Smart textiles to promote multidisciplinary stem training

Smart textiles consist of multi-disciplinary knowledge. Disciplines such as physics, mathematics, material science or electrics is needed in order to be able to design and manufacture a smart textiles product. This is why knowledge in smart textiles may be used to showcase high school and university students in basic years of preparation some applications of technical disciplines they are learning. The Erasmus+ project “Smart textiles for STEM training – Skills4Smartex” is a strategic partnership project for Vocational Education and Training aiming to promote additional knowledge and skills for trainees in technical fields, for a broader understanding of interconnections and application of STEM, via smart textiles. Skills4Smartex is an ongoing project within the period Oct. 2018-Sept. 2020, with a partnership of six research providers in textiles www.skills4smartex.eu. The project has three intellectual outputs: the Guide for smart practices (O1), the Course in smart textiles (O2) and the Dedicated e-learning Instrument (O3). The Guide for smart practices consists in the analysis of a survey with 63 textile companies on partnership level and interviews with 18 companies. Main aim of O1 is to transfer from source site to target sites technical and smart textile best practices and the profile of workforce needed for the future textile industry. The needs analysis achieved within O1will serve to conceive the Course for smart textiles with 42 modules (O2), to be accessed via the Dedicated e-learning Instrument (O3). All outputs are available with free access on the e-learning platform: www.adva2tex.eu/portal

A literature review of analytical techniques for materials characterisation of painted textiles - Part 2: spectroscopic and chromatographic analytical instrumentation

Part Two of this Literature Review of analytical techniques for materials characterisation of painted textiles focusses on the application of vibrational and x-ray spectroscopic and chromatographic techniques used in the analysis of painted textiles to inform understanding of their materials, methods of making and degradation. The principles of detection methods, technique limitations and advantages, and how they complement each other, are explained and advances in techniques applicable in the study of painted textiles are discussed, such as mapping in Fourier transform infrared spectroscopy and Raman, surface-enhanced resonance Raman spectroscopy, and secondary ion mass spectrometry. Most informative work relating to painted textiles comes from close collaboration between conservators and scientists in interpreting findings and this literature review provides a useful starting point to further develop the capabilities of analytical techniques to enhance the study and conservation of painted textiles

A literature review of analytical techniques for materials characterisation of painted textiles - Part 1: categorising painted textiles, sampling and the use of optical tools

Many types of painted textile are represented in museum collections. Their flexibility, draping qualities, and heterogeneous, layered nature make painted textiles complex objects to conserve. What do we know about their materials and making? There has been limited research into painted textiles and particularly their analysis. Whilst much valuable information can be gleaned from paintings analysis, there are many distinct differences in materials behaviour between stretched paintings and painted textiles that need to be identified and addressed. This paper, together with Part 2, aims to raise the awareness of textile conservators, in particular, of potential analytical techniques to identify and characterise the materials, thus enhancing understanding and conservation of painted textiles. Part 1 focuses firstly, on the categorisation of different groups of painted textile providing a context for their study and secondly, it reviews sampling and optical techniques that can be used by conservators, highlighting some of the challenges they present

Fingertip skin models for analysis of the haptic perception of textiles

This paper presents finite element models of the fingertip skin which have been created to simulate the contact of textile objects with the skin to gain a better understanding of the perception of textiles through the skin, the so-called hand of textiles. Many objective and subjective techniques have already been developed for analysing the hand of textiles; however, none of them provide exact overall information concerning the sensation of textiles through the skin. As the human skin is a complex heterogeneous hyperelastic body composed of many particles, some simplifications had to be made at the early stage of building the models; however, their utilitarian value was maintained. The models relate only to mechanical loading of the skin. They predict a low deformation of the fingertip skin under the pressure of virtual heterogeneous material: acrylic, coarse wool, and steel

Tackling the technical history of the textiles of El-Deir, Kharga Oasis, the Western Desert of Egypt

The site of El-Deir is situated north of Kharga in the “Great Oasis” of the Egyptian Western Desert (fig. 1). The site was occupied between the 6th century BC and the 6th century AD. A complex history emerged with the influence of many cultures: Persian, Greek, Roman and early Christian. Archaeological finds in both El-Deir and the oasis itself (the site of Dush and the temple of Darius in Hibis, a city north of Kharga) confirm that the Great Oasis was a wealthy region. This is also substantiated by texts from Ain Manawir and Dakhleh. The presence of an artesian aquifer, a great economic asset, further underpinned the prosperity of the area, which was a crossroads for numerous routes from the earliest dynasties. There are currently three different sources of textiles on the site (fig. 2): the six cemeteries (five polytheistic and one Christian), the workshop of the embalmers, and the Roman fortress with adjacent temple. Most of the textiles have been found in a funerary context. The study of the textiles takes place within an oasis, a circumscribed setting with a specific geography and climate, and over a long continuous period. Such conditions are favourable for emphasising traditions and changes. Before briefly mentioning the material from El-Deir, we feel it is important to underline that comparisons with other textile studies are difficult. The majority of the necropoleis of the site are Ptolemaic and very few studies have concentrated on this period. In consequence, any possible comparisons must be made with recourse to Pharaonic textiles. On the other hand, the examples of textiles retrieved from the soundings in the fortress can be easily placed due to studies conducted in the Eastern Desert. Likewise, material from the Christian cemetery finds parallels in the numerous sites in Egypt that date to the Byzantine era. Technical and aesthetic criteria of the textiles from the site are important for the study of the social status of the buried individuals and provide an assessment of the local standard of living. The study of textiles can also help in reconstructing, at least partially, the textile industry of the oasis. Textiles can also shed new light on religious, cultural and economic life. Lastly, they can serve as a comparative tool for other sites. How does one deal with the diversity and quantity of textiles found in such a specific oasis site? Four hundred pieces of textile were selected in the field, entered into a database and then analysed. An essential step in the first instance was to choose, on-site, representative textiles according to quantity and quality, archaeological context, per individual, per tomb or en masse. These were in the great majority mere fragments, the site having been looted many times in the not too distant past. Once the textiles had been sorted, the second step involved a technical examination stretching from fibre to fabric, in order to shed light, for each, on the characteristics, the techniques used to transform them and, when possible, the tools used to do so. Only a few examples, which illustrate the diversity of the site, will be presented in this article, while focus shall remain on the raw material. We have chosen to present, one by one, the three textile fibres found on the site: linen, cotton and wool

Folded, layered textiles from a Bronze Age pit pyre excavated from Over Barrow 2, Cambridgeshire, England.

The textiles from Over Barrow, Cambridgeshire, England present the opportunity to examine the burial practices at the end of the Early Bronze Age. They were excavated from a pit pyre cremation along with cremated bone, a bone needle/pin and two small sherds of a collared urn. Preserved in charred clumps of multiple layers, they have the potential to provide clues as to how the textiles were used in the cremation, for example, whether they were used as clothing, shrouds or for other purpose such as binding strips. These possibilities raise a number of questions as to the role of textiles in Bronze Age cremation burials in the early second millennium BC in Britain

The influence of textiles on Corona discharge created around a human fingertip

A corona discharge is a visible, electrical discharge observed in gases, which occurs on the surface of charged conductors. In our research, the discharges were generated around human fingertips and recorded in the form of films during the test while a number of people were in contact with different textiles for a short period. The aim of our experiments was the estimation of the possibility of using corona-discharge-films (CDF) for the investigation of the impact of textiles on the CDF of human fingertips. This article describes the investigation, aimed at determining if a test-person short period of contact with textiles, such as knitted acrylic, wool and viscose fabrics, influences the corona discharge of the test-person. The research results confirmed these assumptions

Textiles as Material Gestalt: Cloth as a Catalyst in the Co-designing Process

Textiles is the common language within Emotional Fit, a collaborative research project investigating a person-centred, sustainable approach to fashion for an ageing female demographic (55+). Through the co-designing of a collection of research tools, textiles have acted as a material gestalt for exploring our research participants' identities by tracing their embodied knowledge of fashionable dress. The methodology merges Interpretative Phenomenological Analysis, co-design and a simultaneous approach to textile and garment design. Based on an enhanced understanding of our participants textile preferences, particular fabric qualities have catalysed silhouettes, through live draping and geometric pattern cutting to accommodate multiple body shapes and customisation. Printedtextiles have also been digitally crafted in response to the contours of the garment and body and personal narratives of wear. Sensorial and tactile interactions have informed the engineering and scaling of patterns within zero-waste volumes. The article considers the functional and aesthetic role of textiles