Number of 1/2019

1/2019

СЪДЪРЖАНИЕ / CONTENS

1. СЪЗДАВАНЕ НА ПЛЮШЕНИ ПРЕЖДИ ИЗРАБОТЕНИ TAPESTRY ЗА ПРОИЗВОДСТВО НА
ОРИГИНАЛНИ АРТ ПРОИЗВЕДЕНИЯ НА WEAVE SYSTEM
Елсайд Елнашар -..............................................................................................................................4
CREATE HANDMADE OF CHENILLE YARN INTO DIGITAL CHENILLE HANDMADE TAPESTRY TO
PRODUCE ORIGINAL ARTWORKS REPRODUCED OF WEAVE SYSTEM
ElSayed A. ElNashar ...........................................................................................................................4

2.АЛГОРИТМИ ЗА ОЦЕНКА ПО КРИТЕРИИ НА ХАРМОНИЯТА НА ТИПОЛОГИЧНИТЕ ДИАПАЗОНИ НА
РЕЖЕЩИТЕ ЛИНИИ В ОБЛЕКЛОТО
Славинска A. Л., Сирoтенко Syrotenko O. П., Кулешова С. Г., Захаркевич О. В. ....................................11
ALGORITHMS TO ASSESS BY CRITERIA THE HARMONY OF THE TYPOLOGICAL RANGES OF CUTTING
LINES IN CLOTHES
Slavinska A. L., Syrotenko O. P., Kuleshova S. G., Zakharkevich O. V. ..........................................................11
3.OEKO TEX® НОВИ РЕГЛАМЕНТИ 2019........................................................................................19
OEKO TEX® NEW REGULATIONS 2019.............................................................................................19
4.MAREDIMODA БАНСКИ И ИНТИМНО ОБЛЕКЛО ПРОЛЕТ/ЛЯТО 2020...................................20
MAREDIMODA SWIMWEAR/ INTIMATE APPAREL S/S2020............................................................20

5.РЕКЛАМИ 2019/ADVERTISEMENTS 2019................................................................................22 28

Редакторски съвет: Editorial Board:
Проф. Елсайед Елнашар, Египет Prof. ElSayed A. ElNashar Ph.D, Egypt
Проф. д-р инж. Йован Степанович, Сърбия Prof. Jovan Stepanovich Ph.D, Serbia
Проф. д-р инж. Душан Трайкович, Сърбия Prof. Dušan Trajković Ph.D, Serbia
Проф. д-р инж. Горан Дембоски, Македония Prof. Goran Dembovski Ph.D, Macedonia
Проф. д-р Сешадри Рамкумар, САЩ Prof. Seshadri Ramkumar, Ph.D, USA
Доц. д-р инж. Ненад Чиркович, Сърбия Assoc. Prof. Nenad Ćirković Ph.D, Serbia
Доц. д-р инж. Капка Манасиева, България Assoc. Prof. Kapka Manasieva Ph.D, Bulgaria
Доц. д-р инж. Златин Златев, България Assoc. Prof. Eng. Zla n Zlatev,Ph.D, Bulgaria
Гл. ас. д-р инж. Соня Въчинска, България Аssist.Prof. Eng. Sonia Vachinska,Ph.D, Bulgaria
Гл. ас. д-р Кристина Савова, България Аssist.Prof. Kris na Savova,Ph.D, Bulgaria
Д-р инж. Даниел Ангелов, България Еng. Daniel Angelov Ph.D, Bulgaria
Инж. Наташа Сивевска, Македония Еng. Natasha Sivevska, Macedonia

Графичен дизайн: Стефка Нейкова Graphic Design: Ste a Neykova
Снимкa първа корица: ©онлайн Списание за Photo - first the cover: ©online magazine for Tex-
Текстил, облекло, кожи и технологии
les, Clothing. Leаther and Technology

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чужбина.

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The basis of the design of handmade chenille yarns and fabrics is similar to the other ways
of designing velvety fabrics with the same effect as the woven fabric on paper. The boxes are of the
same size that should be shown on the cloth. This is why a special type of square paper is usually
used for this purpose. The weavers use handwork: a number of shu les as much as the number
of colors available. It is characterized by its cohesive strength in the places where the threads are
woven, where we have sets of ribbons. one of the main objec ves of the research is to devise a
new method for the development of hand-made tex le products and the purposes used in hand-
made chenille fabrics are decora ve fabrics, ladies’ fabrics (evening cloths), pendants, curtains,
Broudray, Furnishing fabrics and carpets. the stages of the design and handmade chenille, 1) in
the case of simple fabrics: a) we in one color con nuous, b) the use of stripes of the cross of the
flesh, whether different colors of the chenille we or the use of different materials with different
Tex count and different specifica ons; First in the case of simple fabrics: in this type of design
of the chenille of handmade simple and easy so as not to draw on the squared paper and the
resul ng effects are automa c and simple. And the forma on and pile of the chenille (the process
of the first weaving), which have their dis nc ve features. Second in the case of embossed fabrics.
Handmade design of pile and chenille, forma on chenille we , the design of the chenille weave
is designed so that the horizontal rows have the ver cal posi on parallel to the warp threads
to be woven, the second weaving process, the woven fabric structures of the cloth, handmade
chenille according to the purpose for which the cloth is used. For example, tablecloths, curtains
and pendants the produc on of one square meter of chenille carpets takes seven hours and is
produced by one tex le worker assisted by a youngster. The produc on of a meter of hand-made
carpets takes at least seven days and is produced by a number of boys, ranging from three to
five. This is in addi on to saving about 25% of the wool used in the blaze with handmade chenille
carpets in tradi onal carpets.
Keywords: Chenille Yarn, Chenille Tapestry, Original artworks

1. Introduc on These include silverized yarns [1]. However;
Chenille yarn is fancy yarns as Join Beads are those
Sustainability strategy of global brands in produced with some deliberate discon nuity
fashion marke ng strategy is a key factor that introduced either into the color or form of the
most organiza ons in today’s society strive to chenille handmade tapestry with the inten on of
achieve. The concept of strategy sustainability is producing an enhanced aesthe c impression [8].
about mee ng the needs of the present without They determine the ornamenta on in the chenille
compromising the ability of future genera ons to handmade tapestry. Chenille yarn is a kind of fancy
meet their own for a long me [6]. Many yarns yarn which is fascina ng because of its gleam and
available in the market can be used for connec ons
and circuit elements. 4
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so ness [3]. It has a pile protruding all around at structures; the design on the paper shows the squares
right angles and finds a wide range of applica ons of the same size as the ones shown on the cloth.
including outerwear fabrics, home furnishing fabrics This is why a special type of square paper is usually
and knitwear [1]. Chenille yarns are constructed by used for this purpose. The weaver uses a number of
twis ng core yarns together in chenille yarn machines shu les as much as the number of colors present.
where pile yarns are inserted at right angles and cut This velvety texture is characterized by its cohesive
to within 1 or 2 mm of the core yarn surface to create strength in the places where the threading threads
a surface in which the fibers contained in the pile are formed, where we have sets of ribbons. One of the
chenille yarns burst and form a so pile surface to most important uses of chenille handmade tapestry
the yarn [7]. The size and number of the pile chenille are decora ve fabrics, ladies’ fabrics (evening cloths),
yarns and how many of them are fed onto the core pendants, curtains, Broudray, Furnishing fabrics and
determines the count of the yarn [7,9]. Chenille is a carpets.
difficult handmade yarn to manufacture, requiring 2.1. Design of chenille
great care in produc on. Due to the nature of its pile
loss; great care must be taken in conver ng chenille 1-In the case of simple fabrics; A - We in one
into final chenille handmade tapestry [4]. When the con nuous color. B - The use of pens of the cross of
yarns are in use, clearly the of the chenille handmade the flesh, whether the different colors of the punch
yarn is crucially important, in par cular because the chenille or the use of the usual pads of different
handmade effect sought is always that of the velvety materials with different cartridges and different
feel of the pile, and the bald look of worn velvet or specifica ons.
handmade chenille is not appealing. Any removal 2-in the case of embossed fabrics.
of the effect yarn forming the beard, either during
further processing or during the eventual end-use, First in the case of simple fabrics: In this type of
will expose the ground yarns, which in turn will design, the design of the chenille is simple and easy
result in a bare appearance [6]. Despite the fact that not to draw on paper boxes and the resul ng effects
chenille yarns are used to produce special chenille are automa c and simple, chenille we s made from
handmade tapestry with high added value, the natural wool of Sheep collected and treated by
literature survey shows that there is limited research primi ve methods, from Matrouh Governorate in
on the design chenille handmade tapestry of Gauze Egypt. Figure 1 (a) carding machine.
and leno fabrics behavior of such chenille handmade
yarns and chenille handmade fabrics.

a) mechanical b) manual

Figure 1. Carding machine in the spinning factory (Mechanical/Manual) in the palace area in Matrouh Governorate in
Egypt

2. Experimental work 2.2. Forma on and Chenille Pil

The design of the chenille handmade tapestry As First weaving process, for chenille weave
is similar to the other methods of designing the Gauze and leno fabrics, we use a number of decks
handmade tapestry where the color spaces are as much as the number of automa c colors in place,
colored with the same effect as the woven fabric. As as they change them manually or with one shu le
for the means used for the produc on of this type as a con nuous color without overlapping other
of cloth, it is necessary to take care more than those automa c colors, leaving only a small distance from
needed by the design of any kind of other fabrics the pads to allow the chenille to bend at the sides of
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the cloth. In the event that a large number of chenille and weaves the chenille in the cloth in the same normal
Weaving are woven next to each other in one. In this way. However, the producers of this type of fabric in
way, we can obtain any required space and weave France come out of this frame in the way the tradi onal
the chenille ona simple loom of weaving fabric, with we is transmi ed and they have effects in the flow as if
splicing, and distribu on of threading on the loom by a they were in tapestry or sumac, controlling the number
moving system; interchangeable for two fixed yarns [2] of we s/cm, the propor on of ra o openings and basic
each of these two threads is located in two consecu ve of fabric structures of the cloth using this method in
sec ons of the reed. Each of these two threads strings women’s fabrics. In the interna onal fashion trends for
separates from the adjacent groups a different distance the 2018/2018 forecas ng guide, seasonal of autumn-
depending on the length required for the pile. This winter 2019 Promostyl guides Trend book with the use
range ranges from 1/5 to 5 cm for pile of the clothing, of fine and fine yarns for the yarn and we .
2/5 inch for the small pile and 1 inch for the long pile if 3. Results
used for upholstery fabrics. The chenille handmade of velvet fabrics are
characterized by several aspects:
Figure 2 (a) at le chenille we of Gauze and leno -Can be produced and pile cut off without the use of
fabrics shows how the interlacing threads are arranged breeds conclusive as is the case in the Walton pile
in the order of the we s to the le of the figure of -All materials forming the pile above the surface of
Gauze and leno fabrics, where we get an automa c the base cloth without any interference with it can be
mul we s canvas or one con nuous color woven used an unlimited number of colors that appear each
fabric. In the forma on of the chenille we (the first very accurately and clearly and the produc on of this
weaving process), the use of filament yarns and the use type of fabric to the two processes; are completely
of con nuous filament, whether natural or ar ficial, separate from each other In the process of the first
are used to give new aesthe c values similar to furring. weaving, known as “weaving we ” interlacing piles
This texture is characterized by its cohesive strength in
the places where the leno threads are in the figure (2).

c) le chenille we of Gauze and leno fabrics d) right chenille we of Gauze and leno fabrics

Figure 2. Le and right chenille we of Gauze and leno fabrics

A er finishing the weaving of we s chenille yarns in the form of we with groups of warp that are
weaves, the cu ng of these we s is done halfway separated from each other by uniform distances in
between the splicing threads as shown in Figure 2, the weaving reed. This process of weaving follows the
where we have sets of strips. process of conver ng the resul ng cloth into a number
2.3. Second weaving process of long strips, which are known as pile chenille, which
are used in the fabric process. The second is as a we
Fabric forma on: This process is the final stage that interacts with a certain system to form pile on the
of the forma on of chenille fabric, where the former surface of the basic fabric that is made up of the fabric.
we chenille weave is used - used as one of the we s of 3.1. Case of Embossed Fabrics
this fabric weaving. This we passes through the width
of the weave and is bonded to the surface of the base Design and design of chenille pile: The
woven with fine yarn of co on, flax or synthe cfibers founda ons of the design of the chenille are similar to6
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the other ways of designing the pile fabrics where the by a different distance depending on the length of
color spaces are colored with the same effect as the the pile that required. This distance ranges from 2/5
woven cloth, For the means used for the produc on for the small pile and 1 inch for the long pile. Figure
of this type of cloth, it is necessary to take care more 2 shows how to thread threads in order of we s to
than what is needed by the design of any other the le of the figure, and we get a mul -colored fabric
types of pile fabrics. And drowning the design on the with woven length. This texture is characterized by a
squared paper in the same size which is required to strong cohesion and control the accuracy of colors in
be shown on the cloth. This is why a special type of the places where the leno threads are a ached, as
square paper is usually used for this purpose. Figure shown in figure 2. A er finishing the weaving of the
3, Part of the design of chenille, where each ver cal chenille we s, the cu ng of these we s in the middle
line of the squares of the two lo s used to form the of the distance between the twine threads as shown
chenille we , while each horizontal row of squares in Figure2, where we have sets of strips each bar is
in this design represents one we of chenille we . a thread of chenille. Then the process of exposing
Each small square on the square paper represents two these strips to the heat and steam and pressure to
threads; pile in the colors shown in the design. The take these strips shape appropriate for easy then
horizontal rows in the design are individual numbers spun it as a sword in the final stage. Figure 4 shows
on the right and even numbers on the le . the appearance of a tape a er the comple on of this
process. The chenille we is then taken and each bar is
3.2. Composi on of chenille we neatly wrapped and the appropriate number is taken
into considera on for the next stage.
For chenille weave, the design is managed and 3.3. Second weaving process
the horizontal rows are combined with the ver cal
posi on parallel to the threading thread which will This process is the final stage of the forma on
be woven on it. The weavers then weave each row of chenille fabric, where the former chenille weave
of design rows on a star ng line from the first sign at is used. It is used as one of the we s of this woven
the bo om of the row, depending on the numbering material. As this we passes by the width of the
of this row. The weavers use a number of shu les as woven and is cohesive on the surface of the basic
many colors as the design where he manually changes woven, by thin threads of co on or linen. The length
these shu les, The weaver is begin to work with two of the chenille is represented by the width of the
we for each horizontal square required by described woven fabric, represen ng the horizontal row of the
color in Figure 2, Where the system of laying the design. The chenille weave is woven in the same way
various colors and colors shown by the design of this as regular we s, but the loom stops a er each chenille
system un l the end of the longitudinal row. Then thread so that the weaver can be prepared in the right
leave a li le distance from the padding without we s posi on to match the previous chenille we in terms
to allow the chenille to bend at the sides of the chenille of color scheme and accuracy of design
cloth and then start weaving the second row with the 3.3.1.Fabric structure for chenille clothes
same system but in the opposite direc on. The work
con nues in this order un l the weaving of each row The Fabric structure of the main fabric of the
ends with repe on. The length of the chenille grain chenille fabrics varies according to the purpose for
required to produce a design is equal to the length of which the cloth is used - for example, tablecloths,
the longitudinal row (which is originally a cross-sec on curtains, hang artwork, etc. they are o en lighter and
of the design) mul plied by the number of rows. For more flexible in the basic construc on than the carpet,
example, in the design of 150 different chenille we s, which needs to be somewhat hardened. (A) In figure 4
each needing 224 double we , Then (240x150X2) Fabric structure as illustrated in (b).
= 67200 We weave to produce the chenille weave
required for the full design. However, a large number In the same shape, the cross sec on of the we ,
of chenille weaves are woven next to each other so where two we s are shown for each chenille we , a
that we can obtain any number of repe ve design warp ground thread opposite, with two fillers, one
requests. Moreover, in the case of designs with thread for consistency, and (consistency of chenille
symmetrical pa erns in the transverse direc on, It is we ). Each nine warp threads that have a basic cloth
possible to only weave half of the required number of as shown, also in (g-d) in fig. 5 Fabric structure and
chenille we s on simple handle loom with a spike is cross sec on of we .
a ached and the threading warp is distributed on this
handle loom with a fast moving one thread movement Where we find four we s for each we chenille
system for two fixed steps, Each of these two threads is a one thread ground, and two thin we s for the
located in two consecu ve sec ons of the reed gates, cohesion and control the accuracy of colors of each
Each group of the two neighboring groups is separated of the eighteen warp threads of the original cloth,
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Figure 3. Part of the design of chenille Figure 4. Fabric structure of Gauze and leno fabrics

and the two structures can be woven from nine yarns decora ve fabrics and ladies’ fabrics (evening fabrics),
ground and eighteen yarns of fillers and three yarns curtains, broureray, ma resses and carpets. Figure 7
cohesion And control the accuracy of colors in one illustrates a pa ern of chenille we for the produc on
inch, While in the first example, 12 we s and 6 chenille of chenille ornamental fabrics for ladies and chenille,
we s, while the number of we s per inch for the first which woven from co on thread 40/2 for fixed warp,
example is 12 ground we s and 6 chenille we s. In and 80/2 for movement.
the second example, the number of we s per inch is
16 we s of ground, 4 chenille we s, The threading The we thread is woolen wool with a 20 Tex,
task is to e the chenille fasten to the base cloth as with an average of 6 we s per cen meter as tradi onal
shown in (b,d) in figures 4 and 5. Figure 6 illustrates yarns extended by woven width. The cloth as shown is
another Fabric structure, which is woven by four we s not yet ready for weaving in the second stage. Figure
for ground for each one chenille we . In this case, the (8) shows a model of chenille we a er cu ng and
threading thread is distributed in arrangement a single preparing it for weaving in the final stage. The warp of
yarn ground and one yarn as filler is repeated three second stage is as follows: (Ground warp: 30/2, filling
warp: 30/2, flouted warp: 40/2, feeding warp: 40/2).
mes, one flouted yarn and one fine yarn for cohesion And each warp on an independent bobbin; We :
and control the accuracy of colors. Co on 30/2 by with 6 we s ground per cen meter.

Figure 5. Fabric structure and cross sec on of we Figure 6. Fabric structure and cross sec on of
we

And the func on of the existence of the Arrange two ground we s for one we chenille.
flouted yarn is to work on li ing the chenille above 3.3.2. Den ng system in weaving Reed
the basic cloth, and make it more prominent on the
face. It is noted in all examples, which is in forms (4, The first gate:(1 yarn for ground warp), (1 yarn
5 and 6), only the high coherence thread passes over for filling warp) :(1 yarn for flouted warp) :(1 yarn for
the chenille we . Most tex le materials are used Feeding warp )
as weaves for chenille we s, such as co on, wool,
natural silk and rayon. The second gate):1 yarn for ground warp), (1
yarn for filling warp). This order is repeated.
The most important uses of chenille fabrics are
online www.tok-bg.org Reed count: 4 gate per cen meter. The chenille
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Figure 7. Pa ern of chenille we for the pro- Figure 8. Amodel of chenille we a er cu ng
duc on of chenille and preparing it for weaving in the final stage

fabrics are characterized by produc vity of 4. Discussion
tradi onal hand-made fabrics with abundant In terms of the fiber fineness throw chenille
produc on and rich colors It has been scien fically
proven that the produc on of one square meter of handmade tapestry, for wool chenille yarns and fabrics,
chenille carpets takes seven hours and is produced there is a tendency toward decreased mass loss with
by one tex le worker assisted by a boy, while we the use of coarser fibers. The mass loss of chenille
note that the produc on of a meter of handmade yarns with chenille wool pile material was greater
carpets manufactured in the tradi onal way takes than that wool pile material. Similarly, Gauze and leno
at least seven days and is produced by a number fabrics structures with these yarns showed the same
of boys ranging between three and five according so ness behavior. These results can be interpreted as
the wide of loom. This is in addi on to saving about demonstra ng that differences in fiber fineness will
25% of the wool used in the blaze with chenille affect the pile density on the surface of the chenille yarn
carpets in tradi onal carpets. This art work was and chenille handmade tapestry. As the pile density
carried out in the style of the Chenille, I had gave of wool chenille yarn increases, the chenille yarn
him a gi to the College of Tex le at the University structure will be ghter, resul ng in a more compact
of North Carolina in 2008. surface and increased degree of pile packing. The
chenille piles will be held more ghtly, which will raise
Figure 9. Crea on of handmade of chenille yarn into digital the fiber cohesion and control the accuracy of colors.
chenille handmade tapestry to produce original artworks Thus chenille pile density affects the cohesion behavior
of chenille yarns. Furthermore, it is stated in this work
reproduced of weave system that increasing fiber diameter up to a limit improves
abrasion resistance. when the mass loss results of
online www.tok-bg.org wool chenille yarns and fabrics were compared with
regard to yarn type, it can be seen that chenille yarns
with conven onal ring pile yarn component experience
greater cohesion of original artworks reproduced
of weave system by using gauze and leno fabrics
structures throw and control the accuracy of colors
than those with a mechanical/spun yarn component.
The gauze and leno fabrics produced from those yarns
also showed the same characteris c. This may be due
to the fact that the resistance of chenille yarns and
Gauze and leno fabrics to abrasive forces depend not
only on the pile yarn fiber proper es, but also on the
pile yarn types and their posi oning around the two
core (axial) yarn components in the chenille yarn
structure and Gauze and leno fabrics structures to
create handmade of chenille yarn into digital chenille
handmade tapestry to produce original artworks
reproduced of weave system, Mechanical/spun yarn
will more closely resemble a single yarn in structure

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but because of the low level of strand twist it has two obtained by gauze and leno fabrics structures of the
important proper es which improve its character to three kinds of cohesion measurements and control the
some extent: it is more abrasion resistant and less accuracy of colors, linear correla on coefficients were
hairy. A similar differen a on resulted in the mass calculated. An assessment of the abrasive behavior of
losses of Gauze and leno fabrics from chenille yarns. chenille yarns and fabrics in terms of possible to predict
Accordingly, we can postulate that when polyester the fabric cohesion performance and control the
fiber material exists in the pile yarn the cohesion and accuracy of colors of chenille handmade tapestry. So it
control the accuracy of colors characteris cs of wool will be a prac cal method and enable a rapid laboratory
polyester chenille yarns and fabrics do not show a interpreta on. furthermore, it will be useful to carry
different tendency from those of wool-type yarns and out studies about the effect of pile of chenille yarn fiber
fabrics. Chenille yarns with a conven onal ring pile yarn fineness, pile chenille yarn type and fiber material on
component are abraded more than the yarns with a the dimensional and physical proper es of chenille
Mechanical/spun yarn component. The effect of yarn yarns and chenille fabric of gauze and leno fabrics
type on the cohesion behavior and control the accuracy structures, which is beyond the scope of this study and
of colors was similar for the fabrics Gauze and leno should be the subject ma er of future studies.
fabrics with wool-polyester chenille yarns. Acknowledgements
5. Conclusion
We are grateful to the spinning factory
In this study, Gauze and leno fabrics structures (mechanical/manual) in the palace area in Marsa
throw the cohesion behavior and control the accuracy Matrouh city, Egypt. For providing by producing the
of colors of wool and primi ve wool blended chenille chenille yarns and producing some samples in fabrics
yarns was analyzed with a computerized image analysis discussions.
method. In addi on to image analysis, yarn and fabric
cohesion tests and control the accuracy of colors were 6. References
also carried out to assess cohesion resistance and [1]ElNashar, E. (2018). Smart Tex le Circuitry and
control the accuracy of colors and to determine the There Applica on. Journal Current Trends in Fashion
rela onship between the mass loss values and values Technology & Tex le Engineering, vol. 4, iss. 2
obtained from image analysis. The influence of Gauze [2]Elnashar, E. (1995). Effect of warp-ends densi es
and leno fabrics structures on some parameters of distribu ons on some esthe cal and physical proper es
chenille yarns and chenille fabrics on yarn cohesion of mul - layers woven fabric. Msc. Thesis. Faculty of
and control the accuracy of colors, fabric cohesion and applied arts, University of Helwan, Cairo, Egypt.
control the accuracy of colors and cohesion and control [3]Elnashar, E. (2000). Design of Database for
the accuracy of colors coefficient values obtained from Forecas ng the Specifica on of Woven Fabric Design
image analysis was inves gated. we have shown that for Ladies Dress. Ph.D. thesis, faculty of applied arts,
pile yarn material handmade of chenille yarn into University of Helwan, Cairo, Egypt.
digital chenille handmade tapestry and pile yarn fiber [4]Elnashar, E. (2018). U liza on of Forecas ng Global
fineness, as well as pile yarn type have significant Trends in Fashion and its Applica ons. Journal of Latest
influences on the cohesion resistance and control the Trends in Tex le and Fashion Designing, vol. 1, iss. 3.
accuracy of colors and the serviceability of wool and [5]ElNashar, E. (2018). Decision Support System of
wool-blend chenille yarns and fabrics in accordance Global Brands in Fashion Marke ng Strategy for
with past findings. Pile loss is encouraged by inadequate Entrepreneurship. Trends in Tex le Engineering &
fiber adherence. Gauze and leno fabrics structures Fashion Technology, vol. 3, iss. 5, pp.1-2.
careful choice of the pile and core yarns to increase [6]Gong, R., R. Wright. (2002). Fancy Yarns, Their
the inter-fiber fric on may assist in reducing the rate of Manufacture and Applica on. Woodhead Publishing
pile loss. Results imply that using primi ve wool fiber Ltd, Cambridge, U.K, pp. 55-56, 81-84.
in the blends, wool fibers with appropriate fineness [7]Kalaoglu, F., Ö. Özdemir. (2002). A Study of Wool
and mechanical/spun yarn type in the produc on will Chenille Yarn Proper es. In Proc. First Interna onal
help to produce chenille yarns with high cohesion Tex le, Clothing & Design Conference, pp. 195-198
resistance and control the accuracy of colors. Chenille [8]McIntyre, J., P. Daniels. (1995). Tex le Terms and
yarns and chenille fabrics of Gauze and leno fabrics Defini ons. 10th ed., The Tex le Terms and Defini ons
structures with high pile density are abraded less than Commi ee, Biddles Limited, Manchester, U.K.
those with low pile density. Using primi ve wool fibers [9]Özdemir, Ö., E. Çeven. (2004). Influence of Chenille
with appropriate fineness is intended mainly to assist in Yarn Manufacturing Parameters on Yarn and Upholstery
avoiding the slippage of the piles from the lock yarns. In Fabric Abrasion Resistance. Tex le Res. J., vol. 74, iss. 6,
order to find the prac cal plane of comparison for values pp. 515-520.
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МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

The main objec ve of the study is to develop the algorithms to assess by criteria the harmony
of the typological ranges of cu ng lines in clothes. In order to develop the algorithms models of
the analy cal descrip on of the restric ons in the modifica on process of the designing object
were described. The developed algorithms are as follows: algorithm to specify the anthropometric
informa on in the system of projec on dimensions of harmonious female body; algorithm
to classify the typical bodies by the indices of devia on in the net of harmonious cu ng lines;
algorithm to transform the general sketch of harmonious female body into the given body type;
algorithm to design the universal construc on for the transforma on chain of typological range
of designing object; algorithm to modify the horizontal projec on cu ng lines into curve lines of
the garment; algorithm to define the designing object; algorithm to form the produc on model of
the knowledge base of expert system.
Keywords: algorithm, harmonious, clothes, typological range.

INTRODUCTION of specific images, which are stored in the personal
The axiom of ar s c clothing design is the or gene c memory.

statement that propor on is a classic means of Objec ve and func onal characteris c appears
composi onal construc on of any object. due to the algorithm of integrity of general
assessment criteria of the object’s aesthe c form.
Seman cal sense of informa on regarding visual
reflec on takes its grounding on the general nature According to the Hamilton’s principle [1],
principle, which appears in the similar changes, integrated brain ac vity, if codes of the coder and
and, in par cular, in the principle of propor ons. decoder are similar, leads the organism into the state
The propor onality and similarity of an object are of the posi ve emo onal excitement. Emo onal
expressed in rela ve sizes based on comparison reac on is unconscious aesthe c assess of the
of two or more measurements of the object itself. harmonious reflec on of an object.
An essen al element of coding images by vision is
the propor onality, which forms the algorithm of Thus, propor on is the objec ve characteris c of
associa ve percep on of dimensional and spa al the clothing harmony.
structure by features of geometric similarity.
EXPOSITION
Dimensional and spa al structure of clothing The base that is needed to form input data to
has double characteris c of percep on. Subjec ve
and emo onal characteris c appears when the design the system “Clothing” is the modern concept
algorithm of the dimensional structure of clothing is of seman c nets in form of the typological ranges
iden fied as an algorithm of dimensional structure modules. The series of works [2] on conceptual
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ПЪРВА БРАНШОВА КОНФЕРЕНЦИЯ "ТЕНДЕНЦИИ И ИНОВАЦИИ В ТЕКСТИЛНАТА И 1/2019
МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

modelling of the subject area of the expert system is quality indexes, as well as with help of some abstract
devoted to applica on of the par cular elements of the criteria.
fundamental mathema cal apparatus of Petri nets [3]. Eysenck’s concept formula of aesthe c measure [13]
is as follows:
The concept of typological ranges is used in М=С·О, (1)
areas of literature, architecture, philology, archeology, where C – complexity;
anthropology, and many others [4]. Oscar Montelius gave O – orderliness.
the descrip on of the typological range as follows: the Measure of the propor on system is a measure of
series is typological if its objects are func onally definite the dimensional orderliness of the clothing dimension
things, which are the things of the same category. The structure.
range shows gradual changes of the form during the Informa onal proper es of the propor on’s
rela ons are described by formula:
me going [5].
It is advisable to arrange the figure types in (2)
where р – a base of the propor on series; s=1, 2, 3…
the form of the typological range that is designed on – indicators of the degree that characterizes the rela ve
extension principle of typical graphs based on the posi on of its members.
rubrica ng of the development level of body anatomic A key measure in informa on theory is the amount
belts. This range highlights differences between the of uncertainty that is called “entropy”. It is calculated as
separate body types as well as interrela onships follows [14]:
between them.
(3)
While typological analysis is conducted the complex
objects (in the given circumstances women figures) are elemwhenerteoрf іi–tsparlopbhaabbielitt.y of presence in the system of ith
to be presented with samples of typical figures. Thus, It is advisable to include into the alphabet of the
descrip on of a body type is the typical figure that is
characterized with typical set of morphologic features. typological range’s harmony follows elements:
As morphologic features to recreate the figure’s outline, a) elements that form the main proper es of the
projec on body measurements on the front and side
images of the figure are used more and more o en [6- game field of designing system “body-clothing”;
9]. b) elements that form complexes, which are the

Condi ons those describe the ability to inherit func onal and structural features of body type;
the morphologic parameters might be described by the c) elements that change a length of transforma onal
mul criterial analysis of the object set. It is based on the
calcula on of the Euclidean distance that is considered chain if they are not universal;
as a measure of the objects similarity [10]. A measure d) elements that determine aesthe c expression of
of aesthe c, which is a universal characteris c of the
clothing harmony, is considered from the point of view clothing;
of informa on theory as “an order in complexness” in e) elements of the clothing design.
form of the integral assess of the order [11]. The algorithm to assess the harmoniza on parameters

Algorithms of inheritance of morphologic of the system “Clothing” by criteria includes four blocks of
features of typical figure are recreated in the last data provided for the given typological range. Based on
version of the pa ern design system “Grazia” (module the informa on model of integrated database of designing
“Individual and corporate orders”) [12]. However, in the process of harmonious clothing it was proposed to use a
module the criteria of harmonious figures are not taken system of assessment, which takes into account parallel
into account. ways of forming the local databases. Among them are
MODELS OF ANALYTICAL DESCRIPTION OF features of the morphological structure, fabric proper es,
RESTRICTIONS IN THE MODIFICATION PROCESS OF cu ng lines of a form, and a construc on.
DESIGNING OBJECT
Concept modelling of the informa on support of
Results of the harmoniza on technique, which is 12
used to harmonize design and composi on decisions
of garments, might be assessed by experts, who assess

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1/2019 ПЪРВА БРАНШОВА КОНФЕРЕНЦИЯ "ТЕНДЕНЦИИ И ИНОВАЦИИ В ТЕКСТИЛНАТА И
МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

harmoniza on process of clothing demands technical compared by using the specific scale with projec on
descrip on that is based on a seman c network. Nods dimensions of body in order to construct a graph model
of the seman c net are blocks those realize interac ve of harmonious typical figure.
or calcula ve ac ons, and edges are the results of the
blocks func oning. Not all of the typical women figures, body
measurements of which are men oned in regulatory
A view of determined seman c net, which displays documents, are harmonious [15-17]. If their
solving processes of tasks system to form the typological measurements differ from the harmonious ones
series, is shown on the example of harmonized objects more than limit of visual percep on tolerates, then
t(fihgo.s1e)p. TehrfeornmodascofonnebtlBoic(ki=s1o,f..t)haereforellolawteindgtopumrpoodsueles:s their forms must be corrected. Group of harmonious
figures includes the figures, which meet the canon
1.specify the anthropometric informa on in the propor ons of women bodies. In order to represent
system of projec on dimensions of harmonious female the measurements of the harmonious figure, which
body; is built on the rule of “golden ra o” and chosen as an
etalon, the system of condi onal units was developed
2.classify the typical bodies by the indices of based on numbers of the Fibonacci series [18] (fig. 2).
devia on in the net of harmonious cu ng lines;
Fig.2. Module of the technical sketch of the nominal
3.define the designing object; harmonious figure of a woman
4.transform the general sketch of harmonious
female body into the given body type; In order to select out the typical figures, which
5.form the produc on model of the knowledge base match to harmonious propor ons, according to the
of expert system; equa on 2 the factor of propor on was proposed. It
6.design the universal construc on for the must be calculated as follows:
transforma on chain of typological range of designing
object. Кpr = Р/76 (4)
Modelling the expert knowledge about
harmoniza on processes of the objects, which belong where tyКppirca–l propor onality constant between
to the system “Clothing”, demands that the processes heights of figure and nominal harmonious figure;
to be presented in unambiguous and op mal form of
datasets, algorithms, and so ware programs. Р – height of a typical harmonious figure, cm;

Fig. 1. Seman c net, which displays solving processes 76 – height of the nominal harmonious figure.
of tasks system to form the typological series of design
Typical figures match harmonious figures’
objects propor onsiftheyhaveprojec onbodymeasurements,
which differ no more than 3% from the measurements
ALGORITHM TO SPECIFY THE ANTHROPOMETRIC of etalon harmonious figure (table 1).
INFORMATION IN THE SYSTEM OF PROJECTION
DIMENSIONS OF HARMONIOUS FEMALE BODY A set of 257 typical figures, which are presented
in [19, 20] was examined using the coefficient of
A module to determine analy cal criteria to assess devia on. Among them are 97 figures with height
the results of modifica ons in subsystem «figure» 152 cm, 98 figures with height 164 cm, and 62 figures
includes a set of modules, general structure of which with height 176 cm. The coefficient of devia on was
is of the same type. The modules are as follows: a
module of technical sketch of condi onal harmonious 13
figure; a module of harmonized figure types and
their parameters; a module of iden fica on of the
typical figures, which are similar to harmonious. The
principle basis of the proposed assessments are the
selec on methods in the study of the morphological
cons tu on of the body and its basic coordinates such
as bones, muscles and fat. The coordinates objec vely
reflect geometry of a body surface and they might be
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ПЪРВА БРАНШОВА КОНФЕРЕНЦИЯ "ТЕНДЕНЦИИ И ИНОВАЦИИ В ТЕКСТИЛНАТА И 1/2019
МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

Table 1. Anthropometric characteris c of the harmonious typical women figures

calculated by following formula: Using the calculated coefficients of devia on intervals
between sizes were calculated for the body shapes with
chest circumference 80…132 cm (bust) and body shapes
groups defined by Hip-Chest circumferences. Shapes
codes by Hip-Chest circumferences are as follows: -III,
-II, -I, 0, I, II, III, IV, V, VI, VII.

(5) Different body development degrees on bust,
waist, and hips level in two projec ons are determined
where k – coefficient of devia on; taking into account obtained ranges of devia ons
(table 3). Degrees of development of morphological
Т – body measurement of typical figure, cm; feature are characterized by following indexes Small –
S, Medium – M, Large – L, Extra Large – XL, Extra-Extra
conТdhi – body measurement of harmonious figure, Large – 2XL, Extra-Extra-Extra Large – 3XL.
onal units.

Main horizontal projec on measurements of a body Characteris c of devia ons of projec on
were selected out to calculate the differences (fig. 3, measurements allows realizing an algorithm to classify
table 2). the typical bodies by the indices of devia on in the net of
harmonious cu ng lines. It is performed by combina on
of degrees of development of morphological features.

Such combina on specifies forming front and profile
body type. Analysis of the variants of development of
morphological features along with their combina on
principle allowed developing the classifica on that
includes 26 types (table 4).

ab A body type is marked as follows: the first le er
marks a degree of body development on the bust level;
Fig.3. The system of projec on measurements of a body: a) the second – on the waistline; and the third one – on
front view; b) side view the hips level.

Table 2. Parameters of projec on measurements of The set of considered figures is divided into the five
the etalon of harmonious figure groups based on the principle of the visual similarity
(table 4).
online www.tok-bg.org
The op mal combina on of the frac on of chaos
and orderliness of the typological series describes the
rela ve entropy of the golden sec on rule. The rela ve
entropy is 0,382. Then the frac on of orderliness is
about 0.618 if the typological range is harmonious.

A special case of Hamilton’s principle is a principle
of minimax, which is based on Euclidean distance
calcula on [10] between the new type and types of the
typological range.
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МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

Table 3. Characteris c of devia ons of projec on measurements of women figures (fragment)

A set Х of figures types is presented as follows: Eleven steps form a transforma on technique that is
used to transform a technical sketch of the harmonious
Х = (F1, F2, F3, F4, F5, F6), (6) figure into the technical sketch of the typical one (fig.
4):
mcoenwadsihuerorenemaFle1n,utFsn2,,itcFso3;n, d–Fi4f,rooFnn5at,l projec on measurements,
uFn6 it–s. profiles projec on Step 1. Applicate the boundaries of
anthropomorphic belts to the frontal and profile
A measure of the objects similarity is the Euclidean projec ons and draw the axis of symmetry on the
distance ρ(Хp, Xq) that is calculated as follows: frontal projec on (fig. 4, a).

(7) Step 2. Copy the le part of a figure
where Хр – typical figure; Хq – harmonious figure; and le hand on the frontal projec on.
p∆rdo1,je∆cd2o,n∆bdo3,dy∆dm4,ea∆sdu5r,e∆mde6n–tsa, bcosonlduiteondaelvuianiotsn(sseoef Step 3. Copy the whole figure and right
table 4). hand on the profile projec on.
Step 4. Increase or decrease the width
ALGORITHM TO TRANSFORM THE GENERAL of the figure’s sec ons and the segments of the upper
SKETCH OF HARMONIOUS FEMALE BODY INTO limbs in a horizontal direc on (fig. 4, b).
THE GIVEN BODY TYPE Step 5. Increase or decrease the length of the
online www.tok-bg.org figure’s sec ons and the segments of the upper limbs in
a ver cal direc on.
Step 6. Construct auxiliary mesh to correct the
body shape on the profile projec on (fig. 4, c).
Step 7. Correct the mutual loca on of the

15

ПЪРВА БРАНШОВА КОНФЕРЕНЦИЯ "ТЕНДЕНЦИИ И ИНОВАЦИИ В ТЕКСТИЛНАТА И 1/2019
МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

Table 4. Characteris c of the groups of typical female body shapes

anthropometric parts of a figure and the segments of Complex “Rapana” includes two components:
limbs on the profile projec on (fig. 4, d). “Cognitograph” (so ware for the developers of
knowledge base of the expert system) and “Expert”
a bc de (applica on for users). Using “Expert” does not require
special training, because dialogue is conducted by natural
Fig. 4. Module of transforma on of technical sketch of language.
a harmonious figure into a typical one Seven en es are entered into the shell. The figures for
these en es are determined by the consumer in the
Step 8. Correct the figure’s contours form of answers to the ques ons of the system: SA, BS,
by construc ng smooth lines in the places of CS, TN, FM, TdTu and 1c (colour). For making a decision
anthropomorphic belts’ transi on. two en es are necessary, their figures are determined
immediately by expert system regula ons: Cl (cluster)
Step 9. Joint the upper limb with the figure on and M (model). Example of dialogues of the developed
the profile projec on and the le hand with the le expert system, which represent consumer’s answers
half of the figure on the frontal projec on. to the system’s ques ons and explana ons of dialogue
Step 10. Mirror reflec on of the right side of a figure on results are shown in [22]. Le er marks mean the codes of
the front projec on. en es included in the regula ons; digital designa ons
are the numbers of rules used by the expert system to
Step 11. Correct the body form on the levels of get answers to user’s ques ons.
shoulder blades, bu ocks and chest (profile projec on
of a figure) [21]. ALGORITHM TO DESIGN THE UNIVERSAL
It is advisable to use AutoCAD in order to apply the CONSTRUCTION FOR THE TRANSFORMATION CHAIN
algorithm of transforma on. OF TYPOLOGICAL RANGE OF DESIGNING OBJECT
Main features of the game space are the basis of the
ALGORITHM TO FORM THE PRODUCTION MODEL algorithm to design the typological range of objects,
OF THE KNOWLEDGE BASE OF EXPERT SYSTEM which belong to the system «body→clothing» and are
designed by module technique. The main features
online www.tok-bg.org are as follows: limitation, structurality, ceaselessness,
uniformity, achirality.
Limita on is achieved by opera onal apparatus of
affine transforma on those are defined by intervals of
devia ons (table 3).

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МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

Structurality is presented by func onal block of The algorithm of the game space to design the
altera ons in the transforma onal net of typological typological range of the system “body-clothing” was
range (fig. 4). described with taking into account psychological
Ceaselessness is based on calcula on of Euclidian percep on of consumers.
distance between typical and harmonious figures of
the typological range (formula 7). Expert system that was developed in the empty shell
Ability to combine is limited by rules of propor on “Rapana” allows reflec ng the consumer’s percep on
types to determine psychological comfort of a person. of his “Mirror self” while garment is designed.
Uniformity of the game space is described with help
of algorithm of universality of the consumer’s “Self Described technique might be used in design
concept” that is related with the system “Costume” processes such as clothing design, where aesthe c
using triad of transforma on described by [23] (fig. 4). criteria are greatly concerned.

Fig. 4. Self-concept components REFERENCE
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МОДНАТА ИНДУСТРИЯ"

9 НОЕМВРИ 2018 Г., МЕЖДУНАРОДЕН ПАНАИР ПЛОВДИВ БЪЛГАРИЯ
THE FIRST BRANCH CONFERENCE “TENDENCIES AND INNOVATIONS IN THE TEXTILE AND

FASHION INDUSTRY”
9th NOVEMBER 2018 IN INTERNATIONAL FAIR PLOVDIV, Bulgaria

[11].Nikolaeva, Т. V. Tectonic forming of suit: Textbook. harmoniza on, Tex les, clothing, leather and
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h p://www.saprgrazia.com/eng/orders.php Typical figures of women. Dimensional signs for the
[13].Azgaldov, G. G., & Azgaldova L. А. Quan ta ve design of clothing. Moscow, TsNIITEIlegprom, 1981.
evalua on of quality. (Qualimetry). Bibliography. [20].GOST 17522-72 Typical figures of women.
Moscow, Standard, 1971. Dimensional signs for the design of clothing. Moscow,
[14].Chumak, O. Century. Entropies and fractals in Publishing house of State Standards, 1988.
data analysis. Moscow, SRC “Regular and chao c [21].Slavіnska, A. L. Basis of a modular clothes design:
dynamics”, Ins tute of Computer Science, 2011. Monography. Khmelnitskyi, Khmelnitskyi na onal
[15].Parmon, F. M. Costume composi on: study guide. university, 2007.
Moscow, Light Industry press, 1985. [22].Kuleshova, S. G., Zakharkevich, O. V., Koshevko,
[16].Kuleshova, S.G., Slavinska, A.L., Zakharkevich, J. V. & Ditkovska, O. A.: Development of expert system
O.V., & Shvets, G.S. Image clothing as a perceptual based on Kansei Engineering to support clothing design
component of clothing design, Tex les, clothing, process, Vlakna a Tex l, Vol. 4, 2017, pp. 30-41.
leather and technology, Vol. 3, 2017, pp. 12-20. [23].David, G. Social psychology (10th ed.). New York,
[17]. Kirtsev, Yu. M. Drawing and pain ng: A prac cal McGraw-Hill Higher Educa on, 2009.
guide. Moscow, High school, 1992. [24].Gerrig, Richard J., Zimbardo, Philip G. Glossary of
[18]. Kuleshova, S.G., Slavinska, A.L., Zakharkevich, Psychological Terms. Psychology And Life. Boston, Allyn
O.V., & Shvets, G.S. Evalua ng the level of clothes and Bacon, 2002.

Online magazine for Tex les, Clothing,
Leather and Technology -ISSN 2535-0447.
The magazine inform, reflect and promote

Bulgarian and foreign specialists,
their research, studies, reports, etc. The site
and magazine will present the upcoming
exhibi ons, fairs, conferences, workshops,

seminars, par cipa on in compe ons,
fashion shows and trends, business models,

as well as other events
in the field of Tex les, Clothing, Leather and

Technology.

Feel free send research, studies, reports, etc. materials for publishing in
Online magazine for Tex les, Clothing, Leather and Technology-Bulgaria

to e-mail: [email protected] or [email protected]

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In 2019 the goal of the OEKO-TEX® Associa on is again regard to the extractable part of the metals barium
to reinforce consumer protec on and sustainability and selenium.
along the value crea on chain for tex les and leather; In Annex 6 of the STANDARD 100 by OEKO-TEX®, limit
the exis ng guidelines for the OEKO-TEX® product port- values have been made stricter for various param-
folio have thus been amended again for the start of the eters. This relates to the parameters for phthalates
year. The new regula ons will come into effect a er a (so eners), alkylphenols and alkylphenol ethoxylates
three-month transi on period on 1 April 2019. as well for per- and polyfluorinated compounds. The
Overview of some important changes: even more stringent requirements for residues in tex-
-OEKO-TEX® already complies with the new “REACH
Annex XVII CMR Legisla on” le materials will result in an overall lower impact on
-The substance benzene and four amine salts have the environment, workers and consumers.
been included in the STANDARD 100 by OEKO-TEX® and Glyphosate under observa on
LEATHER STANDARD by OEKO-TEX® and limit values In 2019 two new product groups will be under obser-
have been defined. The substance quinoline, which has va on: glyphosate and its salts as well as the carcino-
been under observa on by OEKO-TEX® since 2018, is genic N-nitrosamines and N-nitrosatable substances.
now also regulated with a limit value. Glyphosate products in par cular, currently the quan-
-In the course of “standardisa on” of the limit value
requirements, the requirement “<” now applies for al- ta vely most important ingredient in herbicides, re-
most all limit values. ceived a lot of media a en on during 2017 and 2018
For over 25 years, the OEKO-TEX®’s strategy has not and were the subject of fierce controversial debates
been to wait for legisla on but to be proac ve in the around the world. At the end of 2017, approval for
field of consumer protec on as a pioneer. As a result of glyphosate and for further use was only temporarily
the implementa on of the above-men oned updates, extended by the EU to five years – under protest from
the STANDARD 100 and LEATHER STANDARD already different consumer groups and environmentalists.
comply with the requirements of the new “REACH An- With the “Under observa on” ac on, the OEKO-TEX®
nex XVII CMR Legisla on” (Commission Regula on (EU) Associa on is now looking more closely at the sub-
2018/1513). In contrast, this legisla on addressing 33 stance group in relevant tex le materials and is analys-
CMR substances will only be applied for products from ing the situa on in more detail.
1 November 2020 on. Thus, OEKO-TEX® is way ahead Expanded product por olio for sustainable produc on
and also covers many other parameters related to con- condi ons
sumer protec on. The STeP assessment will be extended to leather
Further new addi ons to the limit value catalogues produc on facili es in 2019. The name will also be
New to the limit value catalogues are various Substanc- changed in the course of this integra on: “Sustainable
es of Very High Concern: these are the siloxanes D4, D5 Tex le Produc on” will become “Sustainable Tex le
and D6 as well as diazene-1,2-dicarboxamide (ADCA). and Leather Produc on” – the product name STeP re-
Furthermore, a requirement has now been made with mains the same.

For more info: www.oeko-tex.com

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SWIMWEAR
PARADISE FOUND
In today’s technology driven environment, we long for sensory s mula on. Technology helps us explore new
worlds, giving us a taste of paradise. In this new Garden of Eden, fashion offers digitally inspired, sensi ve, sen-
sual, wearable garments. Swimwear entertains, evokes escapism, and reveals digitally generated pa erns along-
side shades blurring boundaries between real and illusory. Data-inspired pa erns are simultaneously dynamic,
energe c and glamorous.
ACTIVISM
In today’s technology driven environment, we long for sensory s mula on. Technology helps us explore new
worlds, giving us a taste of paradise. In this new Garden of Eden, fashion offers digitally inspired, sensi ve, sen-
sual, wearable garments. Swimwear entertains, evokes escapism, and reveals digitally generated pa erns along-
side shades blurring boundaries between real and illusory. Data-inspired pa erns are simultaneously dynamic,
energe c and glamorous.

DECO LUX
Opulence personifi ed. Burs ng with provenance while addressing desire for decora ve, meaningful beauty and
elegance. Swimwear on a mission to raise awareness and apprecia on of historic art movements and painstak-
ing cra techniques. Inspired by Art Deco, a 1920s decora ve arts and architecture movement, this theme sees
swim fashion express a desire for exclusivity, exuberance and masterly exper se.
ICONIC
Normality and longevity outdo fast fashion looks and instead call for archetypal, iconic mari me themes. Real,
honest and straigh orward aesthe cs dominate the search for the perfect swimsuit. Classic favourites are im-
proved, popular basics upgraded and new efforts put into op mum comfort, durable fi t and streamlined silhou-
e es for a bespoke look. A slight vintage spirit and a 1950s freshness translates into a fresh and bold design with
new performance features.

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INTIMATE APPAREL
SANCTUARY
With our hyperconnected, distracted lifestyles, we search for the quiet, contempla on and self-actualisa on.
Yoga, dance and medita on have increasing appeal. For in mate apparel, this means reassessing values, pursu-
ing a subtle, essen al aesthe c, stripping back decora on and complica on to reveal calm design in a sensi ve
colour and material pale e.

BLOOM
Flowers trigger emo ons and generate that sense of connec on we yearn for. Their perpetual romance mani-
fests itself in contemporary in mate fashion, addressing the desire for beauty, embellishment and self-adorn-
ment. There is a need for meless charm and pa erns with longevity, with a touch of an quity in a contempo-
rary transla on. Blooms touch the soul and heart. Tradi onal florals stay classic and true to their original form,
but can also be reimagined to gain new relevance.

ATHLEISURE
Tough, fit and ready for adventure. Loose yourself in sports, leisure and outdoor ac vi es in natural and urban
environments. Advances in performance-enhancing tex le technology increase interest in the leisure and life-
style sectors. High-performance fabrics are now super so to the touch with enhanced flexibility to suit 24-hour
use. Athle c performance looks for daily use are protec ve and versa le for indoor, outdoor, under and upper-
wear..

Source: ©MarediModa

ООНБЛЛЕАКЙЛНОС, ПКИОСЖАИНИИЕТЕЗХАНТОЕКЛСОТГИИЛИ,

като медиен партньор на MarediModa 2019
за България Ви кани да вземете участие на
предстоящото събитие за плажна и интимна мода,
тъкани и аксесоари за свободното време, което ще
се проведе от 5 до 7 ноември 2019 г. в гр. Кан,

Франция.

MarediModa 2019 предлага специални дизайнерски студия и пространства, където
изложители от сектора ще предложат своята богата и разнообразна селекция на

посетителите през трите ноемврийски дни.
MarediModa 2019 е ключово събитие, което

събира бизнес, контакт и обмен
за да поддържат бързите темпове на своето

развитие!

ВХОДЪТ Е СВОБОДЕН за посетители!
Изисква се само задължителна регистрация

на място!!!

За участие като изложител, 21
пишете на е-мейл: [email protected]

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