The Concept of Aesthetic Intelligence of Textile Fabrics and their ...

The Concept of Aesthetic Intelligence of Textile Fabrics and their
Application for Interior and Apparel
Chan, Y.Y.F., Winchester, R.C.C., Wan, T.Y., Stylios, G.K.
Heriot-Watt University, School of Textiles, Netherdale, Galashiels, Scotland, UK.
ABSTRACT
Historically shape memory materials have been used for biomedical and engineering
applications. With regard to textiles, the focus of these materials has been the functional
aspect; filtration for technical textiles and garments that require no ironing for clothing. This
paper will present methods of engineering the behaviour of yarns constituted from shape
memory alloy (SMA) and shape memory polymer (SMP) and will highlight design
applications based on manipulation of shape memory. The research has been divided into two
areas; interior textiles and textiles for fashion. Substantial yarn development has taken place
to accommodate the particular needs of the individual areas. The aesthetic criteria of the new
materials designed in this project have been the handle and drape and most importantly the
aesthetic intelligence which enables these new fabrics to interact with their change of
environment. Specific end uses and diversity will be shown in interior textiles and in
knitwear for apparel.
The paper will discuss the development of shape memory materials (SMM) within a yarn
composite and the improvement in its mechanical properties, i.e. combining strength and
shape memory effect (SME). It will also describe and discuss how the knitted and woven
structure has been adapted to accommodate the special requirements of the SME.
Keywords: Shape Memory Effect, Aesthetic, Fashion, Knitted, Interior, Woven
1 Introduction
The emergence of new and innovative technologies has generated new methods and
approaches to design and an increase in multidisciplinary design teams, which use the skills
of designers, technologists and engineers. In the field of textile design there are those who
look beyond the traditional means of aesthetic expression using unconventional techniques
and processes. British textile designers Janet Stoyle, Janet Emmanuel (Figure1) and Frances
Geesin have all been influential in the creation of new textile aesthetic using unconventional
techniques and processes.[1,2,3,4] Their influence has been instrumental in encouraging a new
breed of designers to create and develop new surface treatments using unorthodox techniques
to textiles. Reiko Sudo (Figure 2) and Jun’ichi Arai are two exponents in the development of
high performance and industrial textiles in combination with traditional materials. Their work
demonstrates the ease with which these two diverse fields can merge. [1,5,6] Japanese fashion
designers Michiko Koshino, Junya Watanabe, Koji Hamai and British designer Hussein
Chalayan are all innovative designers with a determination to push the boundaries of textile
innovation and technology.
458

Figure 1 Janet Emmanuel (2002) Figure 2 Reiko Sudo, Stainless Steel Emboss (1992)
Acoustic Shadows, Industrial Woven and splatter-plated polyester
non-woven, paper, string and Textiles and new Technology 2010
ultrasound, The Textile Book
The changing life of the consumer has demanded improvements of technology to enhance
their lifestyles. Technology is becoming less invasive and with an increased emphasis on its
aesthetic appeal. Within in the world of textile research, conductive fibre technology has
become an integral part of the development of wearable technology. Companies including
Philips Design, WRONZ in collaboration with Paratech Ltd and Starlab are all involved in the
development of this area.[7,8,9,10] Other companies such as Toyobo, Toray Group USA,
Welbeck, and DuPont are all developing advanced fibre technology. [11,12,13,14]
These garments and textiles are still dominated by technology and function. The design and
aesthetics are created around these factors. It has always been the case however, that the
overriding appeal of a garment or textile has been its aesthetics. Despite the efforts of those
designers working with unconventional techniques, design work based on smart or intelligent
textiles using SMM is scarce and only used for technical solutions. Our research is based on
how we can engineer new textile designs by manipulating shape memory technology. The
research involves two strands, the first, knitted textile for fashion; the second, woven interior
textiles specifically for window treatments and partitions and these will be elaborated on, later
in the paper.
SMM’s have been developed principally for biomedical and engineering applications. These
applications include micro-actuators, vascular stents, orthodontic archwires and aerospace.
More recent developments include diverse areas such as eyewear, underwire bras, golf clubs,
robotics and sculpture.
Mitsubishi Heavy Industries have produced their own range of active sports clothing called
“Diaplex”.[18] This is created by laminating an SMP between two layers of fabric, creating a
membrane. It can simultaneously be waterproof, windproof and breathable. The membrane
works by applying the Micro-Brownian motion, which is a thermal vibration.[19,20] The
Diaplex membrane is stimulated when the temperature rises above the predetermined
temperature. Due to the Micro-Brownian motion, micro-pores are created in the polymer
membrane, which allows perspiration and body heat to escape.
459

Corpo Nove, a fashion house in Florence, Italy, have designed and produced a shirt using
SMA fibres.[21,22] These fibres are interspersed with nylon when the fabric is woven. The
novelty of the shape memory shirt is that it is programmed to shorten its sleeves when the
temperature increases. The shirt does not require ironing, as heat will stimulate the SMA
fibres, enabling the shirt to return to its original shape.
2 Shape Memory Materials and their Principles
Shape memory materials (SMM) are adaptive temperature sensitive materials, which have the
ability to return to a pre-programmed shape when stimulated.[15,16] There are a variety of
stimuli that can be applied such as an electric current, solar energy, magnetic energy and heat
generated by changes in body temperature. These materials come in two forms, shape
memory alloy (SMA) and shape memory polymer (SMP). SMA can exhibit a strain of up to
8%, whereas SMP can extend up to 200%. The recovery of SMA is 100% however, SMP
does not always fully recover its original form.
The crystal lattice structure of the SMA is the mechanical property that allows the shape
memory effect (SME) to take place. This is known as the martensitic phase transformation
(MPT), (Figure 3). This consists of two stable phases, a low temperature phase called
martensite and a high temperature phase called austenite. During the martensite phase the
material can be deformed into its prescribed shape however, it can recover to its original
shape by the reverse transformation upon heating to a critical temperature called the reverse
transformation temperature (A s ).
Parent phase Martensite Parent phase
Figure 3 Martensitic Phase Transformation
Through a repeated process of heating and rapid quenching, the relationship between the two
different crystal structures is set. Once the process has been completed, the SMA will retain
its new shape. During martensite the SMA can be deformed or re-shaped but it will always
return to original shape when heated. SMA also exhibits superelasticity (SE), which is a
pseudoelasticity that occurs above A s . Deformation occurs when a small force or load is
applied. When the force is unloaded, the material will automatically return to its original form.
Superelasticity occurs without assistance of heat.
There is a range of different alloy compounds that exhibit the SME, these include nickeltitanium-copper
(Ni-Ti-Cu), copper-zinc-aluminium (Cu-Zn-Al). However, the most
extensively used is nickel-titanium (Ni-Ti) compound. [17] This is due to its superiority in
terms of transformation, recovery and biocompatibility. NiTi alloy has been selected for the
development of this research.
3 Engineering Aesthetic Intelligence into Textiles
Design inspiration traditionally comes from a visual motif, comprising colour, form, texture
and pattern. In this research however, the inspiration comes from the SMM and its
460

mechanical properties. This has led to an intensive process in the development of the SMM’s,
to allow the realisation of the designs to take place.
3.1 Preliminary Experiments with Spinning of Metal Wire
Conventional wires with similar properties to SMA in diameters between 0.l0 – 0.30mm were
experimented in development of new yarns. The development of the yarns was two-fold. The
first was to gain a technical awareness of how successfully the wire could be spun. The
second was to develop aesthetic qualities within the yarn composite.
To produce yarn on the Gemmel and Dunsmore Fancy Wrap Spinner, a series of draft rollers
feed the yarn through the machine whilst simultaneously applying twist or wrap around a core
yarn. Different fancy yarns are created by altering the programme of the computer and by the
placement of the yarns within the roller. At lower twist levels the wire protruded
intermittently to the outside of the yarn, rather than remain in the core, producing a yarn that
lacked dimensional stability. Various levels of twist were applied to each yarn composite,
until good dimensional stability was achieved.
3.2 Engineering Aesthetics in SMA
Preliminary work prior to the construction of yarns involved not only the potential of the
SME but also researching various visual motifs. These motifs were instrumental in
determining the colours and textures that would be used to enhance the design aesthetic and in
the selection of yarns to be incorporated into a yarn composite. Varying tex counts were
selected and included viscose, Lurex, Tactel, cashmere and synthetic and natural blends.
In the first developments of using SMA as the core, it was decided to develop a simple yarn
construction with four wrapper yarns and binder. The SMA used was 0.125 mm in diameter
and had a bright/polished surface. This surface treatment eliminates imperfections and
reduces the amount of friction that could hinder the spinning, weaving or knitting processes.
The first wrapping that came off the machine was very twist lively. This was due to the
springy nature of the SMA and the level of twist in the yarn. The handle of the yarn was stiff
and inflexible. When a length of yarn was held up between the hands, it displayed a very high
level of twist and spiralled around itself. After a few minutes however, there was evidence of
twist relaxation. On further examination, however, there was evidence of the SMA
protruding from the middle of the yarn. Further tests using different levels of twist reduced
the twist liveliness and produced less slippage.
Movement is the fundamental attribute of the SME and has been utilised to create new and
dynamic yarn composites. The concept of reflective light combined with movement has been
instrumental in the creation of yarns with an optical effect (Figs. 8,11). From the careful
selection of yarns these effects have been used in both a subtle and dramatic manner. The use
of light and dark, matt and shine and the incorporation of different levels of twist have
achieved these effects. Overfeeding of the effect yarns and the use of textured yarns were
developed to enhance the woven and knitted structure (Figures 6,9,13). The intended
application of these yarns was that they would be concealed within a structure and when the
structure opens the texture becomes visible. For some characteristics it is required to have
effect yarns with different tex count and the core with different diameters. This produces the
surface textures on the yarn composite (Figures 4,7,12).
461

Figure 4 Chenille Figure 5 Spiral Figure 6 Slub
Figure 7 Gimp Figure 8 Corkscrew Figure 9 Ratiné
Figure 10 Spiral
Figure 11 Optical Spiral
Figure 12 Texture Spiral
Figure 13 Overfeed
As a substitute for SMP in a yarn composite, spandex was applied. A range of yarn
composites has been produced with different diameters of spandex to achieve varying
amounts of elasticity. It was important to consider how the SMP would react in a yarn
composite, as spandex has a different form of elasticity to SMP, i.e. spandex is able to recover
its full shape instantly upon unloading, whereas SMP does not recover its full shape
immediately. Hence, the amount of yarn applied and the wraps per metre will need to be less
than a yarn composite that consists of SMA. If there are less yarns wrapped around the SMP
and not highly twisted this will allow the SME to perform. In contrast to applying the SMP
as the core of the yarn, it is possible to overfeed the SMP; therefore the SMP would be the
surface effect of the yarn composite. The SME would be a more visual change to the yarn,
e.g. transforming from straight to spiral and not a structural change to a textile when applied.
It is believed that a yarn composite comprising of a SMM and spandex would compliment
and assist the SME.
462

With respect to the texture of the yarn composite, it was observed that separate criteria needed
to be met for fashion and interior applications. For knitting it was important to produce a
yarn that had a good handle and could be knitted into a textile suitable for clothing. With
regard to the woven structure, the yarn does not have as many limitations as a knit structure.
As the end application is for interior textiles the handle of the yarn does not need to be
smooth or light.
3.3 Developments with SMP
At the earlier stages of the research attempts were made to extrude SMP to produce a fibre.
However, first experiments showed that the mechanical properties of the SMP failed to
produce a competent yarn to be applied for the end applications. The extrudant produced
exhibited poor tensile strength and had also suffered contamination from moisture. Due to
these factors, it was appropriate to construct the SMP using tapestry for the woven structure
and hand knitting needle for the knit structure.
For the tapestry technique, a small frame was used applying a simple plain weave structure.
Nylon monofilament was applied to make the warp, and the SMP was applied in the weft. The
elastic properties became more apparent when stress was applied during the weave process.
The fibre interlaced with the nylon monofilament similar to a conventional yarn, as it was
sufficiently malleable when applied to a plain weave structure (Figure 14).
During the knitting process, the tension applied to the softened filament lead to it becoming
thinner and tightening around the needle. This action made knitting subsequent courses
difficult. It was not possible to insert the needle without causing the loops to over-stretch. If
too much force were applied, the loops would break. The resultant fabrics displayed irregular
tension throughout each row (Figure 15). When the samples were left, they would return back
to their original shape with a stiff handle.
Figure 14 Tapestry woven SMP
Figure 15 Hand knitted SMP
To improve the mechanical properties and produce a competent fibre it was elected to blend
another polymer with the SMP. It was important that this did not compromise the SME,
though the addition of a secondary polymer would improve the tensile strength as well as the
recovery abilities of the SMP.
463

A range of polymers was selected to blend with the SMP. Samples with a range of 5-30% of
the selected polymer were weighed and dried in an oven with the SMP for a prescribed period
of time. A Bradford Ram extruder was used to extrude the blends. The samples were
extruded at a range of temperatures of 170-220°C. The temperature of the Ram extruder was
increased an increment of 10°C. During the extrusion process some samples exhibited poor
flow rate, curling at the die orifice and intermittent breaking of the filament during drawing.
Some blends did not extrude or were not homogeneous.
Tensile strength was tested using a Nene Instrument, M5. On completion of the tests it was
possible to eliminate specific polymers blends and temperatures as being inappropriate. This
was due to the fact that they produced filament with poor viscosity, uneven cross-section,
poor strength and a low yield point (Figure 16). From these results the temperature settings
and polymer blends were reviewed.
The increment of 10°C was reduced to 5°C in order to obtain a more accurate temperature.
The ratios of the polymer blends were also reviewed. It was decided to develop blends using
5% increment as opposed to 10%, which did not give satisfactory results. The second set of
tests showed significant improvement (Figure 17). When extruded the viscosity of the flow
rate was improved and enabled the filament to be drawn in continuous lengths. Visually the
extrudant appeared more uniform and consistent in surface texture and colour.
Figure 16 Tensile strength of polymer blend, first
second test
Figure 17 Tensile strength of polymer blend, test
4 Implementation of Aesthetic Attributes in Fabric Design
The unique characteristic of movement from SMM is integrated into the knit and woven
structure to give textiles the ability to react to environmental changes moreover, visually
transform to a prescribed design.
4.1 The Woven Structure for Interiors
All samples were produced on a Harris eight-harness table loom. It is essential that when
producing a warp with a wire composite that the tension be applied evenly. When the warp is
transferred on to the loom it is important that the tension is not exceedingly tight or slack, as
this will result in yarn ends breaking during the weaving process.
To achieve a three-dimensional form in relation to the movement of the SME, a range of
conventional wire and diameters were woven solely, (Figures 18,19,20). The samples were
manipulated to achieve a three-dimensional structure. Each sample simulates a different
movement such as a wave effect, structures shrinking and expanding and structures opening
and closing. The aspiration of these samples is to visualise the possibilities of motion within
a three-dimensional structure.
464

Figure 18 Wave effect Figure 19 Shrink and expand Figure 20 Open and close
Exploring open weave structures in consideration of the SME developed the woven structure.
This was achieved by adjusting the set of the warp, i.e. the number of ends per inch, as this
would influence the design and performance of the SME. In addition, to achieve spaces in the
woven structure gaps were intentionally assembled in a uniform manner in the reed. This
effect was successful as when the weave structure opens it reveals the textured yarn
composites.
Double-weave cloths were also explored to achieve versatile three-dimensional forms. The
two layers can be joined or separated and pockets or tubes can be formed. The interchanging
threads from the layers create the innovative designs. The SME would be effective as these
layers could transform a flat textile to a three-dimensional textile. Figure 21 shows a doubleweave
sample constructed of three-dimensional tubes in a form of pleats. When the SMM is
stimulated and the martensitic phase is activated, these pleated tubes close, hence shrinking
the textiles. When the temperature returns back to the ambient temperature the textile returns
to its parent shape. The sample shown in Figure 22 exhibits how an over-fed SMP yarn
could be applied on the surface of a woven textile woven textile. This characteristic has been
applied in combination with a double-cloth structure, allowing two effects to perform when
stimulated. Figure 23 is using double-cloth principles, sections of the top cloth are
interchanging on both sides, and this is where the SMM would be applied.
465

Figure 21 Concertina Figure 22 Surface effect Figure 23 Interchanging sections
The interchanging sections become a raised rounded form when stimulated. The double-cloth
technique allows the design to be visually creative on both sides of the textiles. This
characteristic would be particularly beneficial for interior applications.
In consideration for SMP the woven structure was tackled a different approach (Figure 24).
SMP is a softer material in comparison to SMA; therefore the handle of the fabric is lighter
and will have adequate drape qualities. Spandex has similar properties to SMP. Within the
yarn composite it was used created the dynamic movement of the yarn and was taken into
consideration when incorporated into the woven structure. This influenced the other yarns
used in the woven structure, as bulkier yarns were used to enhance the surface effect from the
spandex composite. It is believed that this principle will enrich the SME in the woven
structure when SMP is applied.
Figure 24 Woven sample simulating the effect of SMP
466

Experimenting with the samples while on the loom produced effective and creative results as
the yarn composites could be exploited to their full potential. To achieve different surface
effects the tension of the warp was adjusted. As the samples could be manipulated whilst still
on the loom, the effect of the wire could be observed therefore, encouraging the design to
illuminate further.
As the fundamental consideration of the woven textile is the aesthetic, the application of the
shape memory textile is one where it will not be extensively handled, i.e. cushions, rugs, and
sofas. Suitable applications would be window treatments, partitions or wall hangings.
Textiles having the ability to alter in shape will have a significant and stimulating effect to an
interior space. Utilising a shape memory partition or wall hanging can convert the function
and essence of the interior from a formal workplace to a relaxed, calm and social atmosphere.
Visually the woven structure transmutes exposing the yarn composites and a dynamic design.
These applications would be on demand, as an electric current would be applied to invigorate
the textile. Furthermore, the same application can also participate in the environmental
conditions of a room when provoked by temperature. Consequently, if the temperature in a
room was below ambient the woven structure would evolve into a “closed” form and perform
as an insulator, allowing the heat to remain in the room. In contrast, if the temperature were
above ambient, the shape memory structure would ‘open’ to allow air to circulate freely
around the space keeping the room cool. As SMM can be stimulated by sunlight, this feature
can be exploited when applied for window treatments, thus adapting to its environment.
When a shape memory window treatment is programmed to be sensitive to sunlight the
woven structure opens to allow light to enter the room during the day and close when night
falls. Or/in addition, the woven structure was programmed to close to reduce glare in the
room if excessive sunlight was applied onto the textiles.
These textiles would be consummate when part of an intelligent network in an interior space.
Shape memory textiles offers smart interiors and standard interiors additional benefits, such
as performing as a decorative feature as well as a functional textile. Unlike conventional
static textiles, smart textiles have the competence to react and adjust to the environmental
conditions along with modify the function of the space whilst being aesthetically pleasing.
4.2 The Knit Structure for Fashion Apparel
An in-depth understanding of the technical aspects and requirements of the knitting process
would need to take precedence in order not to compromise the design. Flyer pay-off is the
major contributory factor to the problem of knitting with wire. It occurs when the yarn is
drawn off the supply package and threaded into the knitting machine and continues to be a
problem throughout the knitting process. Its causes are twofold; the first, is wires ability to
hold shape; the second is the “stick/slip/stick” phenomenon. As the wire is drawn from the
package, it maintains the circular shape of that package. This spiral configuration is only
partly drawn out as the wire goes through the tension feeds of the machine.
The “stick/slip/stick” phenomenon, is when the wire intermittently sticks as it is delivered
from the package, through the tension feeds, consequently, the tension in the wire increases.
The force applied to the yarn as the cam carriage is taken across the needle bed produces a
sudden release of tension. This release results in the wire springing from the package, in long
spiral lengths. The yarn twists on itself, causing kinks to develop along the length of the wire.
As a result, obtaining an even tension throughout the knitting process is difficult. Flyer pay-
467

off is instrumental in the creation of other knitting problems including, uneven tension,
knock-over, take down and the ability to knit a complete course.
Variation of structure and technique and the philosophy of craft and technology working in
tandem were fundamental to the evolution of the design aesthetic. Consequently, hand
knitting and the use of two different knitting machines was employed. Each system
contributes its own unique stitch and patterning capabilities and allows a greater variety of
yarn types to be used. The machines used were a 7 gauge Dubied V-bed flat knitting
machine and a Knitmaster Model 321 domestic knitting machine.
The first machine developments were small sample pieces of 11cm square, constructed in
single bed plain knit. It was evident from the handle and drape of the fabric produced, that
they would not be suitable for whole garment application. When removed from the machine,
the top and bottom of the samples would roll to the middle on the face side, forming a tight
cylindrical fabric. The fabric remained in this tight form, even after attempts were made to
flatten the fabric using a steam iron. From these results, it was considered that the most
appropriate method of introducing SMA to the knitted structure would only be in selected
areas of a fabric.
A principle of the research is to redirect the aesthetic from something static to something
active, to produce “living” fabrics that evolve; to present the industrial as sensual and tactile.
The SME creates a dual, decorative fabric that can exhibits different aesthetic characteristics
within the same cloth. Three dimensional and sculptural fabrics have been developed that
enhance these concepts. Figure 25 is a fabric that when the SMM is stimulated, it
metamorphoses into a cloth with a raised surface pattern. With Figure 26, a 3-dimensional
pattern already exists in the form of half-moon structures. In this case, when the SME is
stimulated, the half-moon structures evolve into a circular form.
Figure 25 Pattern created using Figure 26 Pattern created using
a Knitmaster 321 a Knitmaster 321.
With 3-dimensional structures the SME could be a spontaneous or gradual change with a
single structure containing both dominant and subordinate effects. It would be possible to
capitalise on these concepts as in Figure 28. This illustrates a fabric that has been designed
with consideration to the placement of the SMM within the structure together with materials
that respond at different rates, thus giving a fabric that has the ability to move around the
468

ody. Figure 27 relates to the concept of dual colour or texture being created in one fabric.
The SME causes the structure to open, revealing a second colour or texture beneath the
surface.
Figure 27 Pattern created using Figure 28 Pattern created using
a Dubied V-bed. a Knitmaster 321.
Figures 29 and 30 illustrate how the SME would be placed within the selected areas of a
garment. The inclusion of SMM’s into the knitted structure introduces a new garment form.
This evolution in form, changing the garment from static to active and presents dimensional
changes that add value to the garment.
Figure 29 3-dimensional textile concept.
Figure 30 3-dimensional textile concept.
Through the decorative process, it is possible to produce a textile with particular functional
attributes. The textile would not only evolve into another aesthetic, the SME would
simultaneously produce structures that open and close, depending upon the environmental
469

conditions and/or the body temperature of the wearer. A single fabric could alter from
compact and warm to open and cool. This combination gives a high-performance textile with
decorative characteristics.
Although when designing a fashion textile or garment comfort and function are significant
aspects, primary drivers attributed by the consumer to a garment or textile are style and
aesthetic quality. Textiles and clothing are moving into new areas of function, their rôle as a
means of decoration, adornment or implied status however, is still a relevant factor which
deserves continued attention. An important requirement from the consumer point-of-view is
that clothing enhances the body and presents the required image.
5 Conclusions and Future Research
This research reflects the increasing significance of technological innovation using SMM in
textiles and the importance of capitalising on the aesthetic potential that can be gained from
these innovations. To accommodate the particular needs for apparel and interior textiles,
intensive fibre, yarn and fabric development has taken place. A variety of yarn composites
based on SMA and SMP with a range of characteristics have been produced. These were
taken forward into fabric form where further engineering requirements were realised.
The mechanical properties of the SMP have been improved, this will enhance the aesthetic
intelligence when applied to specific end uses. The continued improvement of the mechanical
properties for SMM will enable a broader range of textile design and application. The
properties of SMM provide a dynamic and stimulating approach to design. Their potential
has yet to be fully explored and will inevitably lead to unique and exciting textile design.
Acknowledgements
The authors wish to thank Andrew McCullough and Stewart Wallace for their invaluable
assistance and expertise. Andrew’s extensive knowledge and skill with regard to yarn
production and Stewart for his contribution in the field of polymer science.
References
1 Braddock, S. E., O’Mahony, M. (1999) Techno Textiles: Revolutionary Fabrics for Fashion and Design, 2 nd .
Ed. London, Thames and Hudson
2 Frances Geesin, (2002) Lecture, 15 th May 2002, Knitwear/Electroplated Textiles, Heriot Watt University.
3 Gale, C. and Caur, J. (2002) The Textile Book 1 st Edition Oxford, Berg.
4 Emmanuel, J. (2001) Conference, 21 st February 2001, Twist in the Yarn, Making the Visible Invisible,
Manchester Metropolitan University.
5 Braddock, S. & O’Mahony, M. (1994) Textiles and New Technology: 2010 Artemis Limited, London.
6 McCarty, C., McQuaid, M. (1998) Structure and Surface: Contemporary Japanese Textiles, 1 st Ed. New York:
The Museum of Modern Art
7 Philips Research http://www.research.philips.com
8 Starlab Deep Future http://www.starlab.org
9 Fisher,G. Twenty-First Century Fabrics, Soft Switching for Wearable Electronics, Textile Horizons, Sept-Oct.
2000 pp17-18
10 Hum, A.P.J. Fabric Area Network – An Ubiquitous Wireless Communications Infrastructure for Intelligent
Wear, 4 th World Multi-Conference on Systemics, Cybernetics and Infarmatics, 23-26 July 2000 pp.61-65
11 Toray http://www.toray.com
12 Toyobo http://www.toyobo.co.jp
13
Welbeck http://www.welbeck-fabrics.co.uk
14 Shah, D. (2000) Conference, 21 st January 2000, What Future for Textiles, Canary Wharf, London.
15 Otsuka, K & Wayman, C.M. (Eds.) (1998) Shape Memory Materials, Cambridge University Press, Cambridge
16 Van Humbeeck, J. (1999) Non Medical Applications of Shape Memory Alloys, Material Science and
Engineering, A273-275, 1999, pp.134-148.
470

17
Hodgson, D.E. and Biermann, R.J., (1999) Shape Memory Alloys, Shape Memory Applications Inc. Santa
Clara, California.
18 Mitsubishi Heavy Industries, Ltd. http://www.diaplex.com
19 Hayashi, S., Kondo, S. and Giordano, C. (1994) Properties and Applications of Polyurethane-Series Shape
Memory Polymer, Technical Papers of the Annual Technical Conference: Society of Plastic Engineers, 1994,
V52/2, pp.1998-2001.
20 Kobayashi, K., Hayashi, S. Woven Fabric made of Shape Memory Polymer, US5128197, 7 th July 1992.
21 Clowes, S. (2002) Smart Shirt Rolls up its Sleeves, http://www.news.bbc.co.uk
22 Corpo Nove, http://www.corponove.it
471