional to the weight increases without significant impact on elongation. But the moisture regain decreased with decreasing hydrophilicity. The degree of substitution(DS) and transfer ratio were linearly related to the weight increases. In the CEC with increasing weight up to 24.9%, it has been obtained with DS up to 0.63-0.67 cyanoethyl groups per anhydroglucose and transferring ratio up to 87.7%. The color fastness to washing by sublimation transfer printing was improved by the cyanoethylation.

• 한국의류학회지
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• 제21권1호
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• pp.155-169
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\ulcorner$Genjimonokatary (원씨물어)$\lrcorner$. This book is a novel written by a Japanese sextant worked in the Royal Court around the year 1010. In this book, about 110 different kinds of Garments, Ornaments, Colors and Materials were mentioned. The results of this paper were as follows. 1. About the Garments 8f Ornaments ; All the Clothing and Textiles in $\ulcorner$Genjimonkatary$\lrcorner$ were reflections of the reality of that time. In the Clothing, Color, Textile and even Hair style, the Symbol of Buddism appeared. Many technical methods were developed in the garment shaping, dyeng and wearing methods. 2. About the Colors Sf Dyes; There were many kinds of Color SE Dyes described in $\ulcorner$Genjimonokatary$\lrcorner$. This means color was developed more than other elements in that period. Among them, gray and black colors were mentioned, this means Buddist Color was fashioned in that period. $\ulcorner$Kasaneno-irome (강색목)$\lrcorner$ was changed from Ungan (운간) that had been origined of China and Korea. But it became one of the Japanese Costume. That have some reasons, for instance, high materials could not be imported from other countris and many people were controlled by the Taboo of clothing (금제) so they wanted the better method, such as Kasaneno-irome. Many kinds of colors'name was origined from flowers and plants. It also represented the seasons. Yurusi-iro (청색) was meaning the permitable color to the popular people. Without the head word, Deep Color' and 'Pale Color' meant those things of the purple and red. 3. About the Materials IE Patterns : The materials imported from other country, China and Korea, were good in quality, but those produced in Japan were not good. There were many kinds of dyeing method, especially Srijome (신염) was very special and nice method in that period.

• 한국의류산업학회지
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• 제7권5호
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• pp.472-480
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• 2005

It was proved the practical use of the unique traditional Korean paper through the previous researches. The purpose of this study was to suggest the adequate application which is making various applied patterns in the fashion products so as to contribute to textile, fashion, and Korean paper industry. Six kinds of vests with the same fashion material using the Korean traditional paper were manufactured in order to investigate the images of materials in case of wearing them on the actual human bodies. As the results of image assessment for the materials and the factor analysis, 'classical', 'natural', 'Korean traditional', 'rural' and 'luxury' images were presented as the representative image of the Korean traditional paper material. Making repeated patterns of stripes and zigzag by sewing-machine stitches showed the natural effect on Korean traditional paper. Well-matched harmony was shown between holes made by the needle in sewing and slits torn by the tension to the needle and the thread. Especially, transparency by irregular holes formed by artificial frictional washing could shown special formative arts harmoniously with semi-transparency of Korea traditional paper and touch of sewing yarn. After the unripe persimmon dyeing, holes made by the needle became more hard and tight. The changes were no longer shown by the artificial frictional washing and then fixed. As the result of applying the Korean traditional paper fashion materials with various patterns for the basic formed garments, it was shown that the common and simple garments were changed the garments with special formation which could be found on the art garments due to the creative touch and formative arts using the Korea traditional paper fashion material. A variety of formative application by means of the developed samples was suggested to enlarge the practicality. As the result of this study, it was discovered that the possibility and application of fashion goods through the developed samples made of Korean traditional paper.

• Composites Research
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• 제34권1호
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• pp.1-7
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• 2021

열가소성 섬유강화 복합재료는 수송용 기기의 경량화 소재로써 적용 분야가 확대되고 있다. 본 연구에서는 분자량이 다른 폴리카보네이트(PC)를 이용하여 연속섬유 강화 유리섬유(GF)/폴리카보네이트(PC) 복합소재의 함침성 및 기계적 물성에 대한 평가를 진행하였다. GF 직물과 PC 필름을 제조한 후, 이를 이용하여 연속가압성형법으로 연속섬유 강화 GF/PC 복합재 평판을 제조하였다. PC 분자량에 따른 용융지수를 측정 및 평가하였고, GF 제직물 강화 GF/PC 복합재료의 인장강도, 굴곡강도, 압축강도 및 기공체적률을 평가하였다. 전계방사형 주사전자현미경을 이용하여 인장파괴된 GF/PC 복합재료의 형태를 분석하여 파괴거동을 확인하였다. 분자량이 20,000일 때 최적의 기계적 특성이 발현되는 것을 확인하였다.

• 복식
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• 제52권1호
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• pp.129-143
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• 2002

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research, I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process. the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer. as Park Hang-chi liked to use the plaid patterns along with yam dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong. who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred. was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee. Rubina, and Haneza. In contrast. Lie Sang-bong. who used abstract patterns that do not give out meaning of the actual form of the pattern. rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo. and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly. in expressing the colors, SFAA designers were much more likely to choose achromatic colors. not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method. and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk. due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked. "While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette In terms of composition," which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs. and I hope that it can open up ways for new projects in the future.he future.