• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.3
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• pp.99-108
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• 2021

The present study examines the overall manufacturing status of local wetsuit makers, problems in the manufacturing process, and future research tasks. The study revealed that most manufacturers use neoprene fabric of varying thickness, depending on the body part. Normally, 3 mm-thick fabric is utilized for high-activity body parts and 5 mm-thick fabric is used for high-activity areas requiring thermal insulation. In terms of the manufacturing method, the tools and manufacturing processes used by companies were found to be similar. However, because of the nature of wetsuits requiring a more complicated manufacturing method than that of general clothing, there were some differences in the manufacturing method processes from company to company, such as bonding and ease treatments. According to wetsuit manufacturers, they make incisions in consideration of the body's curvature and the overall shape and design of the wetsuit when developing patterns. For example, most answered that they preform the wrist and ankle parts, where the body's curvature is obvious. On the question regarding the "difficult manufacturing process", the most frequent response was the "bonding" process. Most manufacturers were found to focus on designs that can improve mobility and clothing fit, and commonly experienced low-order quantity as an operational difficulty. As for the question on the wetsuit-related technology needed in the future, the "development of various designs" was the most frequent answer, followed by the "development of lightweight and diverse materials".

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.1
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• pp.87-101
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• 2019

The sleeve is closely connected with activity in terms of costume. As a kind of overcoat, Dap-ho of the Joseon Dynasty is short-sleeved or sleeveless. Dap-ho, with simple sleeves is convenient for layering and taking off and since it is easily adjustable using a gusset, a slit, or coat string, and this can be applied to layered look-related designs. This study aims to suggest a design item, which sustains the existence of traditional costumes and facilitates diverse layered looks and co-ordination, using the formative elements of Dap-ho. For this study, theoretical backgrounds and relics of Dap-ho of the Joseon Dynasty were analyzed, based on the previous studies, ancient literature, "The Annals of the Joseon Dynasty", and relics preserved in museums. The analysis targeted nine relics that show the birth and death years and the constructive changes in shapes, colors, materials of Dap-ho. Formative elements of Dap-ho were applied to the designing and the manufacturing of clothes for middle-aged women in their fifties and the research conclusions are as follows. First, from a morphological perspective, the silhouette, gusset, slit, and the indirectly attached coat string of Dap-ho are good to be used as various design items for covering the body shapes of middle-aged women, and the short-sleeved or sleeveless type is convenient to be layered. Second, when it comes to the material, it is possible to emphasize a traditional image and practicality at the same time by mixing and matching the Hanbok cloth and cotton. Third, in relation to the colors, the coexistence-based color arrangement method considering the theory of Yin and Yang can be applied to modern clothes and this makes it possible to express a traditional image in a harmonious way.

• Journal of Fashion Business
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• v.23 no.4
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• pp.127-139
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• 2019

Up-cycling has evolved from its original form of the simple recycling of waste, into an industry of its own that has been gaining momentum. In many developed industries, up-cycling is increasingly seen as an 'environmentally-friendly way of production and ethical way of consumption'. However, an examination of the designs of branded up-cycled products suggests that there is a need for product development fueled by further research on materials. The purpose of this study is to introduce various production methods that can overcome the shortcomings of using waste material and Korean motifs for use in product development, which ultimately contribute to enhancing the potential variety and character of up-cycled products. In order to do so, the up-cycling industry was examined to define key concepts, domestic and overseas markets were surveyed, and case analyses were conducted on domestic and foreign up-cycling brands. In addition, after tracking how leather is discarded and accumulated as waste and then collecting the discarded leather, the properties of the material were analyzed. A study of Korean motifs was followed by the concept summary, and upcycling design expressions that exemplify Korean images were identified. The following two novel methods were used to create six up-cycled bags using collected discarded leather. First, lucky bags and moon pots were selected from various Korean motifs in order to use motifs with identifiable features. Secondly, different variations of cutting and attachment methods were used, including iron mold production methods and presses.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.579-591
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• 2019

This research investigated the needs analysis on consumers of fine dust masks to effectively develop a design prototype. Data were collected through focus group interviews on 32 individuals who have used fine dust masks. As a result, there is a new demand by consumers for technology based design changes that better fit the nose and face. Consumers preferred the smell and feel of traditional Korean paper. Young adults expressed the importance of masks that can be used for protection as well as fashion. The prototype improved the drawbacks of existing models using an origami-inspired design in a variety of colors, patterns and in sizes that are customized to fit the wearer. The proposed prototype is made of Dak felt fibers and jersey materials. It is characterized by downward-facing ear bands made of polyurethane to improve the fit around the ears and chin to more effectively block incoming air. The mask is foldable and has a crease that goes along the chin to increase the amount of enclosed space against the face making it easier to breathe compared to existing mask designs.

• Journal of Fashion Business
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• v.23 no.2
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• pp.62-76
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• 2019

The importance of color is increasing in modern life and we call such present age that is 'color age'. These day that all areas of life are being getting fashionize, ordinary people as well as design specialist are required of culture and knowledge about color. Color design education is important curriculum at liberal arts course and in special design trainning course. Color expresses by hue, value and chroma in Munsell color system. But design spot is using mainly hue and tone color system. Therefore it is very important that educate tone concept in color design education. When think influence that increase of color, we must develop hue and tone color system in suitable for color design education. This research designed usable 'Hue and Tone 313 Colot System' for efficeint sensual color education. Also I designed 313 color papers with attached the Munsell notation which could reappear the spare color paper when needed. The 10 hues classification of this system are Red, Yellow Red, Yellow, Green Yellow, Green, Blue Green, Blue, Purple Blue, Purple, Red Purple. The 19 tones classification of this system are vivid, light, standard, deep, pale, soft, dull, dark, very pale, light grayish, medium grayish, dark grayish, very dark, off White, off Pale, off Light Gray, off Medium Gray, off Dark Gray, off Black. The special colors of this system are gold, silver and copper.

• Journal of Fashion Business
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• v.23 no.2
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• pp.124-139
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• 2019

The purpose of this study was to examine the characteristic expression of Korean traditional costumes shown in the Korean paintings by Kim Hyun-Jung. The study analyzed the paintings by Kim Hyun-Jung to find out the characteristics of the contemporary Korean paintings and the expression of Korean traditional costumes. The characteristics of Kim Hyun-Jung's works are as follows: 1) The paintings are drawn by using Korean traditional painting methods and finished with Korean traditional paper, hanji. Moreover, they show the Korean traditional costume as main subject material. 2) They use modern painting methods, such as collage, and show pop art characters by use of contemporary popular products. 3) The artist communicates with the public through SNS and YouTube, and shows characteristics of popular art through commercial art products and advertisements. The characteristics of the Korean traditional costume in Kim Hyun-Jung's works are as follows. 1) The hanbok shown in the paintings is a traditional style with tight jeogori and wide chima. Chima is drawn in thin coloring with Korean ink and jeogori is expressed with semi-transparent hanji in various patterns and colors, which shows the subject 'coy'. 2) Various kinds of Korean traditional accessories and modernized flower shoes with high heels are shown as subject materials. The art works by contemporary Korean artists are expected to be the route to give valuable information to the public about Korean traditional costumes as well as the trendy Korean culture.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.781-789
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• 2021

To enhance the design and comfort of waist-protection corsets, this study analyzed the product characteristics of five types of posture-correction corsets that are available commercially. Additionally, subjective evaluation of the corsets was conducted on women aged 20 to 60 years, in terms of design, material preference, fit, comfort, degree of correction, freedom of movement, tightness, and convenience of front fastening. Following product analysis, the five corset types were divided into: two soft, one semi-hard, and two hard types in terms of the degree of elongation. As a result of pattern analysis, the soft type was designed to improve fit by reflecting the body curvature, whereas the semi-hard and hard types were relatively flat. Through the wearing sensation assessment, the hard type manufactured by company S was the best in terms of design, material, fit, comfort, correction degree, and freedom of movement. The soft type was average in design, material, and fit while relatively poor in the correction degree and tightness. The results indicated that soft materials, flexible bones with appropriate tension, patterns designed to snugly fit the body with large curvature at the top and bottom for better inflection, and adjustable support belts that can be double-fixed are crucial elements in improving the corset design to boost the comfort of wearing. These study results are helpful in the development of waist-protection corsets with excellent wearing comfort and design appreciated by customers.

• Fashion & Textile Research Journal
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• v.23 no.6
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• pp.758-769
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• 2021

The purpose of this study is to analyze the traditional embroidery in India by region based on Bourdieu's cultural theory. As the research methods for this study, literature and case studies were conducted. The results of the study are summarized as follows. First, India's regions could be divided into four distinct regions based on language and religion. The main concepts of Bourdieu's cultural theory, namely the sub-dimensions of field and habitus, were the field of social system, the field of goods & economy, the field of environment/region, culture, and ethnicity. Second, Eastern India's embroidery was influenced by Hinduism and traditional art. The embroidery used various fabrics such as the Applique work, and vivid colors and patterns were mainly used in the Hindu myths, animals, and flower patterns of the embroidery. Third, embroidery in Western India was influenced by exotic cultures like Persian due to geographical conditions, and embroidery via the use of gold threads and various ornaments was developed. Symbolized flower patterns and geometric patterns were used a lot in the respective embroidery. Fourth, embroidery in southern India was influenced by the Dravidian culture and their architectural style, which saw the emergence of an embroidery that used simple colored cross-stitch. Most of the patterns in this embroidery are geometricized. Fifth, Northern Indian embroidery has historically served as the center of power, resulting in an embroidery that uses various forms and materials. In this embroidery, flower patterns are mainly used. Finally, the characteristics of the traditional embroidery of India's each region is based on Bourdieu's cultural theory, which could be summarized as ethnic religiosity, exotic splendor, structural formality, and symbolic power.

• Fashion & Textile Research Journal
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• v.24 no.1
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• pp.127-137
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• 2022

Recently, various clothing items are being developed using 3D printing technology, but comfort has become an issue while wearing them for a long time. Therefore, this study researched on how the temperature and humidity of the devices developed by 3D printing change depending on the material combination. Five types of material combinations (EVA foam, TPU density 10%, TPU density 30%, EVA foam+TPU density 10%, and EVA foam+TPU density 30%) were selected as variables, and the experiment was conducted for two different cases with and without a cover. All the ten types of samples were placed on the hot plate set at 36℃, and the surface temperature and humidity were measured at three different points for 10 minutes. As a result, the case with only TPU showed the greatest temperature change while the case with 100% EVA foam showed the least temperature change. The humidity of the surface layer gradually decreased with time for 100% EVA foam. For the case with TPU materials, the moisture was transferred to the surface layer at first, thereby increasing the humidity but then dropped significantly. Meanwhile, the cases with the cover on showed similar tendencies of change in both temperature and humidity where the overall temperature and humidity delivery were slow.