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    <loc>https://hstwodah.com/new-cover-page-1</loc>
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    <lastmod>2023-06-06</lastmod>
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      <image:title>hawa stwodah</image:title>
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  <url>
    <loc>https://hstwodah.com/landing</loc>
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    <lastmod>2023-01-03</lastmod>
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  <url>
    <loc>https://hstwodah.com/about</loc>
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    <lastmod>2023-06-06</lastmod>
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      <image:title>about - hawa stwodah</image:title>
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  <url>
    <loc>https://hstwodah.com/research</loc>
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    <lastmod>2023-01-04</lastmod>
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      <image:title>research - Make it stand out</image:title>
      <image:caption>Conversations with Dr. Gönül Paksoy: An Insight into her Design Ethos Quite often the most powerful feature of dress or fashion is the information it conveys about the individual or group wearing the clothing. Fadwa El Guindi, states “dress is a code of communication and a marker of a number of social domains -- individual and group identity, social status, economic position, political power, gender, and religious role.” (Veil- Modesty, Privacy and Resistance,1999, pg 66.) Business strategies, brand identity, design philosophy, trend research, demographic information and other factors that the fashion designer creating apparel must consider are also wrapped up in the message of the garment. The influence of a fashion designer who can identify and transmit this amount of information in garments is enormous and yet there are designers that go beyond, giving additional layers of “material” in the items they produce. Dr. Gönül Paksoy is one of these individuals. This paper aims to show how she relays and weaves historical awareness, artisanal appreciation, and gastronomic elements into her collection and her approach to the business of design. Dr. Paksoy is a Turkish designer, artist, chemist, and author who combines distinguishing signifiers into the pieces she handcrafts and heavily incorporates cultural heritage into the garments. Dr. Paksoy doesn’t follow seasonal timelines and doesn’t market or promote herself globally. She doesn’t sell through third parties and only shows her collections in select exhibitions. In 2015, an in-person interview was conducted at her Nisantası boutique in Istanbul. With established primary and secondary research on Dr. Paksoy, this paper proposes to continue the investigation. Another aspect to be examined is her business strategy and whether this method is adopted or applied by other fashion designers. A questionnaire will be developed and a series of interviews are scheduled to gather quantitative data and discuss new artistic endeavors and future goals.</image:caption>
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      <image:title>research - Electrospinning- 2D/3D shapes      *collaboration with Dr. C. Tang</image:title>
      <image:caption>Electrospinning is a simple and versatile method for producing nanofibers and microfibers from a variety of functional materials with potential applications in filtration, tissue engineering, drug delivery, electronics, etc. [1–3]. Products incorporating nanofibers such as filters and battery separators have been commercialized [1]. To electrospin fibers, a voltage is applied to a capillary containing a polymer solution or melt. This research demonstrates the ability to simultaneously pattern fibers and fabricate functional 2D and 3D shapes (e.g letters, mask like structures with nose bridges and ear loops, aprons, hoods) using a single step electrospinning process. Using 2D and 3D mesh templates, electrospun fibers were preferentially attracted to the metal protrusions relative to the voids so that the pattern of the electrospun mat mimicked the woven mesh macroscopically.</image:caption>
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      <image:title>research - Make it stand out</image:title>
      <image:caption>Diaspora Design Spaces + Places: (Re)interpreting the Sartorial Self. Defined as a continuous area or expanse which is free, available, or unoccupied, space is integral to a specific group’s aesthetic, decision making, and creative habits. The tangible encounter with place often connects a populace to the cultural experience of space. As such, space and place are essential in the investigation and understanding of a specified group’s aesthetic, decision making, and creative habits. This paper examines the design spaces of refugee/ immigrant/displaced designers living in the Global North. Notions of identity and apparel are considered within a framework of authenticity, adaptation and speculation as expressed by a designer educated, living and working in a different land than the home country in which they were born and feel connected. It proposes the refugee/ immigrant/displaced designer goes through phases or stages regarding their design persona. A select panel will be interviewed to gain insight on their experiences and journey. The questions posed will help to establish a linear timeline of the impact of the designer’s evolving navigation of space and place, what the evolution of process looks like, and when ideologies shift and settle.</image:caption>
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      <image:title>research - ADORNMENT AND MODESTY: A Symbiotic Relationship between Surface Design and Social Behavior</image:title>
      <image:caption>This catalyst for this exhibition- Qatar, 2016 - was a multi-layered approach to social order and identity. The modesty movement and adornment through surface design encompass one strand while the artisan and the designer is in another ply. Each of these components was investigated and researched independently, then addressed as a group- weaving together the connections, interactions and effects they have on one another.  The paradoxical notion of adornment and embellishment on apparel for individuals involved in the modesty movement will be explored. Additionally, the various definitions and interpretations of the artisan and designer relationship will be reviewed. The intent of exhibition and supporting document was to introduce and define the key elements and layout a plan of implementation, chronicle the progress of the experimentations and describe the outcome of the thesis.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e49368b6b7d5e51d430333a/1672839407812-1ZLK3M5H76M9142DWCUQ/small%252Bbranch.jpg</image:loc>
      <image:title>research - COVERING: Layered Light, Texture and Motion</image:title>
      <image:caption>The series is comprised of components which explore the use of light, texture and movement in surface design. Each subject matter integrates the idea of covering and seclusion with interaction and engagement. The space itself, the innermost sanctum of the building, was selected because of its location and sense of privacy, yet it has multiple entryways for easy access. The pieces reference separation: separation of materials, separating spaces, separation of the digital from the analogue and separation of control of what is seen and perceived. The group also invites participation. Sensors must be triggered by the viewer to activate the microcontrollers and digital devices.  The notion of visibility is explored through covering. What is hidden? What is revealed?  What is observed?  Non-traditional materials contrast with quintessential patterns used for centuries by handicraft artisans. Spirals, whorls, and concentric circles intermingle with chevrons and diamond patterns, adorn the surfaces of acrylic, silk georgette and muslin. Sensors and actuators control light and movement while screens distance the viewer form the object, obscuring vision and clarity.  Decorative elements traditionally used on apparel and textile art, applied by a craftsman or artisan, are reconsidered and produced using unconventional methods. Signifying motifs drawn from historical references and material culture are juxtaposed with light and movement to govern the viewer’s gaze and prompt recognition. The electronics and hardware are incorporated as design details and ornamental features. Maintaining the human element of the artisan in the work was a key consideration; exposed wires and obvious soldering allude to the thread stitches and knots which are typical in textile art. Apparent idiosyncrasies retain the “hand” of the craftsman and create a singularity to the designs.</image:caption>
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      <image:title>research</image:title>
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      <image:title>research</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e49368b6b7d5e51d430333a/1672838997794-ND8IY4965LGG6VXJYS4T/small+branch+18.png</image:loc>
      <image:title>research</image:title>
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      <image:title>research</image:title>
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      <image:title>research</image:title>
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      <image:title>research - Make it stand out</image:title>
      <image:caption>Choosing to Veil: Perspectives of Veiling in America Much has been written about Islamic dress and about female Muslim converts who choose to cover. Far less has been explored about women who are born and/or raised Muslim in Europe and America, who wear western dress, assimilate into the culture and who then, willingly don the veil. Many of these women elect to adopt the iconic head covering at various points in their life, not necessarily upon puberty, as is common in Muslim countries or conservative households in the West. Often the women grew up in families or areas where Islam was not practiced rigorously or decided to adopt western attire as a device for blending in. Recent expansion in the availability and heightened media coverage of fashionable modest dress has undeniably made wearing demure dress more attractive and accessible worldwide. Clothing retailers in the west (Europe and America) have recognized this growing trend and are accommodating customers who prefer a modest or conservative clothing aesthetic. This allows Muslim women options that suit their religious choices while expressing their personal and distinctive style. It also normalizes conservative dress as Muslims and non-Muslims alike shop in the same purveyors and often wear the same clothes, albeit without the addition of a headscarf. This paper presents a study on these women and explores their various reasons for choosing to adopt dress that is somewhat controversial in this highly charged political atmosphere. It will investigate the relationship between faith and fashion and personal choice. One of the questions that will be looked into is: how have these women addressed the transition from being uncovered to covered, going from traditional western apparel to more specific Muslim dress (i.e. the headscarf or hijab)? Additionally, this paper will chronicle the women’s experiences when they chose to visibly declare their identity and faith by adopting a more modest style of clothing and wearing a headscarf.</image:caption>
    </image:image>
  </url>
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    <lastmod>2023-01-04</lastmod>
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      <image:title>illustrations - Central Virginia Bridal Guide 1998-1999</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e49368b6b7d5e51d430333a/1672797946328-5QU4EXS9X1O53K7J0S6X/Central+Virginia+.jpeg</image:loc>
      <image:title>illustrations - Central Virginia Bridal Guide- pg 3</image:title>
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      <image:title>illustrations - Style Weekly, September 18, 2001</image:title>
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      <image:title>illustrations - Farmville Herald</image:title>
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      <image:title>illustrations - Style Weekly, 2001 Special Advertising Section</image:title>
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      <image:title>illustrations - The Daily Progress Feb 2, 2003</image:title>
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      <image:title>illustrations - woman in veil</image:title>
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      <image:title>illustrations - profile with tulle hat</image:title>
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      <image:title>illustrations - profile with straw hat</image:title>
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      <image:title>illustrations - profile with glove</image:title>
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      <image:title>illustrations - woman on red background</image:title>
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      <image:title>illustrations - Fashionomics</image:title>
      <image:caption>Fashionomics gives students a fundamental understanding of economic principles and their direct application to the rational and decision-making of the fashion industry. From the Industrial Revolution to contemporary trends in textiles and fashion, this text explores business and economic theories through real-world, up-to-date examples applied to the fashion industry.</image:caption>
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