• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.33 no.3
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• pp.273-279
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• 2023

Objectives: Objectives of this study were: 1) to introduce industrial situation and health hazards of synthetic fiber, 2) to review a case of chronic obstructive pulmonary disease in a worker exposed to synthetic fiber reported to the Korea Occupational Disease Surveillance Center, and 3) to suggest supplementary measures for the occupational health system for workers exposed to synthetic fibers. Methods: Respiratory exposure, health hazards, and exposure standards for synthetic fiber dust in Korea and other countries were reviewed. In addition, a case of chronic obstructive pulmonary disease due to exposure to nylon dust reported to the Korea Occupational Disease Surveillance Center was reviewed and summarized. Results: The worker was a 53-year-old non-smoking male who had been involved in the nylon weaving process for 26 years. He had shortness of breath from three years ago. He was diagnosed with chronic obstructive pulmonary disease. PM1.0, PM_2.5, and PM10 were measured at 26.6 ㎍/m³, 48.2 ㎍/m³, and 91.7 ㎍/m³, respectively. Fiber components estimated as nylon fiber were detected in the microscopic examination of a solid sample. Conclusions: For workers exposed to synthetic fiber dust, special health examinations of the respiratory system, regular work environment measurement, and work environment management through workplace health management should be performed. It is necessary to research on health effects of synthetic fibers.

• Fashion & Textile Research Journal
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• v.25 no.6
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• pp.673-689
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• 2023

To realize the traceability of sustainable textile products, this study presents a low-carbon process through energy savings in the textile material manufacturing process. Traceability is becoming an important element of Life Cycle Assessment (LCA), which confirms the eco-friendliness of textile products as well as supply chain information. Textile products with complex manufacturing processes require traceability of each step of the process to calculate carbon emissions and power usage. Additionally, an understanding of the characteristics of the product planning-manufacturing-distribution process and an overall understanding of carbon emissions sources are required. Energy use in the textile material manufacturing stage produces the largest amount of carbon dioxide, and the amount of carbon emitted from processes such as dyeing, weaving and knitting can be calculated. Energy saving methods include efficiency improvement and energy recycling, and carbon dioxide emissions can be reduced through waste heat recovery, sensor-based smart systems, and replacement of old facilities. In the dyeing process, which uses a considerable amount of heat energy, LNG, steam can be saved by using "heat exchangers," "condensate management traps," and "tenter exhaust fan controllers." In weaving and knitting processes, which use a considerable amount of electrical energy, about 10- 20% of energy can be saved by using old compressors and motors.

• Fashion & Textile Research Journal
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• v.25 no.5
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• pp.560-567
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• 2023

This study aims to rediscover the industrial value of a borderless service in the hyper-connected era by producing fashion content at the forefront of the cultural industry as XR content and contributing to developing fashion content for edutech. The research method employed design aesthetic theory, while the empirical proposal utilized scientific knowledge information to build a framework for 3D convergence content. The characteristics of fashion content exhibitions that apply the neumorphism technique are as follows: The first is a virtual space that produces clothing culture by type. Africa, where dyeing and crafts are developed, selects a product-oriented exhibition type; Asia, where weaving and textiles are excellent, selects a random movement type; and Europe, where the evolution of clothing design over time is evident, selects a guided movement type to create a three-dimensional fashion edutech. The goal was to produce content. The second is creative reproducibility, which combines a new fashion design that embraces the aura of the original with a trendy sense. The realistic folk costume style of the original allowed for its implementation in the AR exhibition space using historical traditional style techniques such as weaving and textiles. The third is building organic, modular content. By designing and then saving/editing/arranging the basic VP zone for each style, learners and instructors can freely edit the content for each fashion class topic and create various presentations to ensure that it functions as non-face-to-face edutech content around the world.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.

• Science of Emotion and Sensibility
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• v.21 no.4
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• pp.55-62
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• 2018

The two main requirements of wearable optical fiber fabrics are that they must presuppose a high degree of flexibility and they must maintain the luminance effect in both flat and bent conformations. Therefore, woven optical fiber fabrics that satisfy the above conditions were developed by both weaving and by using computer embroidery. First, we measured the brightness of the wearable optical fiber fabric in the flat state at a total of 10 measurement points at intervals of 1 cm. Second, the wearable optical fiber fabric was placed horizontally on the forearm, where three-dimensional bending occurs, and the luminance values were recorded at the same 10 measurement points. For the woven fabric in the flat state, the maximum, minimum, average, and standard deviation luminance values were $5.23cd/m^2$, $2.74cd/m^2$, $3.56cd/m^2$, and $1.11cd/m^2$, respectively. The corresponding luminance values from the bent forearm were $7.92cd/m^2$ (maximum), $2.37cd/m^2$ (minimum), $4.42cd/m^2$ (average), and $2.16cd/m^2$ (standard deviation). In the case of the computer-embroidered fabric, the maximum, minimum, average, and standard deviation luminance values in the flat state were $7.56cd/m^2$, $3.84cd/m^2$, $5.13cd/m^2$, and $1.04cd/m^2$, respectively, and in the bent forearm state were $9.6cd/m^2$, $3.63cd/m^2$, $6.13cd/m^2$, and $2.26cd/m^2$, respectively. Therefore, the computer-embroidered fabric exhibited a higher luminous effect than the woven fabric because the detailed structure reduced light-loss due to the backside fabric. In both types of wearable optical fiber fabric the luminance at the forearm was 124% and 119%, respectively, and the light emitting effect of the optical fiber fabric was maintained even when bent by the human body. This is consistent with the principle of Huygens, which defines the wave theory of light, and also the Huygens-Fresnel-Kirchhoff principle, which states that the intensity of light increases according to the magnitude of the angle of propagation of the light wavefront (${\theta}$).

• Proceedings of the Korean Geotechical Society Conference
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• 1999.11c
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• pp.21-38
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• 1999

Engineering properties of most polymers used in geosynthetics such as geogrid can be degraded by the chemical reaction (e.g., oxidization, ultraviolet rays, hydrolysis etc.), chemical and mechanical load, microorganism, and so on. In addition, polymer can be damaged by the compaction during construction, and the characteristic of tensile strength of polymer can be changed by the long-term creep effect. In this study, engineering properties of flexible geogrids which are manufactured by weaving/knitting the high-tenacity polymers such as polyester formed in a very open, grid-like configuration, coated with any one of a number of materials (e.g., PVC, latex, etc.), are investigated. Through the analysis of test results, the durability and the long-term design tensile strength of flexible geogrids are evaluated.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.452-456
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• 2013

Velvet is a luxury cloth. In Fashion it dresses the Elite. In Interiors, it covers palace walls and upholsters elegant furniture. In every culture throughout its history velvet's sumptuous surfaces denotes luxury, status, power, privilege and wealth. My humble aim is to reveal the artisan in the art-to comprehend the mastery of weaving techniques, to understand the design principles, to study the everyday practice of the weavers at work. In the few ateliers that still weave silk velvet by hand, I have documented their processes and now want to share this knowledge with the broader textile community in hopes of expanding the appreciation of their art. I approach as a fellow weaver striving to learn the mechanics, the practical aspects that guide the work from initial idea to finished cloth. I leave the difficulties of establishing provenance and other important analyses to my more learned textile historian colleagues.

• The Korean Journal of Community Living Science
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• v.27 no.4
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• pp.795-801
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• 2016

This study was conducted to suggest the best union fabric to combine with cellulose fiber for summer and in-between seasons. Four types of union fabric, viz. silk/flax, silk/cotton, rayon/flax and rayon/cotton, were used as sample fabrics after weaving them in a local textile factory. The air permeability, moisture regain, water absorption, water vapor permeability and thermal insulation of the samples were tested. The results are as follows. The rayon/flax union fabric is the most suitable for summer clothes due to its having the best comfort property of air and water vapor permeability, and moisture and water absorption. For in-between seasons, it is recommended to use the silk/cotton union fabric because of its good thermal insulation properties.

• Journal of the Korean Home Economics Association
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• v.35 no.4
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• pp.185-198
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• 1997

This study was initiated to research on the uniform preference uniform satisfaction and wearing of female workers' uniform of the fiber firms. Data was obtained from 361 female workers of the fiber firms in Chon Buk. And it was analyzed by frequency percent mean duncan's multiple test. The results of this study were as follows; 1) Pocket sleeve and front hem were parts of the damage. The weaving workers were mostly wore upper and under garments but most of there workers were only wore an upper garment on the basic type of uniform The older and married were small in the fitness of uniform the armhole sleeve girth sleeve length and breast girth were unfitted 2) Workers was dissatisfied to the noise and the dust in working environment. Uniform satisfaction of workers were mostly low design color and fabric were the lowest factors of uniform satisfaction. The satisfaction of material were also low the lowest factors were absorptiveness elasticity breathability. Workers wanted the fashion and light colored uniform but they prefered function activity to work and manageability on wearing rather than externals among the uniform preference.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.13 no.2
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• pp.39-45
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• 1999

In case of field weakening region, torque is directly affected by flux. In this region, the flux reference is cIecreased inversely proportional to the rotor speed. As the flux is decreased, the magnetizing inductance is nonnally increased The increased magnetizing inductance limited voltage for controlling current In this paper, rreasuring q axis voltage in field weakening region, magnetizing inductance in flux calculating can be readjusted. Computer simulation and experiment results demostrate the efficacy of the prqx>sed rrethod. Proposed algorithm is expected to the application of the adjustable drive system in the spinning and weaving field. field.