The purpose of this study is to apply the traditional Chinese fretwork on the ‘Faux Chenille’ textile work method in a way of enhancing the decorative features of patterns and developing the fashion design. As for the method, it works on the historic background and advancement of the fretwork and it refers to the bibliographies pertinent to the traditional Chinese geometric pattern. The result are as follows. First, pure cotton and 100% rayon are mixed to make it feasible to produce the texture for the material to be tender and enhanced, and in the process of washing and drying the Faux Chenille textile. The Faux Chenille textile is an important material that is required to select materials with great absorption capability as the most effective material to re-visualize the lines and patterns by sustaining the diagonal lines. Second, the fretwork is designed to process the basic formation for 90° angle with the sense of unlimited extensive line and changes with straight line. It has been confirmed that, if the angle that controls the Faux Chenille textile and the tailoring interval are well aligned, the expression of traditional geometric pattern would be effective and it may be expressed in contemporary style. Third, through the fashion design application by utilizing the Faux Chenille textile of the fretwork, it is confirmed that the contemporary application of the traditional culture could be expressed uniquely and creatively while it is affirmed that the western technique and Asian culture can be blended in harmony.

본 연구에서는 고등학교-대학 연계 학과 전공체험 프로그램을 개발하여 적용하였다. 프로그램은 메이커 교육과 성장 가능성이 큰 스마트의류 테크놀로지를 접목시켰다. 첫째, P(준비) 단계에서는 스마트의류 및 메이커 교육에 대 한 선행 연구의 내용을 파악하여 스마트의류 테크놀로지를 염색 디자인 교과목에 접목하였다. 둘째, D(개발) 단계에 서는 잉크젯 프린터용 전사지를 이용한 전사염, 전도성 실과 LED 전구를 이용한 스마트의류 테크놀로지를 적용하 여 감성에코백을 만드는 프로그램을 개발하였다. 셋째, I(실행) 단계에서는 의류학 전공을 희망하는 고등학생 17명을 대상으로 수업을 진행하였다. 마지막으로 E(평가) 단계에서는 스마트의류 테크놀로지를 적용한 메이커 교육 프로그 램의 만족도를 5점 척도로 측정하였다. 그 결과 4.95점으로 매우 만족하는 것으로 평가되어, 기존 프로그램에 릴리패 드 아두이노를 추가한 심화 프로그램을 제안하였다. 따라서 본 연구를 통해 전도성 실과 전사염을 적용한 감성에코백 개발 프로그램은 스마트의류 테크놀로지에 보다 쉽게 접근할 수 있어 의류학 전공에 관한 고교 학생들의 생각을 확장시킬 수 있음을 확인하였다.

The aim of this research is to develop a clothing and textiles studio course for preservice home economics teachers applying principles of Project-Based Learning (PBL) and maker education to equip future teachers with the ability to nurture creativity among adolescents. The studio course was developed in the following stages: analysis, design, development, implementation, and evaluation. We concluded that the resulting course met the following objectives extracted from the 2015 revised curriculum of home economics subjects: to promote creative and environmentallyfriendly fashion design and styling abilities, gain the ability to use makerspace tools, understand flat pattern making and sewing processes, and develop creative thinking, aesthetic sense, and communication skills. Furthermore, the educational effects of PBL and maker education were confirmed through student comments on the course. Students mentioned the practicality of the material in their actual lives along with their enhanced integration of the subject material, self-directedness, aesthetic sense, ability to learn through trial and error, collaboration and communication, and sharing. Based on results from the implementation and evaluation stages, a clothing and textiles studio course should include the following modules: introduction of terms and tools, submission and sharing of clothing reformation and upcycling techniques, introduction to hand sewing, pouch making, heat-transfer printing, 3D printing, mask making, hat making, vest making, and the final team project on fashion styling. It is important for instructors to provide detailed guidelines on selecting personas for styling, looking for available materials, and selecting materials online.

In this study, clothing items recorded in Nappyemulmok (納幣物目) and Ugwimulmok (于歸物目) in the early 20th century were examined. These clothing items were recorded on the lists of goods for wedding gifts from the 1910s to the 1930s. A large quantity of these lists were organized into eight categories by analyzing the fabrics of each item of clothing. Representative fabrics used for skirts and Jeogori (such as Myeongju, 明紬) were used widely. Jeoksam was mostly made with ramie fabric. Pants mostly used cotton such as Dangmok, Mumyung, and calico, with some use of silk. Gojaengi mostly used cotton such as Dangmok, Mumyung, and calico, with some use of ramie. Danui (單衣) used silk fabrics such Pparinseu, Myeongju, and Gyoju for decorative features that were revealed when rolled up. Naeui (內衣) is believed to be the closest underclothes to the body, and Mumyung was mostly used. Dangmok and calico were used for the Yodae (腰帶) and fabrics such as silk, Nobangju, and JuhangNa were used for outdoor use. This type of categorization is significant, as it can be used as academic evidence to verify and reproduce the clothing of the time by identifying fabrics, colors, and characteristics of certain items of clothing. Lastly, it is expected that the analysis of clothing will provide theoretical data in the same way that movies, dramas, and museum exhibitions feature modern traditional weddings.

Citation frequency is an important factor in evaluating journal quality and is used as a measure of journal impact. The citation index of a paper plays an important role in linking papers with groups of other academic papers, forming a huge and complex network. This study examines the intellectual structure of apparel research through the bibliometric citation analysis of The Research Journal of the Costume Culture (RJCC). In order to analyze the changes in the intellectual structure of the RJCC, we used the Korea Citation Index’s (KCI) data (highly citing journals and highly cited journals). The NodeXL, a social network analysis tool, was used to examine the connection structure between journals. In order to identify the academic influence of the RJCC, we used the KCI journal citation index. Our findings indicate that the RJCC has a high centrality index among the clothing-oriented journals in the same life sciences field. A look at the journals citing the RJCC and the journals cited within the RJCC also showed that more journals of diverse fields have been recently linked through their citations. This suggests that a convergence of interdisciplinary research is underway in the field of clothing. As a result of examining international journals cited in the RJCC, it was confirmed that they were cited in prominent international journals in various fields.

초연결사회의 시대가 도래하여 시간과 공간의 제약없이 효율적으로 정보를 전달할 수 있는 스마트 디바이스의 사용이 보편화되었다. 스마트 디바이스는 사람과 사물 간의 상호작용을 통하여 정보를 전달할 수 있도록 점차 웨어러블 형태로 발전하고 있으며, 의복 형태의 스마트 디바이스인 스마트의류는 인체에 가장 밀착한 상태로 각종 생체신호 등의 측정이 가능하기 때문에 미래 일상생활에서 사용도가 높아질 것으로 주목받고 있다. 기존에 개발된 스마트의류는 의복에 전자장치를 부착한 형태로 개발되어 기기 이물감으로 인해 착용 시 사용자의 불편을 야기하여 지속적으로 생체신호를 측정하기에 한계가 있었다. 이에 따라 점차 전자장치가 텍스타일 내의 한 요소로 통합되어 있는 스마트 텍스타일을 기반으로 한 스마트의류의 개발이 요구된다. 본 연구에서는 현재 소비자에게 가장 근접한 웨어러블 디바이스인 스마트워치 사용자를 대상으로 하여 사용경험에 기반한 감성을 통해 웨어러블 디바이스에서 사용자가 필요로 하는 요구조건을 탐색하고자 하였다. 스마트워치 사용자의 경험에 기반한 감성에 대해 구체적인 답변을 얻고자 반구조화 된 심층인터뷰를 통해 질적 연구를 수행하였으며, 심층인터뷰 내용을 바탕으로 사용자감성을 기능적, 심미적, 사회적, 경험적 네 가지 측면으로 분류하였다. 측면별로 감성키워드를 설정하여 빈도 수 확인을 통해 스마트워치 사용자의 관심도를 알아보았다. 본 연구의 결과를 미래의 웨어러블 디바이스로 주목받고 있는 스마트의류 제작에 필요한 스마트 텍스타일 개발을 위한 기초자료로 활용하고자 한다.

The objective of this study was to compare business management indicators among textiles and fashion companies. Business management indicators of 356 textiles and fashion companies for the year 2015 were analyzed, using income statements showing their management results. The results were as follows. First, there were statistically significant differences between the operating income ratios of textiles and fashion companies for the term, but there were none when it came to net income ratio. Second, the differences between cost of goods sold, cost of finished goods sold, and cost of merchandise sold to sales ratios among textiles and fashion companies were all statistically significant. The cost of goods sold, cost of finished goods sold, and cost of merchandise sold to sales ratios were higher for fiber and thread companies, fabric companies, and dyeing and finishing companies than for clothing and fashion accessories companies. Third, there were statistically significant differences between the ratio of salaries and the ratio of advertising expenses among textiles and fashion companies. The salaries ratios and advertising expenses ratios for clothing companies were higher than those of fiber and yarn companies, fabric companies, and dyeing and finishing companies. This study is meaningful as it has identified the business characteristics of textiles and fashion companies using the management indicators of those companies, which have not been sufficiently explored by previous studies. It has also helped to improve understanding of the industrial structure of the upstream and midstream sectors of the textiles and fashion industries.

Traditional textiles -- especially hand-woven ones -- have long been items of trade throughout the world. Notably, the Chinese shipped only finished textiles or cloth over the Silk Road to multiple trade centers en route to Europe. As early as the 16th century textile designs were customized to suit market needs; i.e., trading companies had Indian hand-woven naturally dyed textiles customized with motifs and colors that appealed to their Thai or Indonesian customers. These marketing and product development practices were demonstrated in "Interwoven Globe", the Metropolitan Museum of Art’s recent large exhibition and catalog (Peck, 2013). What are Traditional Textiles? Textiles were considered precious before they were machine produced. Today, people seldom understand how difficult it is – the time, effort, and cost – required to make hand-loomed textiles. The industrial revolution allowed textiles to be produced rapidly for the mass market at relatively low price points. Traditional textiles include a variety of textiles using historical or traditional production techniques. This paper examines hand-woven textiles using traditional hand-looms either backstrap or floor. Traditional textiles also encompasses felts, embroidered textiles, and batik textiles which are resist dyed -- the base cloth in this case is commercially produced. Some textiles – as cloth or those made into garments – are imbued with significant cultural meanings such as protection, luck, familial relationships, tribal membership, etc. These often have religious and magical meanings. Such textiles are often reverently passed down to descendants and can be required parts of ceremonies, such as the geringsing double ikats worn in many of their sacred rituals i.e. Sabah Usamba held in Tenganan Pergerinsingan, Bali (Crippen & Mulready, 2001, 2012). Traditional textiles continue to be used for lifecycle and religious ceremonies throughout Southeast Asia (SEA) including the many island cultures of Indonesia; these created some ongoing demand for continuation of textile traditions. Over the past few decades increased scholarly activities followed by increased cultural tourism expanded demand for newly made authentic contemporary traditional textiles. The paradox of increased demand simultaneous with few weaver made traditional textiles more valuable and created new opportunities for reviving traditional weaving. More newly woven traditional textiles were produced and generally sold in the locales where woven. In the 1980’s, increased tourism to Asia, Southeast Asia (SEA), and other areas as well as a larger expatriate community in SEA brought a much greater awareness of textile traditions to people previously unfamiliar with them. Many tourists wanted something more than a T-shirt to remember their trip so souvenirs diversified in type and quality/price points (Crippen & Mulready, 1995). The sale of authentic contemporary textiles woven using traditional techniques started to increase. Many organizations supported continuation of such traditions. Today more traditional textiles -- both antique and contemporary -- are for sale on the internet. This has the potential to expand the market for contemporary traditional textile products. A web-enabled global audience interested in traditional textile end products such as scarves, wall-hangings, pillows, etc., has the potential to expand demand. Lee and Littrell (2003) discuss potential problems when expanding from local to web-based global markets for cultural products. Traditional textiles would be considered a cultural product. Today, a global revolution is in progress which allows small companies – including cooperatives and others – to directly market to the global consumer. Telling their stories via the Internet brings attention and authenticity to their products, hopefully increasing sales and keeping textile traditional alive. The purpose of this exploratory research is to examine websites selling traditional textile products to determine how they demonstrate authenticity for contemporary traditional textiles. Two case studies from Southeast Asia (SEA) are presented to illustrate how storytelling techniques support such authentication efforts when marketing traditional textiles on the Internet. Authenticity Concepts of "authenticity" range from subjective producer/consumer evaluations -- sometimes with no basis in reality-- to highly technical specifications set by law or manufacturer's associations. A textile example of the first one is a so-called batik dress which in actuality has a surface printed design meaning that it is not authentic batik. Authentic batiks use wax or other substances to resist or prevent dyeing in covered areas when dyed. The terms batik tulis is used in Indonesia and Malaysia when the resist wax is drawn by hand; whereas batik cap (chop) designates stamped wax process. Machine printing requires no waxing and is faster and cheaper. Today, there is a market segment interested in authentic textiles and crafts (Anderson & Littrell, 1995). Textile study groups, tours, publications, and internet websites help to educate consumers interested in authentic textiles. Consumers vary in what aspect/s of authenticity they find interesting (Littrell et al, 1995). Uniqueness, workmanship, aesthetics, use, cultural and historical integrity (including age and documented provenance), creativity, and genuineness are all important. "Spinning a Yarn" Storytelling -- sometimes called "spinning a yarn" - is used to help demonstrate/create authenticity when marketing products. It is frequently used to explain the complex production processes of traditional crafts and textiles. This is often augmented by personally observing and/or viewing photos and/or videos of how traditional textiles/products are made. Many people contributed to the resurgence of traditional textile weaving. Most are unknown and often worked collectively in development efforts. Individuals travelled to remote areas and fell in love with the traditional textiles and the people who made them. Some of these individuals then found ways to monetarily support the people making the textiles -- globalization has made cash necessary to pay for such things as mandatory education and school uniforms. In the 1950s, Jim Thompson, an American, founded his company which continued to expand after his disappearance in Malaysia in 1967. The website Jimthomspson.com uses his romanticized personal history to promote an international market for luxury hand-woven Thai silk textiles. Carol Cassidy, an American found the Lao weaving traditions while serving as a UNDP (United National Development Programme specialist in an apparel factory in Laos. Carol, a weaver, started her business and trained local weavers, developed new products, and maintained quality control standard for her company Lao Textiles. Her website Laotextiles.com is informational only; she does list retail stores that carry her products and her contact information. Internet Marketing Internet marketing allows sellers to tell stories -- actually to tell many stories. Different websites or links within websites can target various consumer market segments. Specialty categories, including various aspects of authenticity can be demonstrated in different ways which can stand alone and/or mutually support one another and the website as a whole. For the consumer who values cultural and historical integrity, a story or page/s can be built around this aspect. With increased interest in fair trade, compensation, and working conditions some companies -- especially co-operatives and non-profits -- often focus on this aspect. Sustainability including environmental aspects often linked to Fair Trade can be easily addressed. The Internet allows consumers to read all of the story or only the parts that interest them the most. It offers a convenient way for sellers to broaden their reach to new customers who might not have the opportunity to travel to the craft or textile production site. This potential must be supported with good website design and operations (Lee and Littrell, 2003). Case Studies: Using Storytelling to Establish Authencity for Internet Marketing of Traditional Textiles This is an exploratory study which attempts to determine what storytelling methods are effective in internet marketing of authentic traditional textiles. The two chosen websites attempt to duplicate the experiences of tourists visiting weavers where they work. The two websites selected for analysis Ock Pop Tok (Laos) and Threads of Life (Indonesia). Criteria for selection included vetting by experts who had visited the in-country facilities and confirmed the websites accurately represent the facilities and their work. Websites were selected that actively support women in development efforts such as training and support-- financial and otherwise -- for women to earn living wages while being able to live near family, support for continuation of authentic traditional weaving, sustainability, environmental sensitivity, etc. Ock Pop Tok Ock Pop Tok (OPT) translates to “East Meets West”; their website Ockpoptok.com uses a banner to describe itself as having Lao Textiles with a tag line of "keeping it alive for the next generation". Lao characters in the background tend to give some Lao authenticity. The home page photographs rotate between a team picture (taken September 2013) of women and men workers -- who all look very happy and excited -- and other photographs. Some have spinning wheels or other tools they use in their work; their textiles are displayed in the background. This page describes their activities and programs as being a Laos based social enterprise working primarily in the field of textiles, handicrafts, and design. They work with women artisans, rural producer groups, and students who can work in their shops. They opened the Living Crafts Centre in 2004 which includes a weaving and dyeing studio, craft school, and an exhibition area. Their website also describes on-site lodging where themed rooms are decorated using their textiles. Their catchy categories for web pages are divided into learn, create, shop, stay, and eat. OPT has a non-profit gallery -- Fibre2Fabric -- which focuses on using textiles as a way to explain Lao culture. Their activities are well documented and the village weaver projects for rural development are described; its goal is to alleviate poverty. Laos has multiple ethnic groups and OPT, in combination with other partners, works training many rural area women to produce handicrafts for poverty alleviation. Their work in 11 rural areas is described and includes photographs. The website also includes a photograph of all their weavers. It would appeal to people who only want to purchase products as well as those who would like to plan a trip where they could not only visit the learning center but also take a class and even stay. OPT discusses their sustainable development policies in depth. Threads of Life Threads of Life (TOL) is described as a privately funded organization dedicated to the preservation, promotion, and marketing of traditional woven, natural dyed, and handmade ritual textiles. Their home page rotates and focuses on nature and culture. Their website Threadsoflife.com includes a list of associates who assist Threads of Life, as well as Balinese employees, with a quote from each. Under the "What We Do" section, they list revitalizing traditional textile traditions, field work, conservation efforts, and supporting women’s cooperatives. The description of supporting the cooperatives is as follows: “Threads of Life works directly with over 1,000 women in more than 35 cooperative groups on the Indonesian islands from Kalimantan to Timor. The common question among these cooperatives is, ‘How do we maintain our culture and identity, and make a living at the same time?’” “Threads of Life helps to answer this question. Our business model uses real markets to reward cultural integrity, promote conservation of the environment, and empower families in some of the world's poorest places to lift themselves out of poverty.” This site is rich in content and photographs which support the written materials. For example, the complete descriptions of the ikat, a technique which ties and dyes yarns before weaving include details such as not only who wove the textile but also who tied the resist yarns and who dyed it. The Threads of Life Textile Arts Center in Ubud, Bali, is their main store. Photographs of textiles with good descriptions and a code number are included from various locations; however, it is unclear how or if these can be ordered. TOL also offers accommodations and small group tours, including those related to traditional textiles. They too offer a newsletter and have a foundation which supports environmental issues. Commonalities and differences between the two websites will be presented including their use of storytelling, photography, ease of purchasing product, pricing, fair trade information, sustainability, and ecological issues.

This study investigated the characteristics and changes of cotton and silk textile production in Honam district, especially in Gurye, Jella Province from the 1930s to the 1980s. To do this, research method in this study was both literature and fieldwork research and results were as follows. First, in terms of cotton fiber cultivation of Gurye, Chinese Cotton(在來綿) has been substituted for America Cotton(陸地綿) and additionally, Yellow Cotton (黃綿) has been cultivated in the 1930s. Also, in terms of silk fiber cultivation of Gurye, Joseon Silkworm has been substituted for Japanese Silkworm by inflowing the Japanese mulberry tree. Second, in terms of spinning method, cotton spinning has been conducted at every house by an individual tool from the 1930s to the 1950s and has been gradually changed to mechanization by market shop equipped with mechanized cotton gin and cotton whipping tool. However, there have been no changes in silk spinning method from the 1930s to the 1980s. Third, loom type has been changed from the traditional Korean back-strap loom to the treadle loom between the 1930s and the 1940s. Fourth, dyeing was conducted by chemical dyestuff after weaving. The circulation of textile was done through the joint market by Japan in the 1930s~1950s and has changed to the market sales by producers since the 1950s. Fifth, since the 1970s, the outputs of cotton and silk textile of Gurye have been reduced. This was connected with the westernization and the inflow of the synthetic fiber and cloth in cotton and was related to the changes of the nation policy and silk fiber inflow from the china to the Korean farm villages.

Studying awareness, importance, satisfaction, and wearing behavior of functional textiles for active silver generation related with gender and age is expected to contribute to clothing products development to improve and maintain their health and marketing strategy fit for user characteristics. For empirical research, a survey was developed and the aged 50 and above were 332 respondents. The results of the study are as follows. First, silver generation considered all the clothing comfort sensations important when wearing clothes, such as tactile sensation, clothing pressure sensation, thermal/wet sensation, and motion sensation in human physiological aspect. Also, stretchy fabrics were ranked first in awareness, the number of wearing times, and satisfaction of comfort functional fabrics. More than 30% of silver generation have fifteen items out of 36 functional clothes. Second, in analysis of awareness by gender on functional clothing products, women were more aware of health/safety-oriented fabrics than men were. Otherwise, men had more knowledge about the water-related properties of functional fabrics than women have, such as water/moisture absorptive and water-repellent/vapor permeable fabrics. While women have more indoor casual wear, men had more active sportswear. Also, women expressed a strong preference to the stretchy function of fabrics.

본 연구의 목적은 적응신경망퍼지추론시스템(ANFIS)과 회귀분석을 활용하여 7가지 역학적 특성치를 갖는 면직물의 시각적 질감을 해석하고 두 가지 방법을 비교하는 것이다. AMFIS는 퍼지 소속 함수와 신경망 구조를 갖는 것으로 인간의 비선형적 감성예측에 유용한 도구이다. 상관관계 및 회귀 분석의 통계분석은 7가지 역학적 특성치가 주관적 질감과 선형의 관계가 있음을 나타내었지만 설명력이 높지 않았고, 선형 이외의 관련성과 변수들 간의 상호작용을 표현하기 어려운 문제가 있었다. 통계분석과 비교하여, ANFIS는 변수들 간의 비선형적인 관련성과 상호작용을 가시적으로 보여주는데 설명력 있는 유용한 도구였으나, 입력 변수 중 출력 변수에 영향력이 있는 변수를 변별하지 못하여, 생성된 규칙의 수가 복잡한 문제가 있었다. 따라서 ANFIS의 해석이 단순하고 의미있는 모델을 구성하기 위해서는 영향력 있는 출력 변수를 추출하고 나머지 변수를 유사하게 통제하는 실험 모델의 구성이 필요하다.

This study aimed to investigate the effect of design factors of woven textiles on the consumer's sensibility and emotion. 60 textile design pictures and 18 adjectives were prepared to get responses from 512 adult subjects. Textiles designs were analyzed into 9 design factors, such as, motif source, motif-background ratio, motif interpretation, motif arrangement, motif variation, motif articulation, hue contrast, value contrast, and chroma contrast. The results are followings: 1) The design factors of textiles were connected to other design factors, for example, the type of motif interpretation determined the type of chroma contrast, motif source, the ratio, and chroma contrast significantly. 2) The correlational coefficients of the ratio, motif variation, chroma contrast, hue contrast, articulation, and value contrast were positively signed significantly. 3) Consumer's sensibility was changed in urban, natural, graceful, mannish, young, dynamic, new, modem and etc, as the textile designs were changed in motif source, arrangement, hue contrast and etc.