• Journal of the Korean Home Economics Association
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• v.40 no.3
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• pp.11-20
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• 2002

The purposes of this study were to investigate the subjective wearing sensation of sleepwear, and to evaluate the comfort properties of fabrics used in the sleepwear. Design of experimental clothing was pajamas made with four types of woven fabrics: plain weave and satin weave made by cotton and polyester. The comfort properties were evaluated with respect to thermal retention, Qmax, moisture regain, water vapor transmission, and air permeability. The wear trials of experimental clothing were performed in two different environments, single-detached unit($23{\pm}1^{\circ}C$, $45%{\pm}3%$ R.H.) and apartment($27{\pm}1^{\circ}C$, $40{\pm}3%$ R.H), to evaluate microclimate temperature and humidity, and subjective wearing sensation. The results obtained from this study were as follows: 1. There were significant differences between the two environments on the clothing microclimate. 2. In the single detached unit environment, the microclimate temperature who wore cotton sleepwear was significantly higher than that of subjects wore the polyester sleepwear, whereas the microclimate humidity who wore polyester sleepwear was higher than that of subjects wore the polyester sleepwear. 3. In the apartment environment, the microclimate temperature who wore the polyester sleepwear showed higher than that of cotton sleepwear, whereas there was no significant difference between the cotton and polyester sleepwear on the microclimate humidity. 4 There were partially significant differences in subjective wearing sensation according to the fiber md weaving type of sleepwear regardless environment. 5. There were also partially significant correlations among the heat/moisture transmission properties of fabrics, the clothing microclimate and the subjective wearing sensation of sleepwear.

• The Korean Journal of Community Living Science
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• v.11 no.2
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• pp.29-42
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• 2000

It has long been believed that European clothing style has been developed independently without the Eastern influence. This deductive assumption has limited the understanding about the contents of Eastern clothing style, and there has only been limited studies on the Eastern influence on the European clothing. The lack of understanding and interest made the traditional Eastern influence on the European clothing. The lack of understanding and interest made the traditional Eastern clothing to be considered as merely exotic and relatively unimportant. Therefore, a thorough study and understanding of the contents of the Eastern clothing style and its influence on the western world is very much needed. The objective of this study is to see how the clothing of the Islamic Osman Turk had influenced Europe during the Gothic and Renaissance period and to find the relationship between the development of the East and West clothing style. This study also has the purpose of re-evaluating the importance of the Eastern culture in the present multi-cultural global era of the 21 st century. The most typical clothing of the Osman Turk was kaftan and other traditional clothing included narrow pants and head dress. Through trade, war and other channels, the Turkish influence changed the styles and colors of previous European fashion that can be characterized by the simple designs of tunic and mantle into a dynamic dress culture. Cotehardie adopted the styles of the Turkish kaftan. The new weaving techniques enabled new clothing such as Pourpoint, Houpplelande made of brocade and velvet with elegant patterns come into European fashion. Also, head dresses, which before were not used except for religious reasons were widely worn. As such, Turkish fashion gave significant influence on the development of European clothing style.

• The Journal of Korean Institute of Electromagnetic Engineering and Science
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• v.17 no.10 s.113
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• pp.920-928
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• 2006

Fiber-reinforced composites transmitting microwaves of certain frequencies or bands were proposed. These frequency selective fabric composites(FSFCs) are fabricated by weaving carbon fibers and dielectric fibers that build periodic patterns. Design parameters affecting the electromagnetic characteristics of FSFCs were widely discussed, Then the electromagnetic characteristics of a fabricated plain-weave FSEC were investigated with regard to the electrical conductivities of carbon roving, the fiber undulation, and the aperture-to-cell ratio, for the electrical conductivities, its dependence on frequency as well as on the fiber volume fraction of carbon roving was taken into account. Constituent material properties and the fiber undulation had little effect on the EM properties of the fabricated FSFC, while the aperture-to-cell ratio made a profound effect on them.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.133-148
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• 2016

This study examined dahoe(多繪-braided cord) and mangsu(網綬-ornament of husu for ceremonial dress) used in myeon gwan(冕冠), daedae(大帶), and husu(後綬) among royal formal dresses in the Joseon Dynasty(1392-1910) based on historical materials including literature, relics, and paintings. The results of this study are as follows. In myeon-gwan, dahoe was used for cap strings, goeing(紘) and yeong(纓). Cap strings were applied to the king, the Crown Prince, and the eldest son of the Crown Prince regardless of their status, and they showed differences among the periods. Both goeing and yeong were used during the early period of Joseon, and then only yeong was used in the late period. As goeing was removed and only yeong was used in the late period, patterns combining goeing and yeong, in color and wearing method, appeared. Dahoe used in cap strings is dongdahoe(童多繪-a kind of braided cord). In daedae, 'nyuyak(紐約)' was tied up to its fastening part. The material of nyuyak was changed from dongdahoe in the early Joseon Dynasty to guangdahoe(廣多繪-a kind of braided cord) in the late period, and the method of using it was also changed. Husu was imported from Beijing in China during the early period of the Joseon Dynasty, but in 1747, it was regulated to be woven in Joseon, and at that time, King Yeongjo attempted to restore the institution of weaving husu with "320 su(首)," namely, 6,400 strands as specified for the status of a prince of the Ming Dynasty.

• Journal of Sericultural and Entomological Science
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• v.37 no.2
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• pp.132-136
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• 1995

This study was carried out to elucidate the effective of some swelling agents on the soaking treatment of raw silk. The swelling of raw silk is commonly practiced by soaking in warm water, However, it is not enough to weaving of raw silk. Therefore, the combination of some chemical agents were tested to improve the swelling ratio of raw silk. The pretreatment of raw silk in 0.4N sodium carbonate aqueous solution before soaking in the mixed solution of Emulon 1 g/l, Emanol 0.5 g/l and 0.04N sodium silicate increased the swelling ratio by 57%, compared to the nontreatment. In SEM observation, the surface of raw silk soaked in swelling agents was swollen and smoothed.

• Science of Emotion and Sensibility
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• v.10 no.2
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• pp.169-175
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• 2007

This study surveys the variation of the physical properties such as denier, tensile property and thermal shrinkage between seven domestic and foreign PET filaments manufactured by China and Taiwan. For this purpose, the specimens prepared were PET POY 239d/96f made in china, and PET POY 255d/48f made in Korea as a coarse filament. As a fine filament, 120d PET POY made by Taiwan, China and 6 domestic companies were prepared. The various physical properties such as yarn denier, yarn mechanical property and wet and dry thermal shrinkages were measured according to the each layer divided by 50,000m of the cake, and between and within yarn physical properties were analysed and discussed with the domestic and foreign yarns. These results provide fundamental data to the SME related to the yarn finishing and weaving for developing high added-value and high sensitive fabrics.

• Korean Institute of Interior Design Journal
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• v.19 no.6
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• pp.91-99
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• 2010

There is a commonality between Frank Lloyd Wright and Charles Rennie Mackintosh in that they created the new patterns of geometric Art Nouveau from the late 19th and early 20th centuries. This study compares the furniture of Wright and Mackintosh who had significant impacts on the development of modern design for each of the periods divided by their design feature to find the individualities and similarities of their design. It is an analytical approach with an accurate understanding of the design trends of the Art Nouveau era. The results of the furniture comparison are as follows: The finding is that Wright and Mackintosh designed creative furniture in harmony with a specific indoor space, Organic design was well expressed through the selection and use of wooden materials, Based on the understanding of tree characteristics, they did not use detailed decorations, but designed the simple and rigorous forms of furniture with highlighted interest in geometry. As for shape, Wright's furniture in his early days tend to be look largely formal and heavy. Since his debut in Japan in 1905, the furniture design became very sophisticated. On the other hand, Mackintosh's chairs are characterized by plenty of geometric patterns and long back. In many cases, his chairs were designed as part of formative elements in space, not for the purpose of furniture itself. As for materials and colors, Wright used mainly cherry wood. And he also utilized metals colored in olive green, red-brown and others for office furniture. The frames, fabrics and leather used for most of the furniture have natural colors, which are harmonious with spaces. Meantime, Mackintosh used primarily oak and ash trees. He used seat cushions and various colors to make the design of furniture have a sophisticated and simple image. The materials used for seat panel are horsehair, rush, silk and leather. He applied these materials to the furniture by weaving or cutting them.

• International Journal of Highway Engineering
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• v.18 no.3
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• pp.95-107
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• 2016

PURPOSES : This study compared two measures of traffic flow effectiveness on roads with roundabouts and signalized intersections and determined the more appropriate measure. METHODS : In addition to average delay time, the conventionally used measure, average travel time was introduced to measure traffic flow effectiveness because it is able to be obtained through field survey and reflect different travel distances and speed limits of roundabouts and signalized intersections. Using the two measures, roundabouts and signalized intersections were compared through simulations in terms of traffic flow effectiveness. RESULTS : For one-way single-lane roads, the two measures indicated consistent results that roundabouts were more effective than were signalized intersections when the traffic volume was less than 300 vphpl but vice versa when it exceeded 450 vphpl; however, the measures yielded inconsistent results when the volume was 350~400 vphpl. For one-way double-lane roads, the two measures indicated consistent results that roundabouts were more effective than were signalized intersections when the volume was less than 200 vphpl but vice versa when it exceeded 400 vphpl; however, the measures yielded inconsistent results when the volume was 250~350 vphpl. The results obtained using the two measures differed substantially for double-lane roads because behaviors such as weaving and lane changing at roundabouts are more common in double-lane roads than in single-lane roads. CONCLUSIONS : The average delay time would be lower on roads with roundabouts, but average travel time would be lower on roads with signalized intersections. Thus, evaluating the relative effectiveness of roads with roundabouts and signalized intersections by using average delay time alone would be inappropriate, whereas using average travel time as the evaluation index would yield fairer results.

• Journal of the Korean Society of Costume
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• v.18
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• pp.97-110
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• 1992

West African's traditional looms, weaving and raw materials, structural patterning, dyeing and basic forms of dress were examines in the present study in order to deepen the appreciation of the cultural heritage of West Africa, and to make a contribution to the policy planning for export market developing The research method employed was the analysis f written materials. The study was limited to the traditional clothing habit 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) They have vertical single-heddle loom horizontal or ground single-heddle loom, and double-heddle loom. The width of the cloth produced on the single-heddle loom varies about 38.5cm to 123cm and double-heddle looms all produced on the single-heddle looms all produced narrow strips of cloth varying in width from about 1.3cm to 75cm, although the average is about 10-20cm. (2) Despite the relative simplicity of the llom technology a remarkable variety of textiles are produced. (3) The most popular decorative technique in West African compound weaves is extra-weft patterning which is produced on both single-heddle and double-heddle loom by men and women weavers. Other forms of secondary patterning on textiles in West Africa are dyeing, applique, patchwork and embroidery. (4) Two basic forms of dress have spread throughout West Africa, the poncho (bpibpi) and the wrapper. Some versions of these basic forms are supplemented by western inspired trousers, shirts and blouses coupled with accessories usually complete their traditional outfits. They have a great variety of basic poncho, like as Khasa, Gandura, Tuareg-poncho, Babariga, Rigas (agba-da), Grand-boubou, Afteck, Tagua, buba, Danshike etc. Although West Africa has long been in contact with the peoples of the Nile region as well as the Maghreb and Sahara, both the boubou styles and the wrapper styles appear to have developed with a minimum of outside influence. African Islam was the principal agent for the diffusion of the boubou styles.

• Textile Coloration and Finishing
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• v.1 no.1
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• pp.54-62
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• 1989

The woven fabric composed of nylon 6 filaments was treated with aqueous solutions (20, 30, 40, 50, 60%) of formic acid at 3$0^{\circ}C$ for 10 minutes under unrestrained condition, and the shrinkage behavior and some kinds of properties were examined. The shrinkages of the constituent yarns and fabric were increased with formic acid concentration, but they were lower than that of the original filaments because of fabric-structural factors. And the shrinkage of the warp was lower than that of the weft because of the residual stress from weaving process. By the restraint forces such as fabric-structural factors and residual stress, the constituent filaments were damaged partially at 60% of formic acid concentration and the degree of damage on the warp was greater than on the weft. And though the fabric count were increased overall, the spacing between the warps was decreased prior to the weft and eliminated nearly at 60% of formic acid concentration. The thickness, tensile strength, elongation, and handle value of fabric were increased overall with formic acid concentration excepting that the tensile strength for both the warp and weft directions and the elongation for the warp direction were decreased instead by the damage of yarns. But the crease recovery was decreased except the case of the weft direction at 60% of formic acid concentration.