The main aim of this thesis is to provide and explore main factors that affect a drying process. The first part contains brief description of the drying process and focuses on a convectional industrial drying process. The following section discusses the theory of an experiment planning followed by an experiment design of the compact tumble industrial dryer. The thesis also includes an exact description of the executed experiment, then outputs of the measurements and model characterizing the drying process of the tested dryer. The last part deals with the methodology and recommendations for the measurements in operating conditions.

This dissertation reframes the history eighteenth-century British art as a history of textiles. Women across England, Ireland, and Scotland grew, dressed, spun, and wove the hemp, flax, and wool textiles that were the basis for both the cultural implements and practical tools of empire: oil paintings on linen canvas and needlework of worsted thread hung in metropolitan exhibition spaces, while hemp rope, sail cloth, and coarse linen facilitated Britain’s global reach and transportation of commodities. Over the course of three chapters, “Rope,” “Linen,” and “Thread,” I demonstrate how ordinary textiles made and used by women were key tools for the funding, making, and aesthetics of art. In the first chapter, “Rope,” I trace the labor of female models in British drawing academies through their poses supported by rope, and consider historical encounters between rope and the female working body in carceral contexts. Following the entwined forms of life models and rope demonstrates just how entangled the spaces of punishment and the life studio were. The second chapter, “Linen,” is about the structure, materiality and hidden histories embedded in linen painting canvas. First, by comparing linen weaves, thread counts, stamps, and fiber content, I demonstrate the material connections between the world of coarse linen goods and the textile supports of oil paintings. I then argue that the texture of canvas was crucial to the “unfinished” aesthetic of portraiture that became fashionable in the late eighteenth century and attend to the racialized and gendered discourses intrinsic to this painting style. The last chapter, “Thread,” examines spinning and needlework as elite performances of female industry against the backdrop of mechanization, nascent labor movements, and imperial expansion. I contend that these conflicts played out in romanticized depictions of women spinning and the celebration of public exhibitions of worsted embroidery, namely Mary Linwood’s Gallery. While scholars from the fields of economic history, material culture, and art history have considered the topics of industrialization, labor, textiles, and art separately, this is the first study to bring them together as an intervention in eighteenth-century British art history. By rendering textile labor visible in eighteenth-century British art, I argue that manufacturing, imperialism and the visual arts were financially, materially, and ideologically enmeshed processes.

O enxoval é conhecido desde a antiguidade e tem passado por uma série de modificações, refletidas no tipo de tecido, confecção, design, moda e na participação do mercado. Estas mudanças também foram influenciadas pela mudança da posição da mulher na sociedade. A presente pesquisa objetivou em estudar o desenvolvimento do setor de cama, mesa e banho no Brasil, ocorrido de 1976 a 2017, em termos de aspectos de mercado, materiais e processos têxteis, design e moda. A metodologia consistiu em pesquisa das revistas Casa Vogue Brasil e Casa Cláudia de 1977 a 2017 para estudo e análise de materiais têxteis, designs e marcas do setor de cama, mesa e banho a partir das imagens e textos. Em adição, foi efetuada, em base dos principais relatórios relacionados à indústria têxtil e de confecção e demais literatura, pesquisa dos processos e maquinários para a produção de cama, mesa e banho e aspectos de mercado desse setor. Por fim, foram realizadas entrevistas com empresas do setor de cama, mesa e banho. Os materiais e designs têxteis clássicos são nítidos na preferência da apresentação de estilo. Em relação ao comércio, ocorreram grandes mudanças no mercado brasileiro dos anos 1976 aos 2017. No início desse período o destaque eram lojas de departamento e, com o passar dos anos, as empresas foram criando seu espaço com destaques nas marcas. As marcas com maior apresentação nas últimas duas décadas (anos 2000 e 2010) da revista Casa Vogue Brasil foram Trousseau, Trussardi e a loja de departamento de multimarcas Mundo do Enxoval (essas marcas tem o destaque para o público de maior poder aquisitivo no Brasil). Na revista Casa Cláudia, foram Buddemeyer, Trousseau e MMartan. Com o avanço tecnológico, tornou-se mais acessível a compra dos produtos de cama, mesa e banho industrializados e aumentou assim a exportação brasileira. As evoluções dos maquinários e todo o processo envolvido, auxiliaram à obtenção de produtos com valores mais acessíveis, melhor qualidade e padronagem dos produtos acabados. Constata-se que, o setor avança e se desenvolve constituindo um importante papel na produção têxtil. No entanto, os padrões clássicos predominam com destaque para a cor branca e o tecido de algodão nos produtos de cama, mesa e banho, sendo o bordado o ornamento de destaque do estilo desses produtos. A manutenção desses padrões por parte dos fabricantes brasileiros é interessante para manter vendas no mercado interno, mas um limitante para produtos de exportação destinados a públicos com valores e gostos estéticos distintos e com maior oferta de itens com variedade de designs de superfície / The trousseau has been known since antiquity and has undergone a series of modifications, reflected in the type of fabric, confection, design, fashion and market share. These changes were also influenced by the changing position of women in society. The present study aimed to study the development of the bed, table and bathroom sector in Brazil, from 1976 to 2017, in terms of market, materials and textile processes, design and fashion. The methodology consisted of a survey of Casa Vogue Brasil and Casa Claudia magazines from 1977 to 2017 for the study and analysis of textile materials, designs and brands in the bed, table and bathroom sector based on images and texts. In addition, on the basis of the main reports related to the textile and clothing industry and other literature, research was carried out on the processes and machinery for the production of bed, table and bath and market aspects of this sector. Finally, interviews were conducted with companies in the bed, table and bathroom sector. The classic textile materials and designs are crisp in style presentation preference. In terms of trade, there were major changes in the Brazilian market from 1976 to 2017. At the beginning of this period the highlights were department stores and, over the years, companies were creating their space with highlights in the brands. The most prominent brands in the last two decades (2000 and 2010) of Casa Vogue Brasil magazine were Trousseau, Trussardi and the multi-brand department store Mundo do Enxoval (these brands have the highlight for the most affluent public in Brazil). In the magazine House Claudia, were Buddemeyer, Trousseau and MMartan. With the technological advance, it became more accessible the purchase of products of bed, table and bath industrialized and thus increased the Brazilian export. The evolutions of the machinery and the whole process involved, helped to obtain products with more accessible values, better quality and standardization of the finished products. It is observed that, the sector advances and develops playing an important role in the textile production. However, classic patterns predominate with white and cotton in bed, table and bath products, with embroidery being the most outstanding ornament of the style of these products. The maintenance of these standards by the Brazilian manufacturers is interesting to maintain sales in the domestic market, but a limitation for export products destined to audiences with different values and aesthetic tastes and with a greater supply of items with a variety of surface designs

This research developed new creative opportunities for textile design by investigating CO2 laser processing technology to achieve surface design and three-dimensional effects. A practice based and interdisciplinary textile design methodology was employed, integrating scientific and technical approaches with a reflective craft practice. It was found that the synthesis of design and science was imperative to achieving the research goal of evolving techniques that have opened new design opportunities for textile design whilst being viable and communicable for industrial and commercial application. Four distinct Laser Textile Design techniques were developed in this research including: a laser enhanced dyeing technique for wool and wool blends; Peri-Dyeing, a laser dye fixation technique; a laser moulding technique; and a laser fading linen technique.

Les images textiles parsèment l’œuvre de Paul Muldoon (né en 1951), où les tissus recherchés comme le « dimity », le « buckram » et le « barège » côtoient des articles de linge tel que les nappes brodées à la main, les couvertures souillées, et les tuniques en lin. L’ampleur et la fréquence des images textiles au fil de l’oeuvre constituent un trope qui occupe une place privilégiée dans l’univers de Muldoon. Procédant d’une lecture « textile » de sa poésie, l’hypothèse est posée que l’œuvre de Muldoon s’inscrit dans une tradition où texte et textile sont étroitement liés. Elle remonte à l’Antiquité grecque en passant par Jonathan Swift, W. B. Yeats et les poètes irlandais de l’après-guerre. En outre, cette thèse démontre comment Muldoon intègre l’héritage économique, politique et culturel de l’industrie textile en Irlande du Nord dans la trame même de ses textes. / The Textile Poetics of Paul Muldoon (1951-) Paul Muldoon’s poetry has consistently made reference to textiles. Alongside descriptions of highly specialised fabrics such as dimity, buckram and barège, his work also features numerous textile images including hand-embroidered tablecloths, soiled blankets and linen shifts. Indeed, the detail and scope of Muldoon’s textile imagery suggests that the trope is central to his poetic. By examining the various ways he incorporates textiles into his poetry, this thesis posits the argument that Muldoon’s poetic is essentially a textile one. Moreover, by considering the relationship between texts and textiles, this thesis also aims to show how Muldoon’s textile poetic draws on a tradition extending from classical Greek poetry through to Jonathan Swift, W. B. Yeats and post-War Irish poetry. In addition it will also study how the economic, political and cultural legacy of Ireland’s textile industry is threaded through Muldoon’s work.

This dissertation deals with not fully explored area of daily life, a personal hygiene. The main period which this work dwells on is the turn of the 19th and 20th century but sometimes I need to go further to the past when the fundamentals of the personal hygiene were laid. The work tries to devone the conditions of the hygiene which were influenced by sociocultural as well as scientific and technical factors. It also studies the personal hygiene including care of body, hair, teeth, cosmetics and body scent alike. Among these topics belong linen and clothes. One of the highlighted aims is revealing the function of spas (especially modern balneology) and up-and-coming physical education and sport in the increasing standarts of the personal hygiene. The heuristic base is composed of contemporary specialized literature and press as well as memoirs and encyclopeadias.

O enxoval é conhecido desde a antiguidade e tem passado por uma série de modificações, refletidas no tipo de tecido, confecção, design, moda e na participação do mercado. Estas mudanças também foram influenciadas pela mudança da posição da mulher na sociedade. A presente pesquisa objetivou em estudar o desenvolvimento do setor de cama, mesa e banho no Brasil, ocorrido de 1976 a 2017, em termos de aspectos de mercado, materiais e processos têxteis, design e moda. A metodologia consistiu em pesquisa das revistas Casa Vogue Brasil e Casa Cláudia de 1977 a 2017 para estudo e análise de materiais têxteis, designs e marcas do setor de cama, mesa e banho a partir das imagens e textos. Em adição, foi efetuada, em base dos principais relatórios relacionados à indústria têxtil e de confecção e demais literatura, pesquisa dos processos e maquinários para a produção de cama, mesa e banho e aspectos de mercado desse setor. Por fim, foram realizadas entrevistas com empresas do setor de cama, mesa e banho. Os materiais e designs têxteis clássicos são nítidos na preferência da apresentação de estilo. Em relação ao comércio, ocorreram grandes mudanças no mercado brasileiro dos anos 1976 aos 2017. No início desse período o destaque eram lojas de departamento e, com o passar dos anos, as empresas foram criando seu espaço com destaques nas marcas. As marcas com maior apresentação nas últimas duas décadas (anos 2000 e 2010) da revista Casa Vogue Brasil foram Trousseau, Trussardi e a loja de departamento de multimarcas Mundo do Enxoval (essas marcas tem o destaque para o público de maior poder aquisitivo no Brasil). Na revista Casa Cláudia, foram Buddemeyer, Trousseau e MMartan. Com o avanço tecnológico, tornou-se mais acessível a compra dos produtos de cama, mesa e banho industrializados e aumentou assim a exportação brasileira. As evoluções dos maquinários e todo o processo envolvido, auxiliaram à obtenção de produtos com valores mais acessíveis, melhor qualidade e padronagem dos produtos acabados. Constata-se que, o setor avança e se desenvolve constituindo um importante papel na produção têxtil. No entanto, os padrões clássicos predominam com destaque para a cor branca e o tecido de algodão nos produtos de cama, mesa e banho, sendo o bordado o ornamento de destaque do estilo desses produtos. A manutenção desses padrões por parte dos fabricantes brasileiros é interessante para manter vendas no mercado interno, mas um limitante para produtos de exportação destinados a públicos com valores e gostos estéticos distintos e com maior oferta de itens com variedade de designs de superfície / The trousseau has been known since antiquity and has undergone a series of modifications, reflected in the type of fabric, confection, design, fashion and market share. These changes were also influenced by the changing position of women in society. The present study aimed to study the development of the bed, table and bathroom sector in Brazil, from 1976 to 2017, in terms of market, materials and textile processes, design and fashion. The methodology consisted of a survey of Casa Vogue Brasil and Casa Claudia magazines from 1977 to 2017 for the study and analysis of textile materials, designs and brands in the bed, table and bathroom sector based on images and texts. In addition, on the basis of the main reports related to the textile and clothing industry and other literature, research was carried out on the processes and machinery for the production of bed, table and bath and market aspects of this sector. Finally, interviews were conducted with companies in the bed, table and bathroom sector. The classic textile materials and designs are crisp in style presentation preference. In terms of trade, there were major changes in the Brazilian market from 1976 to 2017. At the beginning of this period the highlights were department stores and, over the years, companies were creating their space with highlights in the brands. The most prominent brands in the last two decades (2000 and 2010) of Casa Vogue Brasil magazine were Trousseau, Trussardi and the multi-brand department store Mundo do Enxoval (these brands have the highlight for the most affluent public in Brazil). In the magazine House Claudia, were Buddemeyer, Trousseau and MMartan. With the technological advance, it became more accessible the purchase of products of bed, table and bath industrialized and thus increased the Brazilian export. The evolutions of the machinery and the whole process involved, helped to obtain products with more accessible values, better quality and standardization of the finished products. It is observed that, the sector advances and develops playing an important role in the textile production. However, classic patterns predominate with white and cotton in bed, table and bath products, with embroidery being the most outstanding ornament of the style of these products. The maintenance of these standards by the Brazilian manufacturers is interesting to maintain sales in the domestic market, but a limitation for export products destined to audiences with different values and aesthetic tastes and with a greater supply of items with a variety of surface designs

Le conte Le Petit Prince, commence par « Lorsque j'avais six ans ». Ces mots sont précédés d'une image montrant l'enlacement d'un serpent boa autour d'une bête fauve. Or les premiers mots d'une oeuvre ainsi que l'illustration qui les précède en indiquent le déroulement et permet de prévoir la fin. Ces deux notations signalent que ce conte est l'histoire d'un enfant de six ans qui se pose deux questions clés: que signifient ces enlacements à la fois merveilleux et inquiétants dont il reproduit l'image et en quoi leur dynamique le concerne-t-il? Il pose ainsi la question « d'où je viens ? » suivi de son corollaire naturel « suis-je concerné par de telles pulsions ?». À travers la métaphore du Petit Prince, Saint-Exupéry prend appui sur sa propre expérience. Entre sa sixième et septième année il vécut un important traumatisme qui lui permit d'accéder seul, à la connaissance du sexuel existant entre les moutons et les fleurs, entre les hommes et les femmes, permettant à l'humanité de se perpétuer. L'universalité de la question des origines permet une traduction dans toutes les langues, sans que ce conte perde une once de sa pertinence. L'oeuvre Le Petit Prince s'inscrit dès lors et en quelque sorte comme une nouvelle écriture de la Genèse, mais d'une genèse dégagée de tout contexte religieux, en somme d'une genèse laïque donc totalement universelle. Cette Genèse « universelle » est à entendre au sens métonymique du terme. Genèse qu'Antoine de Saint-Exupéry déploie au pied de la lettre dans le Cosmos, inventant une cosmogonie pour tous les Petits Princes du Monde qui osent se demander, dans une profonde solitude, ce que ça fout ensemble ces drôles d'adultes… / Le Petit Prince story begins with “When I was six years old ”. These words follow a picture showing a boa constrictor winding round a wild beast. The first words of a work together with its accompanying decoration are an indicationof how the tale will unfold and also how it will probably end. Consequently, we may say that this tale is the story of a six years old child who asks himself two key questions: such intertwinements he visualizes, both marvelous and frightening,what do they mean and to what extent is he concerned with their dynamics? In short, he raises the query “Where am I coming from ?”, followed by the natural corollary “Do such drives apply to me ?”. Through the metaphor of Le Petit Prince, Saint-Exupéry makes use of his own experience. Between six and seven he suffered a serious traumatism which allowed the child he was then to understand by himself the sexuality between sheep and flowers, between men and women, that very sexuality which allows humanity to perpetuate. The universality of that issue concerning the origins of life has allowed translations of this book into all languages, without it losing an ounce of its relevance. In a way, Le Petit Prince story epresents a new writing of the Book of Genesis, but a genesis free from any reference to any religious background, in aword, a secular Genesis, thus totally universal. That “universal” Genesis is to be understood in the metonymical meaning of the word. Antoine de Saint-Exupéry unfurls literally that Genesis into the cosmos, making up a cosmogony available to all the Little Princes of the World who dare asking themselves, in their deep loneliness, what the hell these funny adults are doing together . . .

Scope of this thesis is the design and evaluation of a laundry processing facility. Main goal was to prepare, design and evaluate part of the technological layout for a modern, high-volume laundry processing facility. The focus was on the main apparatuses, main process flow, as well as the supporting process flow, related equipment and key components of field instrumentation with standard description. 3D facility model was prepared on the basis of proposed technological layout, using the SolidWorks software package. This model shows placement of all key equipment and components as well as physical disposition of connection tubing within the building. Final part of work reviews proposed options of process parameters measurement. Such measurements which are important for the evaluation of energy consumption of considered laundry processing. We discuss both pros and cons of evaluated and selected suitable measurement devices, tools and procedures. Constructed 3D model of piping lines shows placing and dimensions of selected measurement devices.

L’objectif de cette thèse a été d’étudier un traitement de surface innovant basé sur un contact avec un mélange réactionnel gazeux F2/O2. (oxyfluoration) déjà utilisé industriellement sur polymères mais sans application jusqu’à présent au niveau des fibres naturelles. Ces travaux se sont inscrits dans le cadre d’un projet collaboratif ayant pour objectif d’étudier et de développer les applications industrielles de ce traitement sur des fibres naturelles d’origines végétales (coton, lin) et animales (laine et soie). Le but a été d’intégrer principalement des fonctions oxygénées. La compréhension des mécanismes en jeu a été réalisé via la combinaison de plusieurs techniques d’analyse de surface, parmi lesquelles les techniques de microscopie (MEB, AFM) et les techniques spectroscopiques (XPS, ToF-SIMS). Grâce à la complémentarité de ces différentes techniques d’analyses il est apparu que le traitement d’oxyfluoration ne dégrade pas la surface et introduit en surface une quantité significative d’oxygène peu dépendante de la composition initiale du support mais avec des fonctions chimiques par contre variables selon la structure chimique initiale. Les résultats obtenus, notamment lors de tests de stabilité, ont montré que le fluor, également détecté en surface après le traitement, n’est pas réellement intégré dans la structure chimique des supports. La comparaison à des traitements plasmas a montré que le traitement présente moins de variabilité, ce qui a été confirmé en envisageant, via un plan d’expériences, l’ensemble des modifications possibles dans un contexte d’application industrielle. L’étude d’un transfert industriel a ensuite été mise en œuvre dans le cas du remplacement des traitements de préparation avant teinture du coton et l’efficacité a été testée en fonction des résultats des tests métiers. Le manque de variabilité du traitement n’a pas permis d’identifier de conditions suffisamment optimales pour proposer le remplacement des traitements actuels malgré les avantages d’un traitement en phase gazeuse et à pression atmosphérique / The objective of this thesis was to study a new surface treatment based on contact with a gaseous reaction mixture F2/O2. (oxyfluorination) already used industrially on polymers but not yet applied to natural fibres. This work was part of a collaborative project aimed at studying and developing the industrial applications of this treatment on natural fibres of vegetable (cotton, linen) and animal (wool and silk) origin. The aim was to integrate mainly oxygenated functions. The understanding of the mechanisms involved was achieved by combining several surface analysis techniques, including microscopy techniques (SEM, AFM) and spectroscopic techniques (XPS, ToF-SIMS). Thanks to the complementarity of these different analysis techniques, it appeared that the oxyfluorination treatment does not degrade the surface and introduces a significant quantity of oxygen on the surface, which is not very dependent on the initial composition of the support but with chemical functions that vary according to the initial chemical structure. The results obtained, particularly in stability tests, have shown that fluorine, also detected on the surface after treatment, is not really integrated into the chemical structure of the supports. The comparison with plasma treatments showed that the treatment has less variability, which was confirmed by considering, via a design of experiments, all the possible modifications in an industrial application context. The study of an industrial transfer was then implemented in the case of the replacement of preparation treatments before dyeing cotton and the effectiveness was tested according to the results of the business tests. The lack of treatment variability did not allow to identify sufficiently optimal conditions to propose the replacement of current treatments despite the advantages of gas phase and atmospheric pressure treatment