Aavaran: creating niche through contemporary traditional textiles

ABSTRACT
 
 China's ancient ethnic minority clothes contain remarkable cultural elements, and among its treasures is the unique Naxi dress, the nation's oldest-standing traditional ethnic clothing. This study analyses the traditional Naxi clothing's structure, colour, fabric, motif characteristics, and accessories. These studies specify traditional Naxi clothing as the primary goal, which is fashioned in contemporary ways. Through an investigation of clothing composition and culture, the four main elements that constitute Naxi costumes should be applied to contemporary clothes. Firstly, the term "variability" designates a distinct style that differs in appearance depending on the way it is dressed. Secondly, the term 'colour contrast' denotes a high level of visual contrast. Third, material difference' integrates various materials into one. Fourth,' symbolic meaning' provides meaning to the wearer. As a consequence of this research, two modern clothing outfits were created with the implication of the unique character of Naxi costume clothes as a fashion design product, based on the traditional cultural characteristics of the Naxi people. By integrating components of traditional Naxi clothing and emphasising innovation, this study investigates and offers novel ideas for contemporary clothing design while simultaneously preserving traditional cultural elements for future generations.
 
 Keywords: Naxi people, Naxi traditional costumes, cultural elements, modern appeal

This study aims to clarify the influence of various factors on the development of traditional textiles, by examining the case of the development of traditional karawo textiles in Gorontalo Province, Indonesia from 1970 to 2020. This study employs a qualitative research method with a historical approach. Data were collected through historical documents, observation, interviews, and a literature review. Data were analyzed interactively with continuous comparisons during and after data collection. The results showed that the development of traditional karawo textiles from 1970 to 2020 can be further divided into three distinct periods: 1970–2000, 2000–2010, and 2010–2020. During each period, karawo textiles were influenced by various factors, both internal and external. The most influential internal factors were the emergence of craftspeople and designers as production bases and continuous innovation. The most influential external factors were the actions of government and commercial institutions. Government policies encouraged individuals and non-governmental organizations to contribute to the development of karawo textiles. Commercial institution influent the distribution and marketing of karawo textile products. The study also describes the types of factors and their impacts. The study concludes that to ensure the sustainable development of traditional textiles, therefore those internal and external factors must consistently contribute from time to time.

In every era of its history, the art branches have varied a lot in different societies. One of these branches is fabric weaving from traditional textile arts. The fabric is densely produced and continues to be produced in every region where Turks live, representing different technical, motive and compositional characteristics. The fact that Anatolia is one of the important textile centers is one of the reasons for the substantiality of fabric weaving, and there are textile fabric types that are specific cultural identity elements in geographical regions. The aim of this study is compose the geographical distribution by determining the types and characteristics of traditional fabric weavings with different characteristics woven or continue to be woven in Anatolia. Survey research design was used in this study. The universe of this study is traditional fabrics woven in Anatolia, and the sample is 32 traditional handwoven fabrics selected by random sampling from 7 regions. To collect data, written sources related to the subject were examined. As a result of this study; although there are differences in appearance of the fabrics, it has been revealed that they are mostly produced on whipped looms and mostly using cotton yarn, but silk, wool, floss, linen, angora wool, bristle and flax It has also revealed that plain weave in the ground knitting, weft brocade technique in pattern knitting was used, being preferred the natural color of the raw material, geographical sign related to many traditional fabrics are taken and in geographically distribution was mostly the Aegean Sea & Black Sea. The other fabrics, which are our historical weaving heritage, also need to be registered and protected. New projects should be made to keep the our weavings alive which are living documents of our cultural identity. Keywords: Anatolia, fabric, woven, traditional hand weaving, geographical signs

The purpose of the work is to study the artistic and compositional features in children's collections of haute couture houses and determine the patterns of their repetition in the design of children's costumes in the 20th and early 21st century. To achieve this goal, a historical study of materials, a visual-analytical method, morphological and compositional-structural analysis were applied. The evolution of children's costume in the high fashion collections in the and early 21st century is investigated and the main trends in children's fashion for a given period of time are analyzed. The artistic and compositional features of the children's costume are identified, the most characteristic artistic and structural elements of children's clothing are identified: three-dimensional shape, color scheme and fabric pattern, structural and decorative elements and decoration. The regularity of repeating the pattern of fabric in the collections of children's clothing of the Fashion houses in the 20th and early 21st century is established. The collected materials and their analysis made it possible to establish regularity of repeating of artistic and compositional features in a children's costume, such as a fabric pattern and decoration in different years in models of children's clothing of High Fashion Houses. Practical significance lies in the generalization of artistic compositional features and the identification of leading trends in the artistic compositional solution of children's costumes in the high fashion collections in the 20th and early 21st century. The results will make it possible to predict trends in children's fashion, design actual models of clothing for children and can be used in further research on the design of children's clothing.

Rural Industrialization in Developing Nations and Gender

The modernization movements experienced in the Ottoman Empire in the 19th century also affected the urban space of İstanbul. In parallel, what happened after the industrial revolution transformed small-scale production workshops into industrial facilities. As a result of these developments, large-scale industrial structures dominant in the traditional fabric were built in different regions of İstanbul. Factors such as transportation, raw materials and large areas were taken into consideration when constructing industrial buildings. According to these factors, some regions in İstanbul were consciously chosen as industrial centers. One of these regions was today's Zeytinburnu district, which is outside the city walls in İstanbul. As a result, the modernization efforts initiated in the Ottoman Empire in the 19th century caused radical transformations in the morphological structure of İstanbul. In this context, Zeytinburnu one of the peripheral areas of the city outside the city walls has become one of the new industrial production areas in a planned manner. The main purpose of this study is to examine the spatial transformation shaped by the construction of industrial structures within the urban development process of Zeytinburnu in the 19th century. The studies are focused on the Kazlıçeşme region, which has been an important production area throughout history in the Zeytinburnu district. The effects of urban transformation, especially in the 19th century, on the physical environment were evaluated comparatively through historical maps, archive documents and old visuals.

This study aims to find the optimal conditions for dyeing polyester (PET) and Lycra®-blended fabric and predict the quality characteristics, where PET and Lycra®-blended fabric were taken as raw material with dispersed dyes using a one-bath two-section dyeing method, characterizing the color strength of gray fabric. Adopting the Taguchi method for parameter design, machine working temperature, dyeing time, dye concentration, and bath ratio, which have an influence on dyeing, were chosen as control factors to conduct experiments using orthogonal arrays, and analysis of variance was incorporated to determine optimal processing conditions, significant factors, and percent contribution. With the smaller-the-better characteristic for color strength of gray fabric as the target characteristic, calculations were conducted to confirm the reproducibility of the experiment. We found from experimental results that color strength for gray fabric dyed under optimal conditions was closer to the target value. In addition, we constructed a prediction system based on the factors significantly influencing dyeing performance by a integrating genetic algorithm (GA) with a back propagation neutral network (BPNN), so as to find optimal connection weight values. Hence, learning algorithm efficiency was enhanced with decreased dependency on initial conditions, together with a more robust learning algorithm, so as to predict color strength for gray fabric. Moreover, improvements of BPNN, which is most widely used at present, will be influenced by choice of initial learning parameters more often than not, hence there is a disadvantage in that it is probable that only local optimal solutions are found instead of global optimal solutions.

Hand woven fabrics and the patterns that they bear, are important examples of cultural heritage; reflecting the culture, customs and traditions of the communities, and the thoughts and emotions of the weaver. Peru, on account of the traditional woven fabrics, the colors used and the patterns with their unique language and meaning, has an esteemed stance in the history of woven and knitted fabrics. These woven fabrics, reflecting a strong national cultural identity; echo economic, social, political and religious developments. Establishing the continuity of the handicrafts; which exemplify the expression of economic, social and artistic transformation and are passed on through past and future generations; is possible by supporting knowledge by protecting, developing and sharing it. In this article, the manner of how traditional patterns and colors from different cultures affect current forms of garments are examined. In addition to this, along with a different perspective, novel clothing designs have been made based on the patterns and clothing forms present in Peruvian culture. Regarding the work within the scope of the study, the inspirational characteristic features of the traditional forms have been intended to be preserved, but the raw materials used, the techniques, colors and elements that make up the clothing design have been altered within the framework of aesthetic cognition. The designs have been attempted to be made universal, keeping in mind the memorability of pattern oriented consciousness.

Introduction This chapter examines contestation and resistance around sustainability norms in primary commodity production, using the case of palm oil to explore the analytical utility of recognising 'norm antipreneurs' as a distinct type of resister of normative change. While much of the literature on norm dynamics focuses on states as the ultimate 'governors' adopting and enforcing new norms that have been constructed in multilateral institutions, the primary commodity sector offers a different point of entry into this question. Primary commodity production is increasingly regulated by 'private governors' in the form of primary commodity roundtables – voluntary private associations comprising corporations and nongovernmental organisations (NGOs) or civil society actors more broadly – designing and enforcing sustainability norms in sectors such as forestry/timber, soy, marine fisheries, sugar, palm oil, cotton, and biofuels/biomaterials (Brassett et al. 2012).1 Norm construction, thus, takes place outside formal multilateral institutions. The norms advanced by multistakeholder roundtables are usually translated into certification regulations that specify sustainable practices in the respective industry. The roundtables' corporate members in particular are expected to comply with these standards and rules, thereby also signalling their sustainability credentials to crucial external audiences. Primary commodity roundtables are clearly norm entrepreneurs because they work to 'alter the prevailing normative order according to certain ideas or norms that they deem more suitable' (Wunderlich 2013). However, rather than display 'an absolute ethic' (Howard Becker cited in Nadelmann 1990, 482, n4) even though some of their members may have 'strong notions about appropriate or desirable behaviour in their community' (Finnemore and Sikkink 1998, 896), primary commodity roundtables find themselves having to balance the various competing normative goals and material interests of their members (Brassett et al. 2012; Cashore et al. 2004; Nikoloyuk et al. 2010). Intra-network contention, which is an important part of norm dynamics more generally, is especially salient, and of a particularly complex nature, in primary commodity roundtables.Any roundtable, which may be regarded as a network of diverse actors (or members), will likely face internal differences amongst at least two classes of distinct actors – corporations and NGOs/civil society. Material, or instrumental, considerations are more than likely to intrude into normative deliberations and actions within such associations. Although corporations are recognised as displaying both 'normative ideals and material concerns' (Sell and Prakash 2004, 143), these normative ideals are unlikely to deviate too far from instrumental, profit considerations (Kollman 2008). This puts them on a collision course with civil society's conception of normative action. However, even here, firms positioned differently within an industry structure or supply chain, and thus embedded within different social constituencies, will have distinct notions of how their respective corporate interests relate to normative goals. Moreover, when the norm in question is 'sustainability', which is an ambiguous and contested concept, space is opened up for different actors to define them differently (Connelly 2007). While this does not preclude achieving consensus within the roundtable, that process of reaching consensus is bound to involve conflict while the resultant norm will likely be what Julia Black (2008, 152-157) terms a 'compromise norm'. Both these outcomes can animate contestation over the norms and related certification schemes proposed by the roundtable. Contestation can arise within the roundtables and externally when the proposed new norm challenges the prevailing status quo and its entrenched interests. Contestation can also emerge because the compromise norm advanced by the roundtable does not meet the more exacting ethical standards of principled actors inside and outside the commodity roundtable. The presence of complex contestation and resistance of the type described above offers rich empirical material from which to examine this book's two central questions: whether it is possible to distinguish between norm entrepreneurs and antipreneurs and whether making such a distinction is analytically useful to explaining the politics of global normative change.

There has been a focus on design innovation and interventions to sustain and enhance the cultural heritage of handloom textiles, especially in the textile industry of Sri Lanka. Renowned for its traditional handloom weaving, the industry faces the challenge of aligning with mass production and fast production cycles, while maintaining its cultural heritage. The traditional designs and textiles do not meet contemporary market demands nor the target audience of today. While studying the handloom machines used by the artisans for an academic project, it was discovered that making changes to the same warp by making alterations to the weft would sustain the continuity of the handloom while producing entirely different textiles. Furthermore, this practice is more sustainable and efficient as opposed to using one warp to produce just one type of textile. This research seeks to innovate within this sector by introducing a natural feather-based handloom textile, utilising feathers as a primary material. The objective is to transform locally sourced feathers, a byproduct of the poultry industry typically discarded as waste, into valuable, eco-friendly textiles that enhance both the environmental and economic landscape of Sri Lanka. Furthermore, this is an artisanal and culturally valued textile substitute to natural fur-based textiles which are less ethical to animals, which also highlights the craftsmanship of the rapidly declining artisanal communities. The methodology adopted in this research is systematic and multi-staged, focusing on both material preparation and the adaptation of traditional weaving techniques. The first stage involves the collection and treatment of feathers to ensure hygiene and durability, making them suitable for use in textiles. The feathers are then transformed into feather rope structures, a process in which the feathers are carefully twisted into ropes that can be incorporated into handloom weaving. This preparation stage is crucial, as it ensures that the feather material is both workable and compatible with traditional weaving techniques. Following this, experimentation with various traditional handloom techniques to effectively integrate feathers into the fabric was carried out. This involves adjusting loom settings and exploring different weaving patterns to accommodate the unique characteristics of feathers. The feather trims were guided by hand and were tightened using the plain-weave technique. This not only ensured the feathers were locked in place in the weave, resulting in longevity but also allowed a smooth and comfortable surface texture to be woven in without any unevenness in the textile. By collaborating with local artisans, the study emphasises a participatory approach, ensuring that the innovation respects and values the artisan’s knowledge of heritage craftsmanship to build contemporary textiles. The collaboration with local artisans plays a critical role in this research, as their expertise and familiarity with traditional techniques are invaluable. Engaging with the artisans through trial and error allowed for a co-creative process that led to the discovery of new techniques and applications for feather-based textiles that match quality, comfort, and durability. Preliminary findings revealed that it is possible to achieve a distinct aesthetic appeal using feathers due to the natural colouration and texture of feathers which appeared more or less similar to fur textiles. The natural characteristics of feathers, including their lightweight structure, softness, and muted hues, enhance the aesthetic and functional qualities of the textiles, making them appealing for a variety of applications. Furthermore, their marketability will appeal to both local and international markets seeking sustainability and uniqueness, expanding to garments as well as home decor products such as rugs. The design further amplifies the market appeal of feather-based handloom textiles, especially among consumers seeking eco-friendly, culturally rich, and ethically produced goods. The innovation holds significant potential for the local textile industry by creating value from poultry industry waste, introducing a new revenue stream that supports both sustainability and local craftsmanship. Artisanal communities and their livelihoods stand to benefit from increased demand for their skills, as the production of feather-based textiles requires their expertise in handloom weaving. Environmentally, it supports waste reduction and promotes the use of natural, biodegradable materials, aligning with global sustainability goals. The feather-based textiles offer a sustainable alternative to synthetic and fur materials, reducing the environmental impact associated with conventional textile production. Additionally, the use of locally sourced feathers minimises the carbon footprint involved in raw material transportation, contributing to the eco-friendliness of the entire process. In conclusion, by combining sustainable practices with cultural heritage preservation, this research contributes to a textile model that is environmentally, economically, and ethically viable. This research offers a pathway for traditional craftsmanship to coexist with contemporary design, fostering a textile industry that honours its cultural roots while embracing sustainable innovation.

The Mimika Wee tribe retains much knowledge of ancestral traditions, one of which is Kapiri Kame. This tradition is a tool and complement to the expression of life of the Mimika Wee tribe, which is inseparable from the daily life activities of the Mimika people. This research aims to describe the meaning of the Kapiri Kame tradition and its use for education and tourism in Central Papua. This research is qualitative with ethnographic methods. Sources of research data are informants, phenomena, and documents. The data collection techniques used were interviews, observation, and document study. The analysis technique used is descriptive ethnography. The research results show that the Kapire Kame tradition represents the philosophy of life of the Mimika Wee people, which is reflected in the identity of the canoe, river, and sago (3s). This symbolization emphasizes respect for fellow humans, sensitivity, and concern without intervention in other people's affairs. The various riches in this tradition can be (1) a source of local knowledge and contributor to the development of the community's economy, (2) cultural potential and creative industries that can be managed and developed to support the community's economy, (3) empowerment of community skills in processing raw materials into finished products, including the processing of forest pandan leaves into bags as women's accessories, mats for sleeping mats, as well as the use of alang-alang, melinjo and pineapple grass as traditional clothing, and (4) exploitation of natural wealth, local wisdom and art as potential culture that can be used as a cultural tourism destination industry. Based on this, the Kapiri Kame tradition is part of the philosophy of life of the Mimika Wee people, which is timeless with modernization because the values contained in it are adaptive to current developments.

Preparation and enhanced supercapacitance performance of carbonized silk by feeding silkworms MoO2 nanoparticles

Increasing population growth and high living standards, coupled with high consumption of energy and raw materials, result in a variety of emissions and waste that pollute the environment and pose a serious threat to the environment and health if not disposed of effectively. Pollution of the environment with plastic wastes and endocrine disruptors is one of the most important environmental problems affecting today's societies and nature. The Turkish Academy of Sciences, Environment, Biodiversity and Climate Change Working Group organized the "Workshop on Micro plastics, Endocrine Disruptors and Environmental Impacts" hosted by ITU North Cyprus on 3-5 November 2023 in order to draw attention to this global problem, raise awareness and develop solutions. At the workshop, experts and respected scientists, officials of institutions and organizations, non-governmental organizations, members of the press and participants from the public discussed the issue comprehensively for a sustainable future. This work has compiled and presented to you, our esteemed readers, the important issues that were presented, discussed and debated during the workshop on plastics, micro pollutants and endocrine disruptors, which can create awareness in our country and universally, and the scientific research and project outputs that can guide decision-makers.

More than 3 million children 10 million child deaths annually throughout the world [World Health Organization (WHO) 2005]. Some factors of susceptibility, including race, ethnicity, and socioeconomic status, are generally not well understood in the context of risk assessment. For children’s environmental health the focus is almost exclusively on age-related differences and exposure hazards, without much discussion of the myriad additional factors including nutritional status, preexisting health status, multiple exposures, and gender differences that can affect the life course of a child.

Similar to the healthcare systems of other resource-constrained countries with a high prevalence of HIV and AIDS, Zimbabwe's healthcare system encourages communities and non-governmental organisations (NGOs) to support the public healthcare sector by initiating home-based care activities and training volunteers to assist households in caring for individuals living with HIV. As part of the response, groups of volunteers were formed to provide basic material, social, nursing, and other kinds of support to members of AIDS-affected households. My research in Bulawayo, Zimbabwe, shows that motives for volunteering included: 1) religious values; 2) desire for prestige; 3) empathy derived from witnessing the suffering caused by AIDS illness; 4) hope of securing caregiving support in the future; 5) hope of enlarging one's network of those with access to political and economic power; and 6) hope of receiving material benefits in the future. This study further documents that volunteers' commitment to caregiving diminished between the early 1990s and 2009 due to: 1) the stigma of HIV and AIDS; 2) lack of funding, preventing volunteers from providing the needed care; 3) the large numbers of sick who are discharged from hospitals and clinics into home care; and 4) volunteers' ‘burnout.’ Strengthening volunteers' motivations for caregiving and addressing their concerns are crucial for providing effective care for individuals living with HIV or AIDS. In Zimbabwe, improvement of voluntary caregiving programmes requires better integration with the national healthcare system at the clinic level as well as collaboration with NGOs, community leaders and church groups, which have the potential to positively influence volunteers' commitment to caregiving.