• 복식
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• 제57권10호
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• pp.24-34
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• 2007

The purpose of this study is to examine the pieces of 100 fabrics excavated from unknown woman's tomb Incheon, by analyzing woven methods, names of the fabrics, the kinds and the shapes of the patterns. The characteristics to assume the period of the fabrics are as follows. The geumsundan which was woven peacock insignia at chest and back area was excavated for the first time from the tomb of Joseon. Peacock insignia woven with satin weave using supplementary golden wefts, wrapped gold thread. These kind of fabrics were usually imported in the $15^{th}$ century, according to the old documents, 'Nogeoldae' 'Joseonwangjosilrok' written at the end of Goryeo or early in Joseon. Thus, these relics are from about $15^{th}$ century. From this tomb, the mixture fabric of cotton and ramie are excavated. According to another excavated cases, the mixture fabric of cotton and ramie appears from the period before the Japanese Invasion of Korea in 1592, and after the invasion, there are usually mixture fabric of cotton and silk. This also tells that these fabrics show the characteristics of those from the early period of Joseon Dynasty. The rounded patterns of Jangot is only shown from the fabrics of late Goryeo Dynasty, and the cloud pattern of an upper garment with a squared neckline is shown from the early Joseon Dynasty. So, the patterns from these excavated costumes are ranged from the late Goryeo Dynasty to the early Joseon Dynasty. To assume the period through the overall study above, these relics show the characteristics of the $15^{th}$ century fabric.

• 복식
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• 제66권7호
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

• 한국의류산업학회지
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• 제15권2호
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• pp.231-239
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• 2013

This research developed a smart girdle for adult women in their 20's that has an inserted carbon weaving heater to help with relief from coldness and abdominal disease through the thermal insulation effect. A pocket of powernet fabric was attached to the inside of the girdle for the easy insertion and separation of the heating device, while the heating device was fixed to a mesh material by cotton yarn and was wrapped with elastic lining material to prevent the mechanical devices from being exposed. A set of 3 hooks was attached to the center of the back of the heating device in consideration of convenience and mobility. Whereas the switch was inserted into around the right waistband, and the battery into the inner pocket around the waist, to integrate the heating device with the girdle. The satisfaction and usability of the fabricated smart girdle was verified by having research participants wear it to evaluate the appearance change caused by the device, the inconvenience of wearing/unwearing, mobility, and the satisfactory functionality of the device. As a result, the grand mean was evaluated to be high, with appearance (4.19), mobility (4.17), and functionality (4.51) being higher than 4.00; which indicates that the heat generation function of the smart girdle is effective. It may be said that such collection and analysis of data that reflect users' opinions have value and significance in that they can be grafted onto future research on new technology as well as they contribute to taking a step forward in the rapidly increasing research of smart clothing, with the new-type clothing equipped with new function.

• Composites Research
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• 제16권2호
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• pp.33-40
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• 2003

본 논문은 열경화성수지 적층 복합재료의 낮은 충격 특성과 층간 분리 현상을 개선하고자 열가소성 수지 및 3차원 직조 프리폼을 사용한 복합재료 제조와 물성 특성화에 대한 것이다. 새로운 기술인 co-braiding 성형법으로 열가소성 PEEK 섬유와 탄소섬유를 혼합한 섬유를 제조하였으며. 층간 분리 억제 특성을 현저하게 향상시키기 위하여 두께방향의 섬유를 가지는 3차원 직조형 프리폼을 제조하였다. 혼합섬유로 제조된 프리폼에 열성형 공정을 적용함으로써 열가소성 복합재료를 제조하였으며. 혼합섬유의 PEEK 섬유는 용융온도에서 용융되어 탄소섬유 사이로 함침이 완벽하게 일어남을 확인하였다. 또한, APC-2/AS4 프리프레그를 사용한 준 등방 적층 복합재료를 제조하여 3차원 직조형 열가소성 복합재료의 특성과 비교하였다. 항공기 소재로서의 적용 가능성을 알아보기 위하여 open hole 인장시험, 충격시험, 및 충격 후 압축시험 등의 결과를 통하여 3차원 직조형 열가소성 복합재료는 기존의 적층 복합재료보다 우수한 내 충격성 손상허용치를 가짐을 보였다.

• 한국기계가공학회지
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• 제3권4호
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• pp.73-80
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• 2004

A dual purpose robot automation system is developed for both arc welding and spot welding by one robot within a cell. The need for automation of both arc welding and spot welding processes is urgent while the production volume is not so big as to accommodate separate station for the two processes. Also, space is too narrow for separate station to be settled down in the factory. A spot welding robot is chosen and the function for arc welding are implemented in-house at cost of advanced functions. For the spot welding, a single pole type gun is used and the robot has to push down the plate to be welded, which causes the robot positioning error. Therefore, position error compensation algorithm is developed. The basic functions for the arc welding processes are implemented using the digital I/O board of robot controller, PLC, and A/D conversion PCB. The weaving pattern is taught in meticulously by manual teach. A fixture unit is also developed for dual purpose. The main aspects of the system is presented in this paper especially in the design and implementation procedure. The signal diagrams and sequence logic diagrams are also included. The outcome of the dual purpose welding cell is the increased productivity and good production stability which is indispensable for production volume prediction. Also, it leads to reduction of manufacturing lead time.

• 복식문화연구
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• 제12권5호
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• pp.769-780
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• 2004

This study aims to measure stretch rate of standard weight in the direction of the knit stitch course by the difference in the way of weaving rib stitch, the most elastic stitch of all the knit stitches and to apply features of rib stitch to the knit pattern. The reviewer examined the sample knit for test with 100% wool, 2/48's 2, 12 gauge, and then made knit patterns and sample clothes for test considering stretch rate of standard weight of 10gf, l5gf, 20gf, 25gf based on the results from the former test, and finally estimated the try-outs for sample clothes. This study came out with the following results. From the functional estimate of knit patterns made by standard stretch rate of each stitch, the l5gf weight sample clothes of 0×0 and 1×1 rib stitches looking similar to plain stitch. For the bust, B/4-1.0㎝ knit pattern was made of 0×0 stitch, B/4-1.2㎝ of 1×1 rib stitch. In conclusion, because rib stitch has the much higher stretch rate in the direction of the course than other stitches, low stretch rate of standard weight should be applied to the case of making knit wear. It is expected that this will lead stable sizing and measurement system when used in making knit patterns, and satisfy knit wearers' various needs.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• 복식
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• 제51권1호
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• pp.21-32
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• 2001

Gauze is very light and thin. Their warps are entangled and their structure is loose. It is natural that they are easier to decay than other silk fabrics through physiochemical processes over a long period of time. Nonetheless quite many remains of Gauze fabrics can be found in China or Japan as well as in Korea. Various Gauze was used in costumes since the era of the Three Kingdoms and their weaving techniques, such as using gold threads with silk-fabrics, was developed in Koryo dynasty era, which made it possible to create more magnificent gauze fabrics in Korea. Relatively a lot of Gauze fabrics are remained in Korea. Based on these corroborative relics, this thesis analyzes the characteristics of gauze fabrics possesed in Korea and categorizes the gauze fabrics described in the Decrees on Costume Restraint of the King Hungduk. This also compares them with the present gauze in other countries. The types of gauze fabrics are generally divided into desined gauze, and non-designed gauze, the one without pattern. There ar a lot of desined gauze, such as dyeing gauze, brocade gauze, embroidery with gauze ground, patterned gauze with gauze ground etc. which were found in Korea and also in China and Japan. Non-designed gauze is divided into 2-end complex gauze, 3-end complex gauze, 4-end complex gauze, etc depending on the number of crossing warps. All of the non-designed gauze of Koryo dynasty found in Korea was 4-end complex gauze fabrics. These non-designed gauze fabrics were also found in Japan and China.

• 복식
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• 제62권7호
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• pp.41-53
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• 2012

Hwangnamdaechong Tomb (The 98th tomb in Hwangnam-dong), one of the royal tombs located around the area of royal tomb of King Michu in Hwangnam-dong, Gyeongju, is currently designated as Historic Site No. 40. It is assumed that Hwangnamdaechong Tomb is a royal tomb of the early 5th century. This study aims to examine the fabric relics excavated from Hwangdamdawchong Tomb and currently housed in Gyeongju National Research Institute of Cultural Heritage. The types of fabrics excavated from Hwangdamdawchong Tomb include plain silk, warp-faced compound woven silk, and hemp cloth. Most of these fabrics are adhered to metal products that became rusty. Plain silk found in Hwangnamdaechong Tomb can be divided into four types by its weaving method. Geum excavated from Hwangnamdaechong Tomb is typical Gyeong Geum that uses colored warp for its base and pattern. It is plain Gyeong Geum that the binding weft and warp is plain woven. Although there are a lot of Gyeong Geum fabrics whose colors are hard to define due to yellowing after long years, there are still many fabrics whose color such as purple, red, blue, and green can be identified. As literatures have shown that p cloth as well as silk were frequently woven during Silla dynasty, tremendous amount of hemp cloth was excavated. Most of the hemp cloth has S-twist in the warp and 8-12 seung degree of delicacy.

• 복식
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• 제57권6호
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.