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With the rapid development of embroidered electronics, the research on microstrip lines as important connecting devices is crucial. Although the proposed research has explored the influence of embroidery parameters on some electrical properties of embroidered electronics, it is difficult to design and fabricate embroidered microstrip lines (EMLs) with specific transmission performance based on existing research. Therefore, in order to better design and fabricate EMLs with good transmission performance, the effect of embroidery parameters on their transmission performance needs further exploration. In this work, relevant models to simulate their transmission performance was proposed. Firstly, considering the cases where the conductive yarn is only distributed on the fabric surface as well as in both the surface and the thickness direction of the fabric, two geometry models are constructed to simulate the path of the conductive yarn in the embroidered conductor strip. Based on this, the transmission performances of the EML are simulated and analyzed. Then, two different sets of embroidered conductor strips were manufactured to fabricate microstrip line, and their transmission performance was tested to verify the rationality and accuracy of the above simulation model. Finally, based on simulation analysis and experimental testing, the influence of stitch spacing and stitch length on the transmission performance of EMLs are investigated, and the prediction bias of the models is analyzed. It is believed that the proposed model will provide a theoretical basis for the design of EMLs. [ABSTRACT FROM AUTHOR]

This essay examines the use of tatreez, Palestinian embroidery, in two Palestinian American graphic narratives: Leila Abdelrazaq's Baddawi and Marguerite Dabaie's The Hookah Girl and Other True Stories. By including tatreez as a visual motif in their works and referencing it as a cultural practice, both authors demonstrate the importance of continuing the traditional practice of embroidery in order to create connections with Palestinian culture and Palestine as a homeland in the diaspora. However, they also emphasise the need for adapting tatreez to the twenty-first century by drawing it as a versatile and adaptable signifier. Braided together with different symbols of nationalism and resistance, tatreez becomes a critical visual space to unpack the complex relations that Palestinians in the diaspora have with Palestine as a homeland. Thus, Abdelrazaq and Dabaie show that tatreez not only establishes a connection with the past but that it equally functions as a conscious forward-looking approach to engage with Palestinian culture, an approach that draws attention to the materiality of female cultural resistance in its everyday forms and the significant role this type of resistance plays in defining Palestinian identities in the United States and the wider Palestinian diaspora. [ABSTRACT FROM AUTHOR]

The article discusses the exhibition "Sonia Delaunay: Living Art" at the Bard Graduate Center Gallery in New York City. The exhibition showcases the multidisciplinary work of Sonia Delaunay, a Ukrainian-born French artist known for her innovative and versatile approach to art and design. The exhibition features nearly 200 works, including paintings, fashion designs, furniture, ceramics, and more, spanning seven decades of Delaunay's career. It highlights her use of color contrasts and her aim to bring art into everyday life. The exhibition also explores Delaunay's collaborations with other artists and her impact on the art world of the twentieth century. [Extracted from the article]

The JW Anderson patchwork cardigan from the spring/summer 2020 menswear collection has become an iconic fashion item during the COVID-19 pandemic. Worn by Harry Styles, the cardigan inspired a worldwide TikTok trend of crafting and DIY-ing a replica at home with over 90 million views to date. In response, JW Anderson published the pattern online and the V&A museum acquired the knitwear for its permanent collection. One year later, Olympic gold medallist Tom Daley was pictured knitting in the stands at the 2020 Olympic games – a craft he had picked up during the lockdowns. Both instances are challenging the notion of knitting and needlework as a feminine craft. In the past, men who embroidered, knitted or sewed their clothes were designated as infantile, effeminate and deviant from the hetero masculine norm. In today's post-pandemic climate, these associations are being challenged. Taking the cardigan and the resurgence of needlework as a case study, this article investigates the ways the COVID-19 pandemic influenced contemporary fashion consumption and re-stitched the meaning of male knitting. Focusing on the transformative aspects of slow fashion and gender fluidity in contemporary society, this article draws on a theoretical framework deriving from queer theory and sustainable fashion. Coined by Kate Fletcher, slow fashion encompasses a recalibration towards a focus on high-quality items over quantity and a slower production that does not exploit natural and human resources. Judith Butler's notion of gender performativity exposes gender as a social construct produced and maintained by a stylized repetition of acts, such as commonplace speech or nonverbal communication. Analysing the resurgence of male needlework through this critical lens, this article argues that it is the result of seismographic shifts within the contemporary fashion and popular culture that have been accelerated by the COVID-19 pandemic. Disrupting the fashion industry profoundly on a global scale, this article discusses how the pandemic can be seen as a catalyst for fashion in renegotiating masculinities. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the exhibition "Gabrielle Chanel: Fashion Manifesto" held at the Victoria & Albert Museum in London. The exhibition focused solely on pieces designed by Gabrielle Chanel herself and showcased over 100 garments. It explored Chanel's innovative designs, including her use of sportswear and menswear influences, as well as her collaborations with other artists and her impact on fashion. The exhibition also acknowledged Chanel's controversial interactions with anti-Semites and the Nazis during the occupation of Paris. Overall, the exhibition provided a comprehensive testament to Gabrielle Chanel's work and influence in the fashion industry. [Extracted from the article]

A design framework for developing full-textile reconfigurable dipole antennas is proposed for wearable applications. To this end, a precise embroidery process using conductive threads is applied to properly manage the antenna structure. Further, mechanical reconfiguration to enhance antenna operation by using solely clothing components is outlined. As a proof-of-concept, we present a full-textile embroidered dipole antenna with mechanical frequency reconfiguration. Specifically, reconfiguration is achieved by folding the dipole arms through a triangular formation. Conductive Velcro strips are employed to guide the necessary dipole arrangement. As shown, the proposed design methodology enables frequency tunability that ranges from 780 to 1330 MHz for UHF and L bands, with satisfactory radiation performance. The measured and simulated results are in good agreement, in terms of achieving similar frequency reconfiguration concept, as predicted by the electromagnetic simulation models. [ABSTRACT FROM AUTHOR]

This article examines how colour was used as a tool of pictorial narrative in the Bayeux Tapestry and the illustrated Old English Hexateuch, the two longest such cycles to survive from 11th-century England. The dyes employed for the former and the pigments of the latter are identified; the palettes that they permitted their respective artists to realize are set out; the colouring of cognate scenes are compared; and the general principles (such as they were) that affected the deployment of colour in the two works are explained. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "The 18th International Architecture Exhibition," held at Giardini della Biennale in Venice, Italy from May 20, 2023 to November 26, 2023.

A textile bandwidth-enhanced half-mode substrate-integrated cavity (HMSIC) antenna based on embroidered shorting vias is designed. Based on the simulated results of the basic HMSIC antenna, two embroidered hollow posts with square cross-sections are added as shorting vias at the intersections of the zero-E traces of the T M 210 H M and T M 020 H M modes to shift the T M 010 H M -mode band to merge with the bands of the higher-order modes for bandwidth enhancement. A prototype is practically fabricated based on computerized embroidery techniques. Measurement results show that the prototype is of an expanded −10 dB impedance band of 4.87~6.17 GHz (23.5% fractional bandwidth), which fully covers the 5 GHz wireless local area network (WLAN) band. The simulated radiation efficiency and maximum gain of the proposed antenna are above 97% and 7.6 dBi, respectively. Furthermore, simulations and measurements prove its robust frequency response characteristic in the proximity of the human tissues or in bending conditions, and the simulations of the specific absorption rate (SAR) prove its electromagnetic safety on the human body. [ABSTRACT FROM AUTHOR]

The synchronic analysis of the contemporary cultural life in the Latin American communicative community shows that the art of embroidery, traditionally transmitted from generation to generation mainly by women, undergoes significant changes in terms of values. Embroidery has come to be perceived not as an applied art but as one of the fine arts as it has evolved from a simple decorative process toward the transmission of meanings, emotions, and ideas through methods of working with fabrics and threads specific to a particular nation. Since the second half of the 20th century, the «intimate» art of embroidery has become collective. It has spread beyond people’s homes to be practiced in garment workshops, hence fostering a space of communication between artisans and allowing them to work together, in unison. The public space created around embroidery gradually goes beyond workshops and begins to embrace broader sectors, encouraging numerous dialogues, namely those between seamstresses and authorities, between artisans from different workshops, from different towns, cities and countries. By exposing injustice and the denial of human rights embroidery has become an international instrument of social and political struggle. The authors of this study examine embroidery within the framework of Latin American artivism and define it as a traditional form of protest art in the region. The diachronic analysis of Latin American embroidery of the past century is instrumental in shedding new light on certain events of regional history. Thus, embroidery has become an invaluable encyclopedia of people’s heroism in their struggle against inequality and oppression.

The article reviews the "Goldwork: Embroidery as Contemporary Art" exhibition which was held at the Gallery 76, art gallery in Concord West, Australia, from July 2 to August 28, 2022, curated by Catherine Gibson, and highlighted a range of historical and modern metal thread embroideries.

Copyright of Telecommunication Engineering is the property of Telecommunication Engineering and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Liquid crystal elastomers (LCEs) are promising candidates for creating adaptive textile‐based devices that can actively and reversibly respond to the environment for sensing and communication. Despite recent advances in scalable manufacturing of LCE filaments for textile engineering, the actuation modes of various LCE filaments focus on contractual deformations. In this study, manufacture of polydomain LCE filaments with potential scalability by wet‐spinning is studied, followed by mechanical exploitation to program liquid crystal mesogen alignments, demonstrating both contractual and twisting actuation profiles. By plying these LCE filaments into yarns with different twist concentrations, yarn actuation, and mechanical performance is tuned. Yarns plied at 4 twists per cm can generate up to a seven‐fold increase in elastic modulus while maintaining 90% of actuation strain performance from their native filament. The contractual and twisting LCE filaments are then embroidered with varying stitch types to spatially program complex 2D‐to‐3D transformations in "inactive" fabrics. It is shown that a running stitch can actuate up to 15% in strain and create angular displacements in fabric with twisted mesogen alignments. It is envisioned that the wet‐spun polydomain LCE filaments for diverse plied yarn production together with textile engineering will open new opportunities to design smart textiles and soft robotics. [ABSTRACT FROM AUTHOR]

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Textile Makerspace: Digital Humanities Meets Craft" explores the intersection of textile craft, storytelling, and data in a unique makerspace at Stanford University. The Textile Makerspace provides a space for various crafts like sewing, knitting, and embroidery, attracting students and staff. The author delves into using textile methods for data visualizations and storytelling, as well as merging weaving with legal advocacy in digital humanities. The article also discusses a petition by the Authors Alliance to expand an exemption for text and data mining, showcasing the potential of computational text analysis through craft-based visualizations. Lastly, a Data Visualization with Textiles course at Stanford encourages interdisciplinary collaboration and experimentation to break traditional modes of scholarship in the humanities. [Extracted from the article]

This article examines the work of two contemporary feminist disabled artists who are originally from India, and who currently live and work in the United States. Bhavna Mehta and Sugandha Gupta both work in textiles, and identify as women with disabilities. Mehta embroiders X-rays of her own body that capture her medical condition as someone with polio and who uses a wheelchair, where she uses embroidery skills passed down to her by female family members in India. Mehta rescripts the medical narratives of her condition so that her disability is accorded a literal and metaphorical personal touch, antithetical to the often-dehumanizing imagery that pervades within the medical industrial complex. Gupta, who was born with albinism, which also impacted her vision at birth, uses felt and other materials inspired by craft research in India to create sensorial fabrics that disrupt the hierarchy of the senses, with an emphasis on the generative tactile properties of objects. By analyzing the work of these two artists, I not only aim to introduce underrepresented feminist art histories, expanding the literature of the Global South, but I also wish to offer an argument that these artists are crafting new feminist forms of disability and re-envisioning Indian textile traditions. [ABSTRACT FROM AUTHOR]

Risk factors that threaten body health are likely to be present mostly in every work environment where human power is utilized. An occupational disease is defined as a state of physical disability arising from the way the work is conducted due to the nature of the work done. While employers ensure that their production flows continuously, they should also take various precautions by conducting scientific methods to protect their operators from occupational diseases. This study was carried out among 34 people working in 3 different embroidery facilities. The working postures of the participants were first examined within OWAS (Ovako Working posture Assessment System) as an observatory method. Afterward, to include the operators’ perceptions, the opinions of the operators were also evaluated through the CMDQ (The Cornell Musculoskeletal Discomfort Questionnaire). In this way, a multi-faceted evaluation system was implemented via both external observation and internal evaluation. Based on the study findings, relying on the OWAS method, ergonomic measures should be taken as early as possible, mainly in the preparation and collection stages (40.9% and 43.8%), whereas the embroidery process requires these precautions predominantly (42,6%). According to the CMDQ results, male personnel are more likely to suffer from the back, waist, neck, and hip parts of the body. On the other hand, the female personnel reported loading more on the hips, waist, back, and neck parts of their bodies. Although the same body parts are loaded in male and female operators, the discomfort level of these parts differs among the genders. [ABSTRACT FROM AUTHOR]

In this article, I shall discuss participation - the artist's role and responsibility in participation, and the potentials of participatory textile projects in the public space. In doing so, I will focus on The stitch project (2012-). This project involves public interaction through acts of tactile textile making such as stitching on a tablecloth. I have based this study within a context of understanding matter and the embodiment of participation from feminist (Ahmed, 2006; Butler, 1988) and new materialist (Barad, 2003; Coole & Frost, 2010; Garber, 2019) perspectives. I am interested in the interactive aspects of The stitch project and how these aspects relate to the concepts of diapraxis (Nunes, 2019) and al masha (Hilal & Petti, 2018). In regard to these terms, I aim to examine the potentials and challenges of participatory textile art projects, like The stitch project, by examining their social and material aspects as well as the complexities of inclusion and participation. [ABSTRACT FROM AUTHOR]

Triboelectric nanogenerators (TENGs) are devices that efficiently transform mechanical energy into electrical energy by utilizing the triboelectric effect and electrostatic induction. Embroidery triboelectric nanogenerators (ETENGs) offer a distinct prospect to incorporate energy harvesting capabilities into textile-based products. This research work introduces an embroidered triboelectric nanogenerator that is made using polyester and nylon 66 yarn. The ETENG is developed by using different embroidery parameters and its characteristics are obtained using a specialized tapping and friction device. Nine ETENGs were made, each with different stitch lengths and line spacings for the polyester yarn. Friction and tapping tests were performed to assess the electrical outputs, which included measurements of short circuit current, open circuit voltage, and capacitor charging. One sample wearable embroidered energy harvester collected 307.5 μJ (24.8 V) of energy under a 1.5 Hz sliding motion over 300 s and 72 μJ (12 V) of energy through human walking over 120 s. Another ETENG sample generated 4.5 μJ (3 V) into a 1 μF capacitor using a tapping device with a 2 Hz frequency and a 50 mm separation distance over a duration of 520 s. Measurement of the current was also performed at different pressures to check the effect of pressure and validate the different options of the triboelectric/electrostatic characterization device. In summary, this research explains the influence of embroidery parameters on the performance of ETENG (Embroidery Triboelectric Nanogenerator) and provides valuable information for energy harvesting applications. [ABSTRACT FROM AUTHOR]

The medieval textiles collection of the National Museum of Art of Romania (MNAR) has been in place since 1865 and nowadays preserves about 1000 medieval and pre-modern weavings and embroideries. These extremely valuable objects, dated between the 14th and the 19th centuries, are mainly religious embroidered garments and veils with special significance in the Byzantine li-turgy. Ecclesiastical embroideries of Byzantine tradition are characterized by a complex technique: metallic threads with a silk core, metallic wires and coloured silk threads are couched over padding on layers of silk and cellulosic supports so as to create relief through light reflection. The silk sup-ports and the sewing threads are coloured, mainly in red, blue, green and yellow hues, and analytical investigations of the dyes used in embroideries preserved in the MNAR, in the Putna and Sucevița Monasteries, have been released in previous studies by the corresponding author. The present work continues the approach with research into dyes in about 25 aëres and epitaphioi from the MNAR collection. Considering their privileged function in the liturgical ritual, these luxurious pieces embroidered with silver, gilded silver or coloured silk threads and decorated with pearls, sequins or semi-precious stones are the most faithful description of the stylistic and technological evolution of the art of post-Byzantine embroidery in the Romanian provinces. The data resulting from the present research will improve the knowledge regarding this topic. Dye analysis was performed by liquid chromatography with diode array detection, while fibres were characterized by infrared spectroscopy (with attenuated total reflectance) and optical microscopy. The biological sources identified—carminic acid-based dyes, redwood, dyer's broom, weld, indigo-based dyes––will be discussed in correspondence with their use in the embroidery technique: support, lining and embroidery threads, together with other sources previously reported on Byzantine embroideries in Romanian collections, and in similar objects preserved at Holy Mount Athos. [ABSTRACT FROM AUTHOR]

Arthur Bispo do Rosário created separate realities inspired by the objects of his surroundings. He intended to summon up everything and report to God. The objects he found or got from other inmates were waste of the Juliano Moreira Colony where he lived in seclusion because the lords of order categorised him as mentally ill. Bispo began by unravelling the uniforms of his seafaring days and Colony clothing and with the threads he wove maps and banners. He collected old shoes, empty milk bags, gears, tools, toys, cutlery, bottles, mugs to shape into powerful amalgams of odd aesthetic narrative. As pieces of the Colony waste were given to Bispo by other inmates and as he turned the scraps into art, his creative strength was offered to the hospital's population and now to museums and art galleries. The observation of this cycle of stunning wonder between Bispo and his fellow inmates suggests the view of unravelling second-order cybernetic processes. Simple things of the world turned into art got new significance in the eyes of the observers. Their poor world became thrilled in delight. As an inmate of a psychiatric ward in Rio de Janeiro, he never stopped his intense and endless work building an inventory of embroidery, assemblages and objects deemed to present the Lord. His work captured the aesthetic sensibility of the Colony population who started viewing the common things of the world redeemed by Bispo as sacred uncaged tokens with divine destination. A virtuous unending cycle of human sensibility and creativity. As observers, we make the distinction of evolving processes in the realm of second-order cybernetics. [ABSTRACT FROM AUTHOR]

Fibre‐based wearables for embroidery, chemosensing, and biofluid's unidirectional draining with good flexibility, tunability, and designability drive technological advance. However, synthetic polymer fibres are non‐degradable, threatening the environment and human health. Herein, we have developed versatile microfibre‐based wearables by combining many advantages in one platform of biodegradable polylactic acid (PLA) and melt electrowriting strategy. Diverse potential applications of PLA wearables are achieved by flexibly designing their printing files, components and structures. Three‐dimensional printing files are generated from two‐dimensional images to fabricate 'embroidery‐like' patterns. PLA/aggregation‐induced emission fluorogens (AIE) chemosensors exhibit colorimetric and fluorescent colour changes upon exposure to amine vapours. Janus PLA‐cotton textiles with a hydrophobic/hydrophilic structure could facilitate unidirectional draining of sweats which is favourable for the management of temperature and humidity on the surface of skin. The proposed platform can not only broaden the design possibilities in 3D/4D printing but also offer wide potential applications for functional wearables. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

В статье рассматривается традиция вышивок, получившая развитие у монгольского племени хорчинов и представляющая собой уникальный образец ремесла средневековых и современных монголов. На протяжении длительного периода своего существования она вобрала в себя уникальные особенности среды обитания и образа жизни, а также исторические традиции, культуру и обычаи этого народа. Изучение творческого наследия хорчинов имеет огромное значение для развития и модернизации традиционного искусства монгольской вышивки в современной жизни. Исследуются основные техники выполнения вышивок, типы узоров и их семантика, а также принципы колористической организации, позволяющие достичь редкой по красоте цветовой гармонии изображения ткани. Показано, что традиции, некогда сложившиеся в среде хорчинов, получают развитие в современных народных промыслах, существующих во Внутренней Монголии.

In the early twentieth century, traditional handicraft was challenged by the latest technology in China. It is reflected by ethnic costumes combining new and old, as in the waistcoat of this study. This waistcoat made at Gyalrong Tibetan area in Sichuan, China, displays unique local features in terms of its brilliant colors and comprehensive craftsmanship. This study employs techniques such as optical microscopy, infrared spectroscopy, scanning electron microscope and high performance liquid chromatography-mass spectrometry to investigate various aspects of this waistcoat, including its fabrics and dyes. The results showed that the waistcoat was primarily made of cotton and silk, with a bamboo paper layer, and that silk as well as twisted gold and silver threads were employed for the embroidery. Various embroidery techniques were applied, with patterns, color combinations, and characteristics being consistent with those of Tibetan and Shu (蜀) embroidery. In terms of dyeing technology, a wide range of colors were achieved through multi-step dyeing processes using natural dye stuffs like pagoda bud, and synthetic dyes like magenta. These findings indicates that modern technologies were well integrated into traditional garment manufacture in the early twentieth century in China. [ABSTRACT FROM AUTHOR]