Red Fabric Research Articles

Krobo Dipo Dress Fashion Trends and Culture in Contemporary Ghana from 1950 to 2019

The study investigated the major fashion trends that have characterised Dipo rite from 1950 to 2019. The narrative and descriptive research designs, under the qualitative approach, were used to investigate the major Dipo dress fashion trends. The sample for the study comprised of four (4) respondents consisting of two (2) traditional rulers knowledgeable in Dipo traditions and customs and have experienced the Dipo rite for at least two decades; one (1) opinion leader, and one (1) photographer who has been a paparazzi during Dipo rites for more than a decade. Interview and non-participant observation constituted the data collection instruments while thematic and descriptive analysis were the analytical tools used. The suboe (red fabric), Kraala (white fabric), wax print and kente Fabrics are some of such materials that signal the major Krobo Dipo dress fashion trends. The dominant presence of the Euro-Christian and Islamic ideological infiltration and stereotyping of the Dipo rite of passage in Ghana has been unsuccessful in depleting Dipo dress cultural practice. Four major stages of Dipo rites were identified with each displaying an array of Dipo dress fashions in observance of the rite. They are the tying of string (sɔni), cleansing initiation (wearing of red loincloth), victory initiation (wearing of white loincloth), and dress-ups (Newuom and kawɔ). The wearing of variations of red and white loincloth, and dress-ups (Newuom and kawɔ) that characterised the last three stages of Dipo rite, revealed interesting stylistic Dipo fashion trends that serve as Dipo rite, Dipo dress culture, Krobo, fashion trend, cultural sustainability, wax print DOI: https://doi.org/10.59739/jaae.v3i1.062304 82 Journal of African Art Education Volume 3, Issue 1, May 2023 sources of inspiration for fashion designing. These fashion trends are predominately wraparound with accessories to match. Wax print fabrics were dominant fabrics used by initiates during the first dress-up called Newuom while Kente dominated in use for Kawↄ. The flamboyant public display of Dipo contemporary fashion is undoubtedly a unique advertising platform that textile manufacturing companies in Ghana should take advantage of to market their products.

On some late Prepalatial pricket lamps in White‑on‑Dark Ware from beneath the North Wing of the Malia Palace

In 2021, eight pricket lamps were identified during the study of pottery from the sounding undertaken by Olivier Pelon in 1978 and 1985 in Room IX b, located in the North Wing of the Malia Palace. These lamps, contained in an EM III–MM IA assemblage from the northern part of the room, are local productions in semi‑fine red fabric that imitate the elaborate patterns of the White‑on‑Dark Ware, the hallmark of the late Prepalatial productions of East Crete. These elaborate white‑on‑dark pricket lamps from the late Prepalatial levels of the Malia Palace seem to represent the prototype of the later pricket lamps, well-attested across the Malia site from MM I to MM II. This paper aims to present the eight lamps and their context, to provide parallels both from Malia and Minoan Crete, and to trace the development of this specific shape from late Prepalatial through the Protopalatial period in the whole island.

스마트폰 화면으로 인지되는 직물의 색상과 재질감 선호도 및 구매의도 비교 - 관능실험 방법을 중심으로 -

This study aims to gather precise information on the real fabric color and texture, and purchasing intention of mobile shoppers buying clothes. Eighty volunteers participated in the sensory test on three smartphones with four colors and two fabricssmooth taffeta and hairy doeskin. This study carried out the posteriori test using the one-way ANOVA and Duncan test by SPSS21.0. In the analysis’ results of color preference, there were no differences among the four colors of taffeta between the smartphones, but different preferences between the red and yellow doeskin exist. In the case of the Samsung phone, which has an immense color distortion, the red fabric has a low color preference. In contrast, on the Apple phone yellow fabric had the highest preference because of its brightness. The Apple phone also has the highest purchasing intention of yellow colored taffeta, which is similar to the color preference results, although the real fabric has the opposite result. For doeskin, the real red and blue colored fabric has the highest purchasing intention. The Samsung phone has the biggest color mismatch with the real fabric. It also has the lowest purchasing intention of red taffeta fabric, while the LG phone has the lowest purchasing intention of blue fabric. Using the paired comparison method of the similarity between ‘real’ fabrics and the mobile version of fabric colors has a low similarity on all four colors of taffeta and doeskin fabrics. Therefore it can be concluded that phones do not represent the ‘real’ fabric color.

Fabrication of Red, Green, and Blue Pixels Using Integrated GaN-Based Schottky-Type Light-Emitting Diodes

GaN-based UV Schottky-type (ST) LEDs were fabricated using GaN layers grown by molecular beam epitaxy (MBE). Red, green, and blue (RGB) pixels were fabricated using the UV-LEDs and RGB phosphors. Surface modification led to the reduction in reverse-bias leakage current and improved forward-bias characteristics. It was found that the ideality factor, n, was improved with increasing breakdown voltage in the reverse-bias range. We believe that the improvement is due to the reduced number of threading-dislocation (TD)-related leakage paths. The effect of the point defects around the TDs on light emission was reduced by the surface modification because the number of current paths around the TDs was reduced.

Woman inside the Window

Woman inside the Window Coleen Muir (bio) She is two stories up, centered and framed inside the white stucco building. Two windows, close as eyes, hold the image of her as she moves her arm along the length of the ironing board, dragging the iron from one window into the next, stopping, lifting, beginning again. Rotting wood holds the scene together, is the crumbling final barrier the warm air from the street must pass through before stepping inside—there is no glass, no screen, no restraint. The woman could reach her hand through, from inside to outside, and, if it were raining, collect a wet pool in her palm, tilt the water out, and dry her hand in the blue curtains. The curtains hang listless next to her, stretching long shadows against the hardwood floor the woman stands upon, barefoot, touching and smoothing the scarlet fabric draped across her board. The sun moves in, pools inside the fabric, reflects light. Is it an evening gown? Satin? Has it been worn before? From the street, I wonder at this woman who is ironing above me. I am walking home from a bookstore, past dark-mouthed garages, the shadowed entrances of buildings, restaurants. The street is still, the day slumped between late morning and early afternoon. Clouds pass over the sun, throwing shadows over this building, the ones next to it, myself, and also her arms as they pass over and over the red fabric. It seems unreal, like a clip pulled from a black-and-white film shot on the streets of a small European town. Another woman in another window, ironing her husband’s shirt, calling out to him, or her child, to come inside. Secondary characters never to be developed beyond their windows, never to be illumined with color. [End Page 69] The woman lifts her arm, as white as a shell, and moves the iron. She is engulfed in color, her sea-green walls, blue curtains (one pulled into a loose knot), and the dirty white waves of the building’s stucco. The color is so rich it could’ve been painted on. Possibly, this is a work of art. And if it were, how would I explain the absence of her head in the picture? The viewer’s perspective is limited, as I am standing on the sidewalk looking up, and from this perspective, her throat and head are cut off by the window. Because of this, the viewer is struck with a sting of curiosity. She wants to know more. Who is that woman in the window? Is she lovely or plain? I envision her as lovely. Her breasts form two full crescents on her navy blue dress, and her arms are slim and soft, and her sides dip in like the curve of a spoon. She must have a lovely face. I imagine her face as round, oval, with short curly brown hair, dark eyes, and yellow dot earrings. I see her lips slightly parted, pale pink, and traces of black tea stains upon her teeth—venture that she has switched from coffee to tea in the recent past, tying to lower her caffeine intake. Perhaps she has been suffering headaches from the withdrawal; perhaps this is why the windows are open and she is standing there. She needs fresh air. She breathes in the fresh air, gains a whiff of bus exhaust. The headache pounds. She touches her forehead. Sighs. Of course, as it stands, she is real, so perhaps it’s silly to imagine her beating head, her stained teeth. Who could know? Perhaps there is no sense in pretending at all. One must walk away, imagination unraveling, and leave it at that. But yet, one must wonder about the scarlet cloth she is ironing, right at the window’s opening. I imagine her setting the iron to the side and lifting the blue dress she is wearing up and over and off herself in one smooth motion, her standing there for a moment, entirely nude. Her breasts are pale and heavy, with large brown nipples; her stomach fills out into a grin, and right above the ironing board, there is a flash...

Preparation of Microemulsions of the Polysiloxanes Modified with Different Amines and Their Effect on the Color Shade of Dyed Cellulose

The microemulsions of three polysiloxanes modified with different amines are prepared. Three functional polysiloxanes are aminopropyl polydimethylsiloxane AP-PDMS, N-(β-aminoethyl)-γ-aminopropyl polydimethylsiloxane AEAP-PDMS, and N,N-(γ-dimethylamino-propyl)-γ-aminopropyl polydimethylsiloxane DMAP-PDMS, respectively. The effect of the microemulsions on the color shade of the dyed cellulose with reactive dyes is investigated by reflectance spectra, color yield (K/S), and the color differences (Δ E). The results show that the K/S of the yellow fabric treated with AP-PDMS decreased. The K/S of the red fabrics treated with AP-PDMS, AEAP-PDMS, and DMAP-PDMS all had very slight increase.The K/S of the blue fabrics treated with AP-PDMS, AEAP-PDMS, and DMAP-PDMS also all increased. The handle of the sample treated with AEAP-PDMS was better than those of the other samples, but the whiteness of it was worse. The wash fastness and the wet rubbing fastness of the dyed fabrics treated with three functional silicones had not noticeable change.

Carrie (review)

Reviewed by: Carrie Jordan Schildcrout Carrie. By Erik Jackson , adapted from the novel by Stephen King . Directed by Josh Rosenzweig . Theatre Couture, Performance Space 122, New York City. 1312 2006. Stephen King's first novel, Carrie(1974), tells the story of a teenage misfit with telekinetic powers who avenges herself on cruel classmates by turning prom night into a deadly inferno. Sissy Spacek won acclaim playing the title role in Brian De Palma's popular 1976 film adaptation, while theatre aficionados remember the disastrous 1988 stage musical version as one of the most notorious flops in Broadway history. The persistent fascination with Carrie, in all her various incarnations, is perhaps rooted in America's interest in the tension between individuality and conformity, between queerness and normalcy. Therefore Theatre Couture's queer reinterpretation of Carrie, with drag performer Sherry Vine (a.k.a. Keith Levy) playing the title role, uses camp comedy not simply to send-up Carrie, but rather to highlight the themes of gender and sexual difference inherent in the original story. The result is a playful revenge fantasy for anyone who ever felt awkward, lonely, or queer in high school. Set in 1979, the play follows the Cinderella story of Carrie White, a painfully shy girl who is taunted and bullied by all of her classmates, never more so than when she has her first period in the gym shower. She finds little comfort at home from her Bible-thumping mother, who tells her that menstruation is the result of sinful desires and then locks her in a closet to force her to pray to Jesus for forgiveness. But Carrie begins to notice that, at times of great stress or anger, she can move things with her mind: teacups break and lightbulbs burst. One classmate with a conscience, Sue Snell, decides to help Carrie, so she persuades her own boyfriend Tommy to take Carrie to the prom. At first Carrie assumes that the invitation is a prank intended to humiliate her, but once convinced of Tommy's sincerity, she allows herself to believe that she has found her Prince Charming. Defying her mother, she goes to the prom and gets elected queen, only to have her moment of triumph ruined when a cabal of students dumps a bucket of pig's blood on her. Stunned and enraged, her mental powers unleash hell, trapping everyone in the school and burning them alive in a horrific blaze. She returns home and crucifies her mother with kitchen knives before burying herself under an imploding house. The actors present their archetypal characters in quotation marks, and the best performers (such as Danielle Skraastad as the butch gym teacher and Matthew Wilkas as the dopey though good-natured jock) find variety within the broad characterizations. As written by Erik Jackson and directed by Josh Rosenzweig, the play often imitates the cinematic techniques of De Palma's film, with puppet master Basil Twist (best known for his Symphonie Fantastique) crafting special effects that translate the tropes of the horror movie into a theatrical medium. Carrie's telekinesis moves objects with the aid of hooks and wires, flames are represented by fan-blown orange and red fabric, and a box window upstage shows us cars flipping and houses collapsing in miniature. Such low-budget effects have the ability to charm with their simple though well-crafted artistry but also to inspire laughter as deliberately facile imitations of recognizable movie moments. Perhaps the most striking effect is the realistically designed pig puppet (created by Emily DeCola), whose gruesome slaughter functions as the finale of act 1, foreshadowing the blood bath to come in the second act. [End Page 519] Following the tradition of Charles Ludlam's Camille, Theatre Couture's Carrietakes a female character—a social outsider and victim who finds a reservoir of strength but is ultimately doomed—and reinterprets her as a drag diva, adding material that underlines the character's queerness. When being bullied into the prayer closet by her mother, Sherry Vine's Carrie whines, "But Momma, I don't wanna go in the closet!" and then gives the audience a knowing look. Later, Carrie's mother begs her not...