ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ UTILIZATION OF AESTHETICS VALUE OF TALLY WOVEN FABRIC STRUCTURES IN FASHION TRENDS Elsayed Elnashar1, Jakleen Boshra Yoakim2, & Masoud Fathy Abdelmaged Shoman2 1 Home Economics Dept., Faculty of Specific Education, Kafrelsheikh University, Egypt El-Geish Street, 33516 Kafrelsheikh City, Egypt. Cell Phone: (+2) (0106) 9288940, E-mail: Smartex@kfs.edu.eg, Dr_elnashar@hotmail.com 2 Atlas of Arts Folk, Ministry of Culture, Egypt E-mail: gakleenboshra@yahoo.com, E-mail: shomanfolk@yahoo.com Abstract: The present research depends on studying the characteristics of tally woven fabric structures in Egyptian folklore of arts in some governorates from the delta to upper in Egypt. [1] Each governorate has own characteristics, which reflect on clothes. Within the wrapping of tally woven fabric structures in Egyptian folklore of arts; in the color of the metal or yarns, tally woven fabric structures of folklore arts represent the challenge for designers to create women's fashion designs which emphasis on Egyptian identity [3].The present research aims to create collections for women which are inspired from the characteristics of Egyptian tally woven fabric structures in fashion trends; in outlines and decorated with the tally. The research shows that the historical study is useful to create fashion designs, which combines originality and contemporary. the characteristics of tally woven fabric structures in folklore of arts is a perfect way to create fashion designs for women, The results revealed that the designs achieved the highest evaluation level were designs of compatibility with the customs and traditions, keeps up with fashion trends, emphasizes the character of Egyptian woman and her feminine look, succeeded in combine silhouettes of tally woven fabric structures in fashion trends to added aesthetic values to the clothes design. Keywords: Egyptian Folklore of Arts, Tally, Woven Fabric. 1. INTRODUCTION Assiut governorate: It is one of the governorates of Egypt. It stretches for about 120 km along the banks of the Nile. The capital of the governorate is the city of Assiut [9]. Assiut is one of the oldest governorates of Egypt, and its importance is due to its middle position among other nomes of Pharaonic Egypt. Another reason is that it is the main centre for commercial caravans going to the oases in the western desert and the outskirts of Darb Al Arrbaien, (Forty-day-Route) to Darfour, Sudan. The governorate of Assiut has rich a fascinating mixture of multicultural heritage, dating back as early as the Pre historic era. Then the Pharaonic times, the Greek & Roman times, the Coptic time, and the Islamic time, up to the Modern times. That makes the visit to Egypt incomplete unless you visit to Assiut [2]. 1.1. Women's Traditional Clothes in Assuit Assuit is famous of a certain type of clothes called "Tally", which is made of tulle fabrics. "Tally" is accurate embroidery with metal threads silver or gold, its width does not exceed 3 mm on the fabric. The bride wears "tally" in wedding; it is sleeveless and doesn't reach to foot. "Tally" is one of the most important traditional crafts in the Upper Egypt; but this art is about the extinction in recent decades [8]. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 317 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Women's clothes in Assuit are characterized by simplicity and modesty, they consist of: 1) The robe: There are two kinds of it, the robe which is worn inside the home. It is made of cotton fabrics with bright colours and decorated with floral motifs. It characterized by long sleeves, rounded or squared neckline, waist line, pleats and flounces in the lower part. The robe which is worn outside the home is similar to the robe which is worn inside the home, but its colour is black. 2) "Talbisah": Previously, it was a wedding dress. After that women wear it in celebrations. It is made of mesh fabrics "tally" and it is decorated with metal pieces. 3) "Shaggah": Some women wear it to hide their body and face. It hides the whole body except the two eyes or one eye. It is made of black fabrics and differs according to the social and economic level of women [7]. Tally is the style of embroidery with thin metal strips on cotton, silk or net fabrics. Tally is named after the same metal strips that are used in the embroidery works, also the embroidery product is named after these strips, and the name is due to either a French net cloth called "tally" which is used in embroidery or to king "Attalus" from minor Asia who has invented the gold embroidery. The width of tally tapes does not exceed 3 mms, which are usually silver and sometimes gold. Most of these tapes are made of copper wires coated either nickel or silver, however there are other cheap metal or plastic tapes, and there are a lot of old things that are made of pure silver .The merchants handed and received the work to tally makers by weight, too. tally tapes were imported from some European countries, they differ among themselves, the red tally was imported from Germany on the other hand the yellow tally was imported from France, it was one of the finest imported species that is covered with silver or gold thick layer and it is famous for flexibility which help in embroidery, in addition to the strength of its sheen, as for the imported kind from Czechoslovakia it is wide but it is not used much. tally is filled by a special metal 4 cm needle, flatbed, sharpened from a side and the other side has two holes that the handicrafts made sometimes women make their own needles by bringing an iron screw, knock on it, make a hole and cool it to give her the desired shape .In the past the needle was sometimes made of gold or silver, it was made by the goldsmith. 1.2. Tully History In the nineteenth century, tally industry has flourished among the inhabitants of Assiut to the point where it was not to be produced by house of houses. It was used to decorate the different villagers cloths and foreigners stopping by them where Assiut was one of the anchore stations of cruises in the Nile. Perhaps this explains the openness on foreign models some items in the status of folk arts studying center that is famous for European style. A lot of them are without strapless and sleeves, cuts suits for waltz and it is not traditional at all. At the beginning of the twentieth century, tally was widespread in aristocracy clothing as evening gowns. In spite of entering models and foreign cuts on tally products, it kept the inherited traditional Motifs. The art of tally was not an art that was made by villagers because of their own usage or distributing it through direct contact with only rich families, but it was subjected to dealers control of raw materials, which was distributed on workers and then to collect and sell products themselves and there are still some traders who monopolize the sale and control the prices as the following in figure1 [6, 10]. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 318 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Figure 1. Model is characterized by style Europeanisation After World War II, tally usage has receded for various reasons, the most famous reason was "Al-Ghwazy" or "Dancers" started using it in dancing ccostumes and they wandered on villages and cafes. Therefore, men prevent their wives from filled tally and wearing it. In addition to the spread of European taste family's demands on tally were reduced. Tally usage has receded for other reason is non-availability of raw materials due to World War and the difficulty of importing and high cost. One of the old merchants added another reason for the receding of tally craft is the appearance of carpet industry activity in Assiut which captivated the girls because of remuneratives. The art of tally confined to older women, at the end of the twentieth century, especially in the nineties, a sudden interest of this craft appeared again thanks to two individual incidents, the first was in sohag when an Egyptian researcher prepared a study for developing of this art, it caused recovering interest in this art in the villages of sohag in Assiut. The other incident when an English tourist visited fine artist, with a picture of a piece of tally at a museum in England and wanted to make pieces like it, thus began the search for the elderly women , who still remember that art [6]. 1.3. Inherited Folk Tully Motifs Motifs is a very important cultural and popular element which expresses the unique nature of the artist's and is used to show one of the elements that make up a folk subject. In order to make a traditional motiva item, it should not be specified with a transient design but it should have people acceptance and approbation to be kept in their memory and to make sure repeating it over and over, thus it is part of the tradition and represents the people's feelings and inherited through generations. The inherited motifs in the art tally are so many and most of them are taken from the worker's surrounding environment. Nature is her main inspiration. Hence the view of hills, water and plants inspire her, but there motifs linking the elements of the natural environment, and some of the fantasies and popular beliefs as envy the triangle which represents the mountains adjacent to the area, the creator of tally in the form of the ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 319 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ veil, which protects against envy and risks and add decorations around the opening of the neck, which is similar to the necklace and ending knot pendant dangling including certain large format designated by tally artists call veil as the following in figure 2. Figure 2. A: Decorations Mvlma longitudinally; B: Veil Triangle; C: Meandering line (Zigzag) and D: Necklace veil The winding line (Zigzag), which consists of several lines emerging downward symbolizes to the water of the Nile, which runs around them. as well as striped decorations lengthwise five pens, there are three in the front and two on sides view on the dress, the number five has magical significance, people take it as preventive way saying "five and fifth in the eye of the enemy" [6, 10]. The artist is inspired by folk motifs when she encountered a new topic that affects her and has not been discussed before. For example, when the electricity entered villages cultural and social shake occurred affected the folk artist and she expressed it by adding a certain motifah in the art tally called "fugitive" (symbolizing the light column) and this was accepted and the form has settled and became stereotype for Tally workers. Changes and innovations are featured but it needs a period of repetition and deliberation to settle in the conscience of the group and not individual, but it is repeated in many businesses and they are not the property of one person but to the entire group [4, 5]. Tarha or the veil is one of the most important components of a bride's thing in Assiut and Sohag. Every mother and girl are keen on embroidering the veil from the beginning-and this Tarha is as a film tape which tells the story of this happy occasion that every mother and a girl dream about . It refers to the journey of the bride from her parents' house to you reach her groom house in another village. Tarha should be divided into several horizontal lines from the bottom to the top. Each line draws a repeated shape that has something to do with this occasion. The artist begins to work on filling Tarha with amulets (triangles) to protect her daughter from envy. In the second line she draws a number of brides represent the bride and her friend around her. In the next line, she draws camel the bride and her family way of transportation to the groom's house. Then it is followed by other lines. During the journey, she passes on farms that have wheat spikes evidence on the expected goodness, then Corn stover the evidence on the diversity of agricultural land, then graphics as trees and palms to give a sense of the long distance between the houses of the bride and groom's. Then jugs of water indicate the caravan's drink when thirsty. Then a row of the spread stars in the sky during the night guarding the caravan as evidence on passage of the entire day. Then a mosque symbolizes arriving to the groom's village and passing by the Mosque of the village. Then house shape as a sign of the arrival of the caravan to the groom's house (the marital home). Sometimes It adds a ladder to show that the two-floors house and some graphics permeates this collection, such as the bride Flaiah (comb) and a headscarf. These Shapes could be bigger or smaller or recoordinate "motifs" to create a new formation that combines over the new job and aesthetics as in figure 3 . In the eighteenth century, tally was embroidered on silk or cotton fabrics with thin metal lines, but the work piece on silk or cotton was so difficult in embroidery so the embroidered areas were so limited. Between the mid-nineteenth century and the first quarter of the twentieth century appeared net cloths ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 320 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ (tally); at the beginning of the mechanization of the textile industry in Egypt the tally textile was made on cotton became the raw material in the art of tally. Tally consists of 100% cotton lines, whether were single or folded. Generally speaking, most of the times it is folded. The degree of intensity is varied depending on the thickness of woven required and the width of its spaces. It could start with 20/2, 30/2 and it could be 40/2 in thin fabrics with big spaces and soft textures. It could be 16/2 or 14/2 in the case of narrow spaces woven and thick textures. This type of woven is not preferred for embroidered workers, because of its narrow spaces gentle, soft textures and colouring cotton tally woven, the prevailing color is black, sometimes there is white ,blue, brown, dark blue or red. Tally consists of 100% cotton lines, whether were single or folded. Generally speaking, most of the times it is folded. The degree of intensity is varied depending on the thickness of woven required and the width of its spaces. It could start with 20/2, 30/2 and it could be 40/2 in thin fabrics with big spaces and soft textures. It could be 16/2 or 14/2 in the case ofnarrow spaces woven and thick textures. This type of woven is not preferred for embroidered workers, because of its narrow spaces gentle, soft textures and colouring cotton tally woven, the prevailing color is black, sometimes there is white, blue, brown, dark blue or red. Figure 3. Tally Motifs of Egypt [10] 2. MATERIALS AND METHOD In this paper we used the different silhouettes of traditional robes from different governorates in Egyptian clothes motifs as a source of inspiration to create fashionable designs for women. Models were drawn for the age group (18-35 years old). Models poses have been matched to the designs, which reveal the shape and style of the designs and enhance the dramatic effect desired by the designer. Ideas are sketched out in rough sketches, the sketches are then reworked and redrawn, starting with a really quick pencil drawing and then being revised and redrawn into a full-colour sketch that has all, or most, of the final design elements incorporated into the drawing. Felt-tip marker pens are used to colour design sketches. Markers used to produce an instant wash across a wide range of colours. Available in a wide variety of nibs, felt-tips are well suited to more vigorous, expressive drawing with a sketch-like quality. Watercolour pencils are used to drop shadows and apply specific details and fabric renderings to designs. First fabric: The tally fabric consists of; its natural color is dark white or black, which is often used in the tally industry, strings and their opening squares, such as mosquito net cloth that is made of a cotton at a factory in Cairo called (lonotex), in Al-Azhar Street in bales, the average of fabric's length is about 45 to 50 meters and its width is always 90 cm besides satin and chiffon cloth is used with tally. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 321 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Second string: It is flat metallic strings like a bar which is made of an alloy that makes it thin, do not rust, never burn and it is silver. In the past it was made of gold or silver. Syria was The source of these strings and the width of the tape was almost about 1.25 mm wraps on rollers made of wood and the type of strings that is used currently is manufactured in France, its tape width is only about 1 mm and it is coiled on black plastic roller inside silver covers made of paper. Third needles: The tally's needle is one of the necessary raw materials required for this craft and with a different format from known sewing needles, its length is about 3 cm and it has a pointed tip, the base tip is somewhat wide where it enters into the cloth slots and it has two holes to allow the floss enter tightly. The needlework is handmade from copper chips, in the past it was made automatically. The modes of tally stitches: to join the needles: stabilize the metallic strings with my eyes where you don't leave the needle while working. Fabric direction: the fabric is directed longitudinally where the fabric's side is on right and left. Hands position: the left hand is under the fabric specifically under the place of the stitches the Index finger is under stitches and the needle is in the right hand on the fabric. The steps of tulle stitches: Enter the thread under the string square stitch where you want to work with a pull string, even before the end by almost 2 mm. Bend this tip to cleave with the box. Insert the needle with the string down from the head of the two squares on the right hand of the stitch and then entirely pull the string until its end. - Insert the needle with the string down from the head of the two squares on the left hand of the stitch and then pull the string a little bit until we have a round buttonhole above the stitch which allows the needle to pass through. - Enter the needle with the string from this buttonhole and pull the string completely till its end to close the buttonhole above the string tightly. - Bend the end of the string on the stitch and squeeze with the thumb over the stitch and index finger from underneath and then try to cut the string at the end of the stitch by repeated bending right and left until cutting off the string without impurities, with this we finish making one stitch, we should take in consideration making the string straight in all phases of the work. 3. RESULTS AND DISCUSSIONS The old traditional motifs were used in some models such as bride, camel, palm and amulet; these graphics are distributed on tally to tell us about the journey of the bride from her home to her marital home. The primary function of both clothing and tally has always been to provide the body with shelter and protection. In recent years fashion designers and architects have begun to reinvent this fundamental aspect of their practice to reflect changes in our environment and our society. Żashion designers are reassessing clothing‟s potential to address the needs of the modern „urban nomad‟, using high performance fabrics, and incorporating ideas of protection, mobility and identity. At the same time, tally are questioning the role of traditional structures, using new materials and techniques to create more versatile, adaptable and ecological structures that can respond to humanitarian need. Fashion design art is a mirror reflecting the true social, economic, political and religious conditions through the ages and times. It is the most important arts of civilization; it presents many aspects of the cultures of the past, present and future. It shows the characteristics of the communities through the centuries. Clothes are not ways to cover the body or to save it from the weather or the desire of adorn, but that the clothes have roots in the culture and civilization of every nation and other affairs. For centuries fashion has been identified as reflecting changing cultural trends. Historical study is useful to make specific comparisons ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 322 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ between certain aspects of dress that have changed and those that have stayed remained relatively the same. It is important to remember that contemporary fashions bear obvious and subtle links to fashions throughout the ages. Geometry forms and motifs used: The use of geometry to generate form is a strategy shared by both architects and fashion designers. Simple forms such as circles, squares, and ellipses as well as more complex forms such as the torus and the Mobius strip, with its convoluted twist and continuous form, are used in both disciplines. In architecture, geometry is often used to create complex interior spaces or shape the overall physical form of the building, while in fashion design, once a garment is draped on a body, its shape is transformed and the geometry that generated it often becomes invisible [11]. The old traditional motifs were used in some models such as bride, camel, palm and amulet; these graphics are distributed on tally to tell us about the journey of the bride from her home to her marital home. Design 1: In both fashion and tally designers have recently begun to develop structural skins that bring the surface and the structure of a design or the „skin and the bones‟ together so they become one and the same thing. Structure and façade become joined in a single surface. The design is characterized by contrast between a plain dress and a striped tunic, the two scarab buttons added aesthetic values to the design. This model was carried out with black Tally cloth, the strings used were in silver and the decorative unity in this model was inspired by nature, as the view of the hills and water and these motifs are connected to the elements of the environment nature, some of the fantasies and folk beliefs such as the triangle which represents the adjacent mountains is made in the form of the hijab, which protects from envy and risks. Figure 4. Design 1 Design 2: This model was carried out with black tally cloth, the strings used were in silver with red color cloth and engineering units were used as motifs in this model. Both fashion design and tally deal with creating space and volume out of flat, two-dimensional materials, albeit on different scales. Increasingly, with the aid of new technologies and materials, each has been able to develop shared techniques that provide texture, form and volume in new and intriguing ways, often introducing shapes and silhouettes that confound conventional ideas of proportion and form. There is a balance between striped and white areas, while the winged scarab is used to define the chest. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 323 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Figure 5. Design 2 Design 3: While fashion‟s use of deconstruction is not as theoretically influenced as that of tally, its appearance in the early 1980s runway shows of discussions about it in the tally źgypt. Both disciplines, however, used deconstruction to challenge ideas of „form', 'function‟ and „beauty‟, and opened up new ways of thinking about tally and fashion. Beige tally cloth which is silver- embroidered, motifs used for the bride and wheat spikes were used, refer to the expected good and it was used with white cloth. It is characterized by contrast between plain and striped velvet. Emphasis is achieved by using printed motifs in a big size around the neck line and repeating the printed snake motif in a row on the belt. Figure 6. Design 3 ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 324 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Design 4: Both fashion design and Egyptian tally have long been used to express ideas of personal, social and cultural identity. However, in recent years practitioners in both disciplines have moved beyond the idea of merely signifying value, ancient status Egypt and belonging, to express more complex and provocative issues surrounding notions of identity. This model was carried out with red tally cloth and the silver strings and motifs were used for the camel which refers to the journey undertaken by the bride from her home to the house of her husband and tally was used with silver cloth. The design characterized by contrast between red motifs and red fabrics, which reduce its severity by brown colour. Figure 7. Design 4 Design 5: Increasingly, fashion designers and architects are sharing techniques of construction. tally are looking to fashion and the techniques of dressmaking, such as pleating and draping to achieve more fluid and complex forms out of hard materials, while fashion designers are employing engineering methods such as cantilever and suspension to create elaborate and often tally garments using fabric. Much of this transmutation of techniques has been made possible as a direct result of developments in materials technology and design software, which has allowed for significant advances in both disciplines. This model was carried out with black Tally cloth, the strings used were in silver and the decorative unity in this model was inspired by nature that was water which represents the river Nile. Quiet rhythm, which resulted from regular repetition of decorative motifs in horizontal lines, and emphasis is achieved by using the motifs of snake and scarab in red colour on the chest. Design 6: Tally have utilised advances in materials technology and digital technology to reinvent what the skin of a building can look like and how it behaves, often blurring the distinction between front, back and side facades, and also the roof. Similarly, fashion designers have pushed the idea of how clothing can wrap the contours of the body, investigating distortion to challenge the prevailing silhouette. Is an ensemble consists of a mini-length dress which has a rounded neckline, bust dart, a flounce. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 325 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Figure 8. Design 5 Figure 9. Design 6 Design 7: Żashion designers have long used the traditional dressmaker‟s technique of pleating to create unusual surfaces and to amplify volume. More recently fashion designers have broken new ground by introducing industrial pleating techniques. The sculptural forms and surface manipulation of these pleated garments have also provided inspiration to a number of tally. This model was carried out with red tally cloth and the silver strings and it was a shawl on red model of the unit is used decorative were wheat spikes which refer to good. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 326 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ Figure 10. Design 7 Design 8: Tally have translated the drapery folds of fashion and textiles into both fluid and rigid building skins, often taking a hard material such as metal and distorting and manipulating it into gentle curtain-like folds. Similarly, fashion designers have utilised the soft technique of modelling, dressmaking on a mannequin form. Figure 11. Design 8 ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 327 ARTTE Applied Researches in Technics, Technologies and Education Journal of the Faculty of Technics and Technologies, Trakia University https://sites.google.com/a/trakia-uni.bg/artte/ 5. CONCLUSION The textile technique of weaving has been adopted by architecture to connect the spatial volumes of buildings, create complex interlaced interior spaces, and craft unconventional surfaces. Fashion designers are responding by using weave in increasingly architectonic ways, lacing, knitting and plaiting warp and weft together in unorthodox combinations. "The body is a perfect small-scale exercise in spatial design, a testing ground for ideas and techniques to apply to buildings, and drawing on craft and technology. Based on the discussion, the following conclusion can be drawn: Historical study is useful to create fashion designs, which combines originality and contemporary. Studying the characteristics of women's traditional motifs of Egypt is a perfect way to create fashion designs for women, which reflect the Egyptian identity. Designs which achieved the highest values in the evaluation in terms of compatibility with the customs and traditions, keeps up with fashion trends, emphasizes the character of Egyptian woman and her feminine look, succeeded in combine silhouettes of women traditional robes in Egypt and the aesthetics of motifs, added aesthetic values to the design and it is suitable for women. 6. REFERENCES [1] Aldred C. (1994). Egyptian art in the days of the pharaohs 3100-32o BC. Published by Thames and Hudson Ltd, London reprinted. [2] Egypt Microenterprise Finance, Microfinance Programs Map, Chemonics International Inc.2008. Available on website: http://www.assiut.gov.eg. [3] Elnashar Elsayed A. (2000). Design of database for forecasting the specification of woven fabric design for ladies dresses. PhD Thesis. University of Helwan, Cairo, Egypt. [4] Elnashar Elsayed A., Arafa A. Nasef, Elsayed M. Saleem & Yan Liu. (2010). A Unified Stretch Theory of Ancient Clothes on Some Basic Knowledge for Fashion Dresses Design. 5th International Textile, Clothing & Design Conference - Magic World of Textiles, October 03rd to 06th 2010, Dubrovnik, Croatia. [5] ElNashar ElSayed A., Victor Kuzmichev & N.A.Sakharova. (2011). Fitting stretch model of three-dimensional for simulating apparel surface. 1st Smartex-Egypt 2011 World Textiles conference, November,22nd–24th 2011, Kafrelsheikh university, Egypt. [6] https://www.kickstarter.com/projects/davina-dawn-devine/the-cloth-of-egypt-all-aboutassiut-history-and-di (Retrieved at January 2014). [7] Nasr, Th. (1998). History of People's Fashion. World Books Publisher. p: 65-72, 52, 477, 76-77, 89-104. [8] The Role of Assiut throughout Egypt History. Available on website: www.assiut.gov.eg/englishsite/Tourist%20Sector.htm (Retrieved at April 2014). [9] Vale M. M. (2011). Sand and Silver: Jewellery, Costume, and Life in the Oasis of Siwa, Kelim Press Publisher, 2011. p: 61-83. [10] www.pinterest.com/mahashawky56/assiut-tally-design (Retrieved at November 2013). [11] Yan Liu And Zhao-Feng Geng. (2003). Three-dimensional Garment Computer Aided Intelligent Design. Journal of Industrial Textiles, July 2003 vol. 33 no. 1 43-54. ARTTE Vol. 2, No. 4, 2014 ISSN 1314-8788 (print), ISSN 1314-8796 (online) 328