• Fashion & Textile Research Journal
• /
• v.10 no.2
• /
• pp.147-154
• /
• 2008

This study was carried out to examine the actual using condition of Yogawear and consumer's preference of Yogawear with traditional pattern. Yogawear can be developed as a cultural fashion item, because Yoga is getting universal interest with "Wellbeing Trend". A survey with 34 questionnaires was made by 305 consumers who had ever experienced Yoga from July to August, 2006. The results are as follows: 1. Most of objects were female(94%). Those who are in their twenties accounted for 50%, and those who take Yoga practice time less than 1 year accounted 63%, and those who take Yoga practice time less than 1 hour in a week accounted 46%. 2. Respondents who have Yogawear accounted 32% and they bought it in a online-shopping mall(48%), department store(16%) and discount store(11%). 3. Only 31% of respondents were satisfied of their Yogawear but they weren't satisfied about Yogawear Design, fabric and color. 4. Most preferred Yogawear style was pastel colored 'shirt & Pants' style with long sleeve using cotton fabric. 5. They liked much more modern Yogawear having korean image than completely korean style Yogawear or modern style Yogawear. 6.The benefits of Yogawear were 3 dimension: appearance, easy management, physical properties.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.30 no.4 s.152
• /
• pp.507-518
• /
• 2006

This study aims to prove that traditional patchwork wrapping cloth can be a creative motive for modem fashion, and the application of it can be a way of expressing not only the pride in our cultural heritage but also the originality of fashion design. The analysis of the plasticity of 108 patchwork wrapping clothes has come up with the following findings: Firstly, the plane structure consists of 41 basic forms and 67 applied ones. Secondly, 61 contrast color harmony and 47 similarity color harmony. Thirdly, the fabric consists of 88 silk clothes, 19 ramie clothes, and 1 silk and ramie cloth. Fourthly, 47 unlined clothes and 61 lined ones. The study also expresses the analyzed plasticity of patchwork wrapping cloth for fashion with the following findings: Firstly, basic plane structures, contrast color harmony, silk cloth and the press flower coating technique become one piece dress to express splendid and elegant image. Secondly, application plane structures, similarity color harmony of natural dyeing method using persimmon, ramie cloth and the press flower coating and over lock technique become a jacket and a blouse to express calm and dynamic image. Thirdly, the needling and over lock technique used to patch clothes has become a desirable way to express fabric with unique surface effects. Fourthly, the press flower coating which modernizes embroidery in patchwork wrapping. cloth has become a new technique which can create high values with its extended the visual effects of the material. Fifthly, Patchwork wrapping cloth in Chosun Dynasty has now become a motive for modem fashion design to express tradition and creation.

• Journal of Digital Convergence
• /
• v.15 no.7
• /
• pp.351-358
• /
• 2017

This study seeks to propose the virtual costume's pipeline production in digital fashion show which is based on the unique characteristic combining computer graphic technology and traditional fashion design. This study analyzed the fabric materials based on Korean traditional costume to create a virtual Hanbok for the digital fashion show, and conducted the group of professional's satisfaction statistics through the experiment to verify the realistic usability. The contents of primary process of producing virtual Korean costume is analyzed by summarizing the thickness, weight, and color as the three essential fabric properties required for virtual Hanbok. In addition, virtual costumes are compared with real Hanbok based on the usability survey to evaluate the positive research result by forty graphic experts. The purpose of this study is to present the guideline of essential material analysis of the fabrication to digital fashion show in the virtual clothing production.

• The Research Journal of the Costume Culture
• /
• v.16 no.1
• /
• pp.130-144
• /
• 2008

A recent concern about Goguryeo era reflects the efforts to find out our spiritual roots, which have descended from the ancient times; Goguryeo clothing study leads to analysis of our national spirit in terms of form. This study aims to analyze formal property and intrinsic meaning of Goguryeo clothing for Korean ramie clothing design and draw traditional images to derive design elements applicable to ramie clothing. On the basis of technical books, newspaper article, internet and precedent studies, theoretical study on Goguryeo clothing and ramie property was followed up with positive study to analyze the clothing on the Goguryeo ancient tomb mural. The results are as follows: First, a progressive spirit is to progress and develop anything actively; This spirit represents Goguryeo people's ambition and racial characteristic as horse-riding people; The rigidity of ramie fabric is suitable for expressing straight silhouettes and detail in Goguryeo dress. Second, a fluidity means flowing property in opposition to fixation; in the case of clothing, it has a tendency to change form according to body motions; The extensibility and crease-resistance of ramie fabric is suitable to express pleated skirts and holds high design value for modern people who tend to regard clothing as important individuality expression. Third, a universal property to introduce and receive; as Goguryeo was a prosperous country established by conquering an open plain, the period formed a society that recognized diversity by introducing foreign cultures freely; a universality suggests the direction of modernization of traditional ramie clothing and stimulates us to discovert new design through compromise between various cultures rather than to stick to traditional style. Considering the fact that precedent studies on traditional clothing are concentrated upon the Joseon period and also limited to formal analysis, this study aims to derive design elements for actual clothing making. These results are expected to be used as basic material for study as well as reference for designers who wish to design modern Korean clothing.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.26 no.2
• /
• pp.355-363
• /
• 2002

The purpose of this study was to investigate how the weave type, yarn twist fabric count and fiber content of the worsted fabrics affect the subjective sensation of the hand. Thirty worsted fabrics that were mainly used for the spring and fall ladies'suits at national brands were selected. Variables were such as four different kinds of weave types, plain, twill, satin and decorative; two levels of yarn twist, normal and high; various fabric counts; two different fiber contents, pure wool and Lycra contained. Image analysis and wavelet transform techniques were used to quantify the surface fiber, For surface characteristics, MIU, MMD and SMD were measured by KES-FB system. The Questionnaires with 23 adjectives were used for the subjective hand evaluation. Panels were So specialists of fashion or fabric designers and merchandizers. By Factor Analysis, six factors that represent the subjective hand were extracted. The relationship between these factors and structural variables were analyzed. Yarn twist was significantly related to the surface characteristics and resilience. Weave structure affected surface characteristics, volume/warm-cool feeling and resilience. Fabric counts showed relations with volume/warm-cool feeling and the fiber contents with volume/warm-cool feeling, resilience and elastic properties. MIU, MMD and SMD showed no relations with the surface fibers. Subjective sensation of surface characteristics was affected by SMD and surface fibers.

• Journal of Fashion Business
• /
• v.20 no.6
• /
• pp.66-78
• /
• 2016

Hygroscopic knitted cotton fabric was found to spontaneously absorb water showing a significantly wide concentration gradient in the absorption direction. A semi-empirical diffusion model was introduced to describe how the wicking behavior compared to the classical capillary model (Washburn's equation), which has been widely used in the textiles industry. The capillary sorption curve and the permeability coefficient, which are key variables for the model equations, were measured using an electronic balance. The concentration profile as a function of the wicking distance and the elapsed time was derived, based on the diffusion model. From the concentration profile, the wicking distance detectable by the human eye or a digital camera with the aid of an image-analysis system, could be described realistically as a function of the time. The classical capillary model could be modified by introducing the tortuous correction factor to match the diffusion model. Wicking models and data-processing techniques in the work could provide useful tools for objectively evaluating the textile's wicking performances.

• Journal of Fashion Business
• /
• v.12 no.4
• /
• pp.131-142
• /
• 2008

One of the major fashion trends is the naturalism and ecology-conscious trend. The natural looks required in the trend require somewhat random distribution of yarn linear density, which results in irregular appearance along the yarn. This is a technically challenging work of producing yarns that look natural far from being artificial yet maintaining the intricately aesthetic randomness without causing process disturbances. This study focused on the characteristics of fabrics made of natural cellulosic fibers including hemp, ramie, flax, and polyester fabrics. Image analysis of the fabric samples included area measurement of yarn specimen, FFT and inverse FFT. Measurements of bending resistance, thickness, air permeability, and weight were also implemented to interpret the structural differences.

• The Research Journal of the Costume Culture
• /
• v.24 no.1
• /
• pp.27-40
• /
• 2016

This study investigated the preference of sensibility expression factors regarding fashion materials, such as the color, pattern and texture of fabric. Moreover, this study analyzed the relationship between the preference of sensibility expression factors and the preference of fashion images by identifying the preference of fashion images. The survey subjects were 312 women ranging in age from 20 to 40 years old. This study utilized a questionnaire as a measurement tool. First, this study performed a factorial analysis on the preference of sensibility expression factors of fashion materials. In regards to color preference, this study considered color depth such as light tone color, moderate tone color, dark tone color and vivid tone color. In regards to pattern preference, this study examined: geometric pattern, floral pattern, animal skins pattern, check pattern and symbolical pattern. In regard to preference of the texture, this study assessed: roughness, luster, flatness and lightness. Second, this study performed a factorial analysis on the preference of fashion images. This study examined five factors: dignity, uniqueness, femininity, activity and simplicity. Third, this study analyzed the effects of the preference of sensibility expression factors of fashion materials on the preference of fashion images. As a result, the color preference was related to the image preference associated with dignity, femininity and simplicity, whereas the pattern preference was related to the images of uniqueness, femininity, activity and simplicity. Moreover, the preference of texture image was related to the images of dignity, uniqueness, femininity and activity.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.10 no.3
• /
• pp.1-13
• /
• 2008

The purpose of this research is to study the cause of obstruction in various knit pattern structures by understanding the needs of the customers, and to develop knitted fabric goods that satisfy the individual taste of consumers and that reflecting the latest fashions. Actual conditions of the manufacturer's designing processes must be examined. In addition, a comparison analysis of fashion sensibilities and preferences between producers and consumers had been made in order to study developing knit pattern structures. Questionnaires and interviews had been used as research methods. The research involved two groups: one group consisted of 57 producers, which included designers, programmers, and merchandisers working for a knit manufacturer in Seoul, while the other group consisted of 74 consumers, which included students with knitted fabric design as their major and those who have working knowledge of knitted fabrics. For a more accurate evaluation, 28 out of 150 patterns have been selected through a preliminary study conducted by 24 designers. On the 28 knit patterns, a sensibility evaluation had been made through the use of the sense of sight and sense of touch, which was followed by a frequency analysis, cluster analysis, and t-test using SPSS 12.0. The results are as follows: the fashion sensibility evaluation on knit patterns showed that structures, such as racking II or lace II, are typically elegant ('elegance'), while structures, such as links I or racking I, are typically 'active.' Furthermore, a 'country' image was displayed in structures such as cable I, cable II, and miss II. Links I appeared as 'sophisticated'. Miss I and milano were said to have 'modem' images. Lace II was regarded as 'ethnic', while racking II was said to have a 'romantic' image. 2:1 rib and milano were generally thought to be manly ('manish'). The fashion sensibility scale for each knit pattern has been made based on the above results. Based on producer and consumer responses, the sensibility evaluation on knit pattern structures showed that the two groups had similar preferences in knit pattern structures. Therefore, the fashion sensibility scale developed in this study can be used as a basic data for structure development when designing knitted fabric goods.

• Journal of the Korean Home Economics Association
• /
• v.44 no.10
• /
• pp.91-100
• /
• 2006

This study analyzed the formal characteristics of traditional Jokakbo and modern works applying Jokakbo, and developed aroma chumoni representing the symbolic image and cultural identity of Bamboo at Dam-Yang, Mae-Wha at Kwang-Wang and San-Soo-You at Ku-Rae, all of which are in Chonnam. Initially, inform a theoretical point of view, the characteristics of modern works applying Jokakbo were investigated with regard to the pattern, color, fabric material and technique. Secondly, for the development of aroma chumoni, square and round patterns, representing the images of Bamboo, Mae-Wha and San-Soo-You, were applied. Relating to colors, green, pink, red purple, yellow, light yellow red and pale yellow were applied. With respect to the fabric materials, No-Bang and A-Sa, representing the lightness and coolness of the image, were used. When considering the technique, the traditional needle, rather than any other modern technique, was used.