• Journal of Fashion Business
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• v.19 no.5
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• pp.1-16
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• 2015

The appearances and geometry structures of knitted fabrics have important effects on their functions as textile fabrics. Structural design of the woven fabric, prior to the manufacturing processes in the weaving mill, often leads to a similar predictable appearance in the final outcome with the corresponding weave design. The increase of the employment of elastic textile yarns in knitting fabrics for comfort stretch or outdoor sports wear knit products has, however, resulted in difficulties in predicting the final appearance of the knit structure design. Due to the stretchability and exceptional recovery behavior of the elastic yarns such as polyurethane elastomeric yarns, the appearance of the final product often differs from the initial knit design. At textile CAD program for preparing tricot knit designs has been employed in this study to predict the two dimensional appearance of the design. The similarities between the designs and corresponding knit products seem to be acceptable for the two-dimensional textile CAD program in this study. However, when elastomeric yarns are partially employed in the polyester filament tricot product, a considerable amount of departure from the design is apparent due to the constriction and/or deformation of property differences in the elastomeric yarns and polyester filament yarns. Therefore, another purpose of this study is to measure the departure of the final tricot product from the initial tricot design, especially in the case employing elastomeric yarns in the knit structure together with regular polyester filament yarns. For measuring the three-dimensional departure, a 3D scanning system has been used for the mesh reconstruction of the fabric specimen. Hopefully, the result from this study will be used as a guide to modify and improve the current textile CAD program proposed for the two-dimensional simulation of the tricot.

• Journal of the Korean Society of Clothing and Textiles
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• v.45 no.3
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• pp.453-463
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• 2021

The lengthwise and widthwise deformation of warp-knitted fabrics with different sizes and loading modes were evaluated. Moreover, five tricot samples cut in three directions were compared under four test conditions (A-D). In tests A and B, 500 and 250 g loads were applied on a layer of 20 × 20 and 5 × 10 cm² samples, respectively. In test C, a 20 × 20 cm² sample was folded in half over a rod, and 500 g load was applied to each half. In test D, a 20 × 20 cm² sample was sewn in a loop and subjected to a 500 g load. The lengthwise extension and widthwise contraction analysis results indicate that test B affords the largest values. However, analysis results of the warp-knitted fabric normalized through conversion to a 1 g load and 1 cm sample width indicate that the largest values are afforded for test D. Therefore, pattern reduction may vary depending on the measurement method and properties of the knitted fabric used for the compression wear production, causing variations in the finished product. Thus, an appropriate measurement method must be adopted based on the compression wear design and knitted fabric to be used.

• Korean Journal of Human Ecology
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• v.16 no.4
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• pp.813-824
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• 2007

This study purposed to analyze the preference suit design of spring and summer for elderly women who become weak in physical, physiological and psychological aspects. Accordingly, a questionnaire survey was conducted to analyze clothes elderly women prefer and present design. As a result, the following conclusions were obtained : First, The style of outfit that elderly women preferred when they went out was a tailored collar jacket and a straight slacks suit. On the assumption that they buy a jacket, however, they preferred a peter pan collar jacket, while they did not like a tailored collar jacket. Second, They liked light and bright pink and yellow colors as color of clothes for spring season, but they preferred grey color most in buying suit actually. For autumn season, they preferred beige, brown or grey colors most. With regard to materials for suit, they liked wool solid fabrics with stretch. As for a blouse, they preferred a single color most. There were significant difference between preference suit design and Assumption of buying suit design.

• Korean Journal of Human Ecology
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• v.24 no.2
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• pp.255-266
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• 2015

In this study, we have developed the ergonomic pattern from the 3D human body reflecting cycling posture and extensibility of the stretch fabrics. Adjusting pressure level in the construction of athlete's tight-fitting stretch garments by reducing the original pattern is a challenging subject, which influence on the performance of the wearer directly. Therefore, in this study, relationships between the reduction rates of the 2D pattern obtained from the 3D human scan and resultant clothing pressure were explored to improve the fit and pressure exerted by reduced clothing pattern. Subjective wear sensations of the experimental garments were rated using a seven-point Likert scale on two consecutive days. While wearing the garments, subjects were asked to take five different postures including waist flexion, sitting and others. A Likert-type scale was used for the evaluation, with 7 points indicating the best fit in tight-fitting pants. Comparing 2/3T-pattern with T-pattern, the latter was superior to 2/3T-pattern in terms of adhere well to the waist and hip area in the 0.032 significance level. T-pattern was superior to 2/3T-pattern in terms of fitting and wear comfort. As results, the pattern obtained from the flexed body reflecting cycling posture already included the contraction and extension of the skin while cycling posture, so that the extra ease for movement and good fit was not need to be considered. The optimized reduction rates were determined with the proposed reduction rate, the resultant pressure range was within the range of $0.5{\sim}3.0gf/cm^2$ at eight locations on the body except front waist band and thigh band.

• The Research Journal of the Costume Culture
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• v.16 no.3
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• pp.461-474
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• 2008

The purpose of this study was to present a making method of jeans pattern with high fitness after deriving the appropriate shrinkage rate by material and washing process. Research Method of jeans pattern was presented after applying the optimized shrinkage rate. According to the result of the exterior evaluation of test jeans, all 6 jeans were rated high with scores close to 3.5. Following the evaluation of satisfaction of usage by physical movement, the highest ranking was in the order of walking with normal steps, back bending $90^{\circ}$, chair sitting, climbing stairs, and squatting. The shrinkage rate by physical area showed the highest score in the order of pants length, waist circumference, thigh circumference, knee circumference, hem circumference, hips circumference. In addition, the shrinkage rate was higher in warp direction than weft direction after washing finishing. As for the result of addition and reduction of pattern measurements by parts of jeans, waist circumference was $2.5{\sim}5.2cm$, hips circumference was $-1.8{\sim}2.8cm$, thigh circumference was $-1.3{\sim}2.0cm$ and knee circumference was $-1.0{\sim}1.7cm$. Also, hem circumference was $-1.0{\sim}1.8cm$ and pants length was $2.9{\sim}6.2cm$. That is, this results showed a wide range of addition and reduction according to material and washing finishing.

• Textile Coloration and Finishing
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• v.24 no.4
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• pp.288-295
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• 2012

Although some degree of mechanical properties of suede fabrics mainly related to non-woven suede fabric has some researched, the thin suede fabric has rarely been researched. In this study, polyester(DTY 50/72) was used for warp, and after producing latent yarn and sea-island yarn for weft, two yarns were compounded to produce sea-island DTY yarn. By using the two produced yarns for warp and weft, we produced thin suede fabric with stretch function. For weft 2ply, weft density 85, 90, 100(picks/in) were applied to weave fabric, and for weft 1ply, weft density 125, 135, 140(picks/in) were applied to produce weft face 5-end satin weave. The mechanical properties of the produced fabric were researched. The result are as followed. The weight loss ratio of the suede fabric produced for this experiment reached 15% on the conditions of temperature $90^{\circ}C$ and 20 minutes, so that island parts were completely separated. The strength of weft 1ply applied suede fabric was about 7.5kg and that of 2ply suede fabric and about 3.5kg. But the strain of two samples ranged from about 40 to 43%. Although Hari was high when weft was denser. The values of Koshi and Kisimi were low. And shear stiffness was high when sea-island DTY yarn was used. The WC value was higher in the case of 2ply than in that of 1ply sea-island DTY yarn for weft, so that we may conclude that Fukurami was more affected in the 2ply case.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• Journal of the Korean Society of Costume
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• v.48
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• pp.197-216
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• 1999

This study reflects the aim of analyzing the formality and symbolism of the Chanel suit. Chanel had designed jersey and tweed cardigan suits in the 1910s and 1920s while her suits of the 1930s were crisply fitted. The suits of the 1950s and 960s while were comfortable and slightly boxy marked a significant step forword. Lagerfeld's mission at Chanel was to tranmute the basic elements of the Chanel style and make them contemporary. He has also introduced the contemporay wide shoulders and short tihht skirt In place of sensible knee-length skirts he offered hemlines that either grazed the ankles or exposed most of the thighs. Besides her very influential jersey and tweed cardigan suit Chanel continued to assert her considerable strength with materials often making her suits in very delicate feminizing fabrics. in place of the classic boxy tweed jacket Lagerfeld introduced jackets made of terrycloth denim and stretch fabric Many of Chanel's suits show a stylish sense of colour that would have made artist envious. Chanel and Lagerfeld chose variety of colours from beige and grey and black to blue green cerisen and red for her suits. They was completely in tune with the twentieth century understanding the changes in lifestyles of woman and also understanding how her clothes should cater to them Thus the Chanel suit is more a way of life than just a fashion and is synonymous with wealth and aritocracy. It is one of the most popular status-symbol styles of the 20th century.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.99-111
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• 2005

The research analyzed the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference. The result which tries to observe the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference, it was visible a difference little by little. When comparison it tries the design which it prefers but consequently most in type of performance musical instrument, the big difference is not born and not to be putting the difference of the preference design which it follows in type of musical instrument specific your neck line, color, and silhouette of the vocal musician or wind music performer. When seeing whole, the clothing attitude regarding a performance luck compared to considered seriously an aesthetic pursuit and a convenient characteristic and harmonious, there design preference is the clothes which have no sleeve, neckline like camisole, black and pastel color, design with lots of decorations, princess silhouette, and they prefer the fabrics which have softness to it. Now, I want to introduce restriction of this research and proposal. First, the fundamental research of performance's clothes is insufficient with restricted point and the literature investigation is difficult, second, it was difficult to stretch the whole market for performers because of limitation for research volunteers. Only few volunteers are from college who are majoring in music.

• The International Journal of Costume Culture
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• v.4 no.3
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• pp.229-240
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• 2001

The purpose of the present study was to analyze the acceptance level of forecasted information of casual wear in tate 1990s in Korea and the way of utilizing fashion trends information by casual wear industries. The Present study was implemented by content analysis and descriptive survey using questionnaire and interview. Trends information in fashion journals published by fashion institute and articles in daily newspapers were analyzed in terms of fashion image, color, fabric, and silhouette. The data collected from questionnaire and interview with 113 fashion specialists were analyzed through frequency, percentage. The results indicated that among the forecasted information regarding fashion image, romantic and feminine images showed a high level of acceptance to national brand women's casual wear in the late 1990s, while mannish image showed a low level of acceptance. For men's casual wear in the same time period, androgynous trends appeared most frequently, not only in forecasted information, but also in actual trend. it was forecasted that yellow, white, and gray would be in trend and those colors appeared frequently in actual trend. On the other hand pastel tone appeared much more frequently than forecasted. Natural, thin - transparent (S/S) and stretch fabrics (F/W) were in actual trend as it was forecasted. Fit and Pare (woman), and long and slim (man) silhouettes were in actual trend as if was forecasted, but barrel silhouette appeared only in forecasted information. Most of the information forecasting fashion trends for next season were applied to the product planning of the season, right after the information comes out.