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d e b o r a h y o u n g<br />
s w a t c h<br />
r e f e r e n c e g u i d e<br />
for<br />
f a s h i o n f a b r i c s<br />
s e c o n d e d i t i o n
Swatch Reference Guide for Fashion Fabrics<br />
Second Edition
Swatch Reference Guide for Fashion Fabrics<br />
Second Edition<br />
D E B O R A H Y O U N G<br />
T H E F A S H I O N I N S T I T U T E O F D E S I G N & M E R C H A N D I S I N G<br />
F A I R C H I L D B O O K S<br />
New York
<strong>Fairchild</strong> <strong>Books</strong><br />
An imprint of Bloomsbury Publishing Inc<br />
175 Fifth Avenue 50 Bedford Square<br />
New York London<br />
NY 10010 WC1B 3DP<br />
USA UK<br />
www.fairchildbooks.com<br />
First edition published 2011<br />
This edition published 2012<br />
© Bloomsbury Publishing Inc, 2012<br />
All rights reserved. No part of this publication may be reproduced or<br />
transmitted in any form or by any means, electronic or mechanical, including<br />
photocopying, recording, or any information storage or retrieval system,<br />
without prior permission in writing from the publishers.<br />
No responsibility for loss caused to any individual or organization acting on<br />
or refraining from action as a result of the material in this publication can be<br />
accepted by Bloomsbury Publishing Inc or the author.<br />
Library of Congress Cataloging-in-Publication Data<br />
A catalog record for this book is available from the Library of Congress<br />
2012945491<br />
ISBN: 978-1-60901-550-3<br />
Typeset by <strong>Fairchild</strong> <strong>Books</strong><br />
Cover Design by Sarah Silberg<br />
Printed and bound in the United States of America
Contents<br />
Preface xv<br />
How to Use the Swatch Reference Guide xvii<br />
Acknowledgments xix<br />
Chapter 1 The Textile Cycle: From Fiber to Fashion 1<br />
Chapter 2 Fiber Classification: Natural Fibers 9<br />
Chapter 3 Fiber Classification: Manufactured Fibers 17<br />
Chapter 4 Fiber Classification: Synthetic Fibers 23<br />
Chapter 5 Yarn Classification 31<br />
Chapter 6 Plain Weaves 37<br />
Chapter 7 Plain-Weave Variations: Basket and Rib Weaves 43<br />
Chapter 8 Twill Weaves 49<br />
Chapter 9 Satin Weaves 55<br />
Chapter 10 Complex Weaves 63<br />
Chapter 11 Pile Weaves 71<br />
Chapter 12 Knit Fabrics 77<br />
Chapter 13 Specialty Weft Knits 87<br />
Chapter 14 Warp Knits 95<br />
Chapter 15 Minor Fabrications 101<br />
Chapter 16 Dyed and Printed Fabrics 109<br />
Chapter 17 Fabrics Defined by Finishes 117<br />
Quick Reference Guide Tables<br />
Swatch Boards<br />
v
Extended Contents<br />
Preface xv<br />
The Objectives of the Text xvi<br />
The Study of Textiles xvi<br />
The Organization of the Text xvi<br />
How to Use the Swatch Reference Guide xvii<br />
The Objectives of the Fabrics xvii<br />
Building the Swatch Reference Guide xvii<br />
Instructions xvii<br />
Pick Glass xviii<br />
Swatch Boards xviii<br />
Quick Reference Guide Tables xviii<br />
Acknowledgments xix<br />
Chapter 1 The Textile Cycle: From Fiber to Fashion 1<br />
The Process: Start to Finish 1<br />
In Pursuit of the Perfect Textile 2<br />
Basic Definitions 3<br />
Table 1.1 Basic Textile Definitions 3<br />
The Physical Textile Cycle 3<br />
Swatches 1–4 4<br />
The Language of Textiles 4<br />
Textile Performance Concepts and Properties 4<br />
Activity 1.1 Research Project: New Textiles 7<br />
Chapter 2 Fiber Classification: Natural Fibers 9<br />
Overview: Natural and Manufactured Fibers 9<br />
Cellulose Fibers 9<br />
Swatches 4–10 9<br />
Protein Fibers: Wool and Silk 9<br />
Swatches 11–17 9<br />
Table 2.1 Properties Common to All Cellulose Fibers:<br />
Cotton, Linen, Ramie, Hemp 11<br />
Table 2.2 Quick Reference for Individual Cellulose<br />
Properties 12<br />
Table 2.3 Minor Hair Fibers 13<br />
Table 2.4 Properties Common to All Protein<br />
Fibers 13<br />
Table 2.5 Properties of Individual Protein Fibers 14<br />
Table 2.6 Comparison of Protein Fiber Properties 14<br />
Activity 2.1 Swatch Page: Cotton 15<br />
vii<br />
Chapter 3 Fiber Classification: Manufactured<br />
Fibers 17<br />
Manufactured Cellulose 17<br />
Swatches 18–24 17<br />
Manufactured Protein 17<br />
Swatch 25 17<br />
Manufactured Mineral 17<br />
Swatches 26–27 17<br />
Table 3.1 Properties of Individual Manufactured<br />
Fibers 18<br />
Activity 3.1 Care Label Contents 21<br />
Chapter 4 Fiber Classification: Synthetic Fibers 23<br />
Introduction to Synthetic Fibers 23<br />
Swatches 28–32 23<br />
The Burn Test 23<br />
Table 4.1 General Properties of Synthetic Fibers 24<br />
Table 4.2 Properties Specific to Each Synthetic<br />
Fiber 24<br />
Table 4.3 Significance of Properties Common to All<br />
Synthetic Fibers 25<br />
Table 4.4 Burn Categories of Fibers 26<br />
Table 4.5 Burn Characteristics of Fibers 26<br />
Activity 4.1 Fiber Burn Test 29<br />
Chapter 5 Yarn Classification 31<br />
Yarn Classification 31<br />
Filament Yarns 31<br />
Spun Yarns 31<br />
Novelty Yarns 32<br />
Yarn Twist 32<br />
Table 5.1 Properties of Yarn Twist 32<br />
Yarn Sizing 32<br />
Yarn Count System 32<br />
The Denier System 33<br />
The Tex System 33<br />
Swatches 33–40 33<br />
Activity 5.1 Swatch Evaluation: Yarns 35
Chapter 6 Plain Weaves 37<br />
Understanding Fiber and Fabric 37<br />
Identifying Fabrics 38<br />
Criteria for Fabric Identification 38<br />
Woven Fabrics 38<br />
Qualitative Analysis of a Fabric 39<br />
Table 6.1 Basic Weight Categories 39<br />
Plain Weaves 40<br />
Swatches 41–53 40<br />
Activity 6.1 Generic Fiber Project 41<br />
Chapter 7 Plain-Weave Variations: Basket and<br />
Rib Weaves 43<br />
Basket Weaves 43<br />
Swatches 54–57 43<br />
Rib Weaves 44<br />
Swatches 58–69 44<br />
Table 7.1 Performance Expectations of Basket and<br />
Rib Weaves 44<br />
Activity 7.1 Swatch Page: Basket and Rib Weaves 47<br />
Chapter 8 Twill Weaves 49<br />
Performance Expectations of Twill Weaves 50<br />
Uneven Twills 50<br />
Swatches 70–75, 77, 78 50<br />
Even-Sided Twills 51<br />
Swatches 76, 79–82 51<br />
Activity 8.1 Swatch Page: Twills 53<br />
Chapter 9 Satin Weaves 55<br />
Performance Expectations of Satin Weaves 55<br />
Summary of the Three Basic Weaves 56<br />
Swatches 83–88 56<br />
Table 9.1 Comparison of Basic Weaves 58<br />
Activity 9.1 Weave Comparison Graph 59<br />
Activity 9.2 Swatch Page: Satins 61<br />
Chapter 10 Complex Weaves 63<br />
An Overview of Crepes 63<br />
Crepe Fabrics 63<br />
Slack Tension Weaves 64<br />
Swatch 89 64<br />
Dobby Weaves 64<br />
Swatches 90–94 64<br />
Extra Yarn Weaves (aka Supplemental Warp or<br />
Weft) 64<br />
Swatches 95–97 64<br />
Jacquard Weaves 64<br />
Characteristics of Jacquard Fabrics 64<br />
Swatches 98–101 64<br />
Double Weaves 64<br />
Swatches 102–104 64<br />
Activity 10.1 Research Project: Storybook 67<br />
E X T E N D E D C O N T E N T S<br />
viii<br />
Chapter 11 Pile Weaves 71<br />
Construction of Pile Weaves 71<br />
Performance Expectations of Pile Weaves 72<br />
Swatches 105–109 72<br />
Activity 11.1 Closet Raid I 73<br />
Activity 11.2 Fabric Structures 75<br />
Chapter 12 Knit Fabrics 77<br />
Construction of Knits 77<br />
Fabric Gauge 78<br />
Preparing Knits for Cut and Sew 78<br />
Evaluating Stretch 78<br />
Table 12.1 Comparison of Weaves and Knits 79<br />
Table 12.2 Stretch Classifications 79<br />
Knit Quality Criteria 80<br />
The Four Basic Knit Stitches 80<br />
Swatch 117 80<br />
Swatch 122 80<br />
Classifications of Knit Fabrics 80<br />
The Three Basic Weft-Knit Fabrics 81<br />
Swatches 110–117 81<br />
Swatches 118–127 81<br />
Swatch 128 81<br />
Table 12.3 Comparison of Weft and Warp<br />
Knits 82<br />
Activity 12.1 Closet Raid II 83<br />
Activity 12.2 Knit Fabric Analysis 85<br />
Chapter 13 Specialty Weft Knits 87<br />
Interlock 87<br />
Characteristics of an Interlock 87<br />
Swatches 129–130 87<br />
Double Knits 88<br />
Swatches 131–136 88<br />
Pile Knits 88<br />
Swatches 137–144 88<br />
Activity 13.1 Knits 89<br />
Activity 13.2 Swatch Page: Weft Knits 91<br />
Activity 13.3 Fabrication Worksheet 93<br />
Chapter 14 Warp Knits 95<br />
Tricot 95<br />
Swatches 145–150 95<br />
Raschel 95<br />
Swatches 151–159 95<br />
Table 14.1 Comparison of Tricot and Raschel<br />
Knits 96<br />
Activity 14.1 Fabric Structures: A Beginner’s<br />
Project 97<br />
Activity 14.2 Swatch Page: Warp Knits 99
Chapter 15 Minor Fabrications 101<br />
Fabrics Made without Yarn 101<br />
Swatches 160–163 101<br />
Fabric Combinations 101<br />
Swatches 164–165 101<br />
Table 15.1 Lace Putups 102<br />
Fabrics Made with Yarn 103<br />
Swatches 166–168 103<br />
Fabrics Made without Yarn or Fiber 103<br />
Swatches 169–172 103<br />
Table 15.2 Minor Fabrications 103<br />
Activity 15.1 Fabric Evaluation by Weight 105<br />
Chapter 16 Dyed and Printed Fabrics 109<br />
The Basic Dye Process 109<br />
Stages of Dyeing 109<br />
Fiber or Stock Dyeing 110<br />
Solution or Dope Dyeing 110<br />
Yarn Dyeing 110<br />
Piece Dyeing 110<br />
Garment Dyeing 110<br />
Swatches 173–175 110<br />
Basic Dye Chemistry 110<br />
Special Dye Processes 111<br />
Swatch 176 111<br />
Color Management 111<br />
Table 16.1 Properties of Dyes and Pigments 111<br />
Printed Fabrics 112<br />
Swatches 177–194 112<br />
Activity 16.1 Wovens 113<br />
Activity 16.2 Coloration 115<br />
Chapter 17 Fabrics Defined by Finishes 117<br />
General Finishes 117<br />
Aesthetic Finishes 117<br />
Select Visible Aesthetic Finishes 117<br />
Functional Finishes 118<br />
Longevity of a Finish 118<br />
Swatches 195–206 118<br />
Table 17.1 Fabric Selection by Garment 119<br />
Activity 17.1 Knits 121<br />
Quick Reference Guide Tables<br />
Table 9.2 Quick Reference Guide for Three Basic<br />
Weaves<br />
Table 11.1 Quick Referenec Guide for Complex<br />
and Pile Weaves<br />
Table 13.1 Quick Reference Guide for Weft Knits<br />
Table 14.2 Quick Reference Guide for Warp Knits<br />
Swatch Boards<br />
E X T E N D E D C O N T E N T S<br />
ix
Swatch Board Contents<br />
Chapter 1 The Textile Cycle: From Fiber to Fashion<br />
Raw Fiber<br />
1. Cotton<br />
Yarn Constructions<br />
2. Spun Yarn<br />
3. Filament Yarn<br />
Fabric Construction<br />
4. Muslin<br />
Chapter 2 Fiber Classification: Natural Fibers<br />
Cellulose Fibers<br />
5. Cotton<br />
6. Organically Color-Grown Cotton<br />
7. Sea Island Cotton<br />
8. Flax<br />
9. Ramie<br />
10. Hemp/Silk<br />
Protein Fibers: Wool<br />
11. Wool<br />
12. Merino<br />
13. Cashmere/Rayon<br />
Protein Fibers: Silk<br />
14. Cultivated Silk<br />
15. Wild Silk<br />
16. Silk Noil<br />
17. Dupioni Silk<br />
xi<br />
Chapter 3 Fiber Classification: Manufactured<br />
Fibers<br />
Manufactured Cellulose<br />
18. Rayon<br />
19. Bemberg ® Cuprammonium Rayon<br />
20. Modal ®<br />
21. Bamboo/Cotton<br />
22. Tencel ® Lyocell<br />
23. Acetate<br />
24. Cocona ®<br />
Manufactured Protein<br />
25. Soy/Organic Cotton/Spandex<br />
Manufactured Minerals<br />
26. Glass<br />
27. Metallic/Nylon<br />
Chapter 4 Fiber Classification: Synthetic Fibers<br />
28. Nylon<br />
29. Acrylic<br />
30. Polyester<br />
31. Propex ® Olefin<br />
32. Kevlar ® Aramid
Chapter 5 Yarn Classification<br />
Spun and Filament Yarns<br />
33. Single-Spun/Rayon<br />
34. Single Multifilament Rayon<br />
35. Spun,Two-Ply Spun, and Filament<br />
36. Microfiber Filament<br />
Novelty Yarns<br />
37. Bouclé<br />
38. Chenille<br />
39. Eyelash Jersey<br />
40. Tweed<br />
Chapter 6 Plain Weaves<br />
Lightweight Transparent Plain Weaves<br />
41. Chiffon<br />
42. Double Georgette<br />
43. Organza<br />
44. Organdy<br />
Lightweight Plain Weaves<br />
45. Voile<br />
46. Batiste<br />
47. Gauze<br />
48. Gingham<br />
49. Madras<br />
50. Chambray<br />
51. Challis<br />
52. Shantung<br />
53. Handkerchief Linen<br />
Chapter 7 Plain-Weave Variations<br />
Basket Weaves<br />
54. Canvas<br />
55. Sportswear Canvas<br />
56. Oxford<br />
57. Oxford Chambray<br />
Horizontal Filament Ribs<br />
58. Taffeta<br />
59. Iridescent Tissue Taffeta<br />
Horizontal Spun Ribs<br />
60. Broadcloth<br />
61. Poplin<br />
Spun and Filament Horizontal Ribs<br />
62. Bengaline<br />
63. Baby Ottoman<br />
64. Tissue Faille<br />
Various-Twist Filament Horizontal Ribs<br />
65. Crepe Faille<br />
66. Crepe de Chine<br />
Vertical Ribs<br />
67. Pincord<br />
68. Dimity<br />
69. Cotton Ripstop<br />
S W A T C H B O A R D C O N T E N T S<br />
xii<br />
Chapter 8 Twill Waves<br />
Uneven Twills<br />
70. 3.7 oz. Slub Denim<br />
71. 10.6 oz. Denim<br />
72. Printed 7.5 oz. Denim<br />
73. Chino<br />
74. Hampton Twill<br />
75. Uneven Gabardine<br />
76. Even-Sided Gabardine<br />
77. Cavalry Twill<br />
78. Bull Denim or Drill<br />
Even-Sided Twills<br />
79. Herringbone<br />
80. Houndstooth<br />
81. Glen Plaid<br />
82. Surah<br />
Chapter 9 Satin Weaves<br />
83. Bridal Satin<br />
84. Charmeuse<br />
85. Crepe-Back Satin<br />
86. Antique Satin<br />
87. Flannel-Back Satin<br />
88. Sateen<br />
Chapter 10 Complex Weaves<br />
Slack Tension Weave<br />
89. Seersucker<br />
Dobby Weaves<br />
90. Dobby Shirting<br />
91. Dobby Lining/Filament<br />
92. Bird’s-Eye Piqué<br />
93. Waffle Cloth<br />
94. Momie Weave<br />
Extra-Yarn Weaves/Supplemental Warp or Weft<br />
95. Extra-Yarn Weave<br />
96. Clip Spot<br />
97. Dotted Swiss<br />
Jacquard Weaves<br />
98. Tapestry<br />
99. Filament Damask<br />
100. Cotton Damask<br />
101. Brocade<br />
Double Weaves<br />
102. Double Weave<br />
103. Double-Weave Satin<br />
104. Matelassé
Chapter 11 Pile Weaves<br />
105. Terry Cloth<br />
106. Velveteen<br />
107. Pinwale Corduroy<br />
108. Velvet<br />
109. Panne Velvet<br />
Chapter 12 Knit Fabrics<br />
Weft-Knit: Jerseys<br />
110. Lingerie or Tissue Jersey<br />
111. T-Shirt Jersey<br />
112. Brushed Sweater Jersey<br />
113. Silk Jersey<br />
114. Slub Jersey<br />
115. “Denim” Jersey<br />
116. ITY<br />
117. Fair Isle/Jacquard Jersey<br />
Weft-Knit: Rib Knits<br />
118. 1×1 Rib Knit<br />
119. 2×2 Rib Knit<br />
120. Piqué Knit<br />
121. Thermal Knit<br />
122. Pointelle<br />
123. Slinky<br />
124. Onionskin<br />
125. Matte Jersey<br />
126. Sheer Matte Jersey<br />
127. Cable Knit<br />
Weft-Knit: Purl Knit<br />
128. Purl-Knit Fabric<br />
Chapter 13 Specialty Weft Knits<br />
Interlock<br />
129. Polyester Interlock<br />
130. Cotton Interlock<br />
Double Knits<br />
131. Double Jacquard<br />
132. Argyle<br />
133. Ponte di Roma<br />
134. Printed Ponte di Roma<br />
135. Double-Knit Matelassé<br />
136. Double Knit<br />
Pile Knits<br />
137. Knit Terry<br />
138. Baby French Terry<br />
139. Sliver Knit<br />
140. Velour<br />
141. Stretch Velvet<br />
142. Crushed Knit Velvet<br />
143. Fleece<br />
144. Sweatshirt Fleece<br />
S W A T C H B O A R D C O N T E N T S<br />
xiii<br />
Chapter 14 Warp Knits<br />
Tricots<br />
145. Tricot<br />
146. Brushed Tricot<br />
147. Sueded Tricot<br />
148. Satin Tricot<br />
149. Swimwear Tricot<br />
150. Athletic Mesh<br />
Raschels<br />
151. Hex Net<br />
152. Triple Mesh<br />
153. Power Mesh<br />
154. Tulle<br />
155. Raschel Lace<br />
156. Cut Press<br />
157. Fishnet<br />
158. Raschel Crochet<br />
159. Point d’Esprit<br />
Chapter 15 Minor Fabrications<br />
160. Fusible Tricot Interfacing<br />
Fabrics Made without Yarn<br />
161. Nonwoven Fusible Interfacing<br />
162. Imitation Suede<br />
163. Needlepunched Eco-Felt ®<br />
Fabric Combinations<br />
164. Pleather<br />
165. Quilt<br />
Fabrics Made with Yarn, but not Woven or Knit<br />
166. Embroidered Eyelet<br />
167. Tufted Chenille<br />
168. Venise Lace<br />
Fabrics Made without Yarn or Fiber<br />
169. Film<br />
170. Gore-Tex ®<br />
171. Leather<br />
172. Suede<br />
Chapter 16 Dyed and Printed Fabrics<br />
Stages of Dyeing<br />
173. Fiber/Stock Dyed<br />
174. Yarn Dyed<br />
175. Piece Dyed<br />
176. Cross Dyed<br />
177. Duplex Print<br />
Printed Fabrics: Classics Recognized by Pattern<br />
178. Calico/Ditsy<br />
179. Toile de Jouy<br />
Printed Fabrics: Non-Classic Images<br />
180. Direct Print<br />
181. Blotch Print<br />
182. Overprint
Better-Quality Prints<br />
183. Discharge Print<br />
184. Heat-Transfer Print<br />
185. Heat-Transfer Paper<br />
186. Flock Print<br />
187. Velvet Burnout<br />
188. Batiste Burnout<br />
189. Jersey Burnout<br />
190. Knit Foil Lamé<br />
191. Laser Print<br />
Resist Prints<br />
192. Tie-Dye<br />
193. Batik<br />
194. Ikat<br />
Chapter 17 Fabrics Defined by Finishes<br />
Napping<br />
195. Flannel<br />
196. Flannelette<br />
Emerizing/Sueding<br />
197. Sueded Interlock<br />
198. Moleskin<br />
199. Peachskin<br />
Specialized Calendering<br />
200. Metallic Pigment Animal Print<br />
201. Moiré Taffeta<br />
202. Embossed Knit Velvet<br />
203. Pleated Interlock<br />
204. Yoryu<br />
205. Stretch Plissé<br />
206. Fulled Jersey<br />
S W A T C H B O A R D C O N T E N T S<br />
xiv
Preface<br />
Every day we touch the subject of this book; we run<br />
our hands over it in our favorite boutique, hang it in<br />
our closets, and drape it on our bodies, and yet the<br />
science behind the textiles we wear continues to elude us.<br />
The intention of this book is to demystify the science and<br />
make it useful for anyone in the fashion industry: students,<br />
teachers, stylists, buyers, designers, colorists; in short, for<br />
just about any fashion professional who can benefit from<br />
a better understanding of how and why fibers and fabrics<br />
work.<br />
The text uses simple, direct language that is not specific<br />
to textile scientists, but rather language that is familiar<br />
to the industry at large. Fashion and the apparel trade<br />
require textile science to achieve the appropriate performance<br />
of the product; however, the science in this book<br />
has a different focus from most textile-sciences texts. The<br />
goal of this book is not to soften the science, but to focus<br />
it in a way that is more accessible. Instead of an in-depth<br />
analysis of the molecular structure of a fiber, the text focuses<br />
on the relevant performance expectations of each fiber<br />
and subsequent elements of textiles.<br />
A solid understanding of basic textile science will assist<br />
professionals in making better choices in fibers and<br />
fabrics for their chosen end products. This text strikes the<br />
necessary balance between scientist and designer. It culls<br />
the information available to the textile scientist and presents<br />
only the material directly relevant to the designer or<br />
product developer.<br />
This book brings together all of the elements of a textile<br />
into a common place. With all the information in one<br />
location, students can spend less time attempting to connect<br />
the dots and more time applying the concepts.<br />
xv<br />
The market has changed quite a bit in the few years<br />
since the first edition of this book. For this reason, all of<br />
the swatches in the second edition are new, shopped from<br />
the current marketplace, including jobbers, wholesalers,<br />
and retailers. As such, they are a reflection of today’s fashion<br />
market and right on trend. Ultimately, there are many<br />
changes in this second edition, due to this desire to stay<br />
current.<br />
Fabrics such as Sorona ® and Sea-Tiva ® are not as prevalent<br />
in the market at this time and were not included.<br />
Flannelette has become almost obsolete, replaced by knit<br />
fleeces (although still present in this edition). Coconut fiber<br />
is enjoying a comeback and has been added.<br />
The knit industry continues to grow, and to reflect<br />
this, the knit section has been expanded. Fabrics such as<br />
silk jersey, baby French terry, and burnout jersey have been<br />
incorporated. Denim is as popular as ever, with some exciting<br />
new treatments, such as printed denim, an example<br />
of which has been included in this set. Bridging both the<br />
knit and denim markets and enjoying growing popularity,<br />
a “denim” jersey is also included in the knit section.<br />
The suggestions of both students and colleagues have<br />
been considered and incorporated where possible. In light<br />
of this, the text has been expanded, so that it can be a<br />
more accurate quick reference guide. Assignment selections<br />
have been expanded, while more of the “swatch facts”<br />
have been deleted on the individual swatch pages to allow<br />
for more in-class experiential learning opportunities.<br />
There are more assignments marked “advanced,” which<br />
are appropriate where a second term of study is available<br />
for students.
The Objectives of the Text<br />
• Create awareness of the diversity of textiles available.<br />
• Provide a basic working knowledge of textile composition,<br />
function, and application. This will enable the<br />
student to have the information necessary to make<br />
informed decisions regarding textiles and to communicate<br />
with industry professionals.<br />
• Demonstrate correct use of textile terminology.<br />
• Differentiate between two critical concepts:<br />
- The difference between fiber and fabric<br />
- The difference between weaves and knits<br />
• Explain production processes and how they impact the<br />
fabric. This would include potential product performance<br />
and selection, based on fiber, yarn, fabrication,<br />
coloration, and finishes.<br />
• Differentiate fiber classifications, yarn types, and fabrication<br />
methods, and determine how different fabrics<br />
will perform for a specific end use.<br />
• Demonstrate the selection of appropriate components<br />
of a garment with respect to compatibility with one<br />
another and with the desired result.<br />
The Study of Textiles<br />
Ultimately the study of textiles will help designers to make<br />
informed decisions throughout the entire design and construction<br />
process. For example, if you were to make a cotton<br />
blouse, does the fiber content of the thread also have<br />
to be cotton? What about buttons, linings, and interfacings?<br />
Polyester is often both stronger and cheaper than cotton.<br />
Would polyester be a better choice for something as<br />
seemingly inconsequential as sewing thread? The polyester<br />
thread could be too strong for the garment, and the fabric<br />
might tear before the seam gives way. Do polyester and cotton<br />
have the same shrinkage rates? Do they have the same<br />
heat tolerance for ironing and care? Certainly they are used<br />
together often enough that they must be compatible. But<br />
they are not always compatible. Polyester and cotton actually<br />
have dramatically different care requirements, so fiber<br />
mixing must be done judiciously. This example represents<br />
a tiny fraction of the myriad decisions that you will face<br />
in your career. A diligent study of textiles will give you the<br />
knowledge and confidence to make more informed and<br />
reliable choices.<br />
Whatever your place in the manufacturing chain, cost<br />
is a factor. One-third of the cost of a garment or product<br />
P R E F A C E<br />
xvi<br />
is the cost of the fabric. Mistakes in fabric choices can dramatically<br />
impact the financial bottom line. In fact, one of<br />
the few variables in the cost of a product is the textile itself.<br />
The study of textiles will teach you to shop for fabrics appropriate<br />
to a given use, design, or silhouette. In addition,<br />
the information gained will assist in quality-control recognition<br />
and component compatibility.<br />
The Organization of the Text<br />
This text is organized to follow the natural and logical<br />
sequence of events that occur in the production of a textile.<br />
The first four chapters deal with fibers: natural (cellulose<br />
and protein) followed by manufactured and synthetics.<br />
The next chapter addresses the relevance of yarn constructions.<br />
The body of the text is devoted to the identification<br />
and articulation of fabrics by structure and name. The final<br />
chapters address the dyeing, printing, and finishing of<br />
fabrics. Each chapter is punctuated with representative examples<br />
of swatches to reinforce the subject of the chapter.<br />
Fibers: Natural and Man-made<br />
Yarn Constructions<br />
Wovens, Knits, and Minor Fabrications<br />
Dyes and Prints<br />
Finishes<br />
End Uses
How to Use the Swatch<br />
Reference Guide for<br />
Fashion Fabrics<br />
The Objectives of the Fabrics<br />
Fabrics in this text are logically organized into groups by<br />
their similarities. The first chapters are the fiber chapters<br />
and swatches are included for their fiber content. The<br />
swatches in Chapter Five are presented to illustrate yarn<br />
types. In each subsequent chapter, the fabric organization<br />
will progress from the lightest weight up through the<br />
heavier-weight versions of each fabric structure.<br />
Fabrics have been around for a long time. Because<br />
manufactured fibers had not yet been created, all fabrics<br />
were originally invented with one of the big-four fibers:<br />
wool, flax, silk, and cotton. This text will often refer to<br />
fabrics as cottonlike or from the cotton family, which relates<br />
to their first incarnations and to their hand. Today,<br />
a cottonlike fabric might be made entirely of polyester.<br />
(This would be an example of polyester imitating cotton,<br />
as it often does.)<br />
The elements of a textile, which are identified with each<br />
fabric, are fiber content, yarn construction, fabric structure,<br />
fabric name, count, coloration method, finishes, and<br />
weight.<br />
As a final note, fiber and fabrics are not inextricably<br />
linked. Batiste is a fabric that can be made of cotton, polyester,<br />
silk, or even rayon. Think of fiber and fabric as first<br />
and last names. Your name could be Amanda Connell. Not<br />
all Amandas have the last name of Connell; there could be<br />
an Amanda Andrews or even an Amanda Smith, and there<br />
are certainly other Connells. Similarly, not all cottons are<br />
denim: Cotton could be a batiste, velveteen, corduroy, or<br />
many other fabrics. And today, not all denims are cotton<br />
either. Think of fiber and fabric as independent variables.<br />
xvii<br />
Building the Swatch Reference Guide<br />
Your first task will be to build the Swatch Reference Guide.<br />
One of the things that you will notice is that text is provided<br />
for each swatch; you need only mount the swatches.<br />
Although the book is organized into logical and sequential<br />
chapters, the instructor may well use swatches out of<br />
order. It is advised that you construct the entire Swatch<br />
Reference Guide during the first week of class, mounting<br />
all of the swatches at once. This will enable you to have a<br />
complete resource of swatches at your fingertips for the<br />
instructor to draw upon to illustrate ideas.<br />
Instructions<br />
• Begin by identifying the materials in this package:<br />
° 1 bag of fibers and two yarns includes Swatches<br />
1–3<br />
° Four bundles of swatches: A, B, C, and D<br />
– A has Swatches 4–54<br />
– B has Swatches 55–105<br />
– C has Swatches 106–156<br />
– D has Swatches 157–206<br />
Based on the availability of some fabrics, there are a<br />
few minor color variations in the swatches presented.<br />
In all cases, the swatches have the same character:<br />
They share the same fiber content, yarn construction,<br />
count, weight, stage of dyeing, and finishes.
° Swatch boards to mount the swatches<br />
° Pick glass<br />
° The text and swatch boards are shrink-wrapped<br />
together. You have the option of either placing<br />
the swatch boards in the back of your binder, or<br />
inserting the boards at the end of each chapter.<br />
° Five blank swatch boards will allow you to<br />
expand this fabric reference with your own<br />
selection of fabrics.<br />
° All of the swatches are numbered and corre-<br />
spond to references in the text.<br />
° The swatches are bundled in the order that they<br />
appear in the text. Do not remove the rubber<br />
bands on the bundles until you are ready to<br />
assemble the Guide. Take swatches from the top<br />
of the bundle and keep the stack faceup.<br />
Note that many of these swatches are lightweight and stick<br />
together. Check the front and back of each swatch to prevent<br />
this.<br />
• You will also need the following (not included):<br />
° Pick needle: It is often helpful to have a pick<br />
needle to assist in your analysis of fabrics, par-<br />
ticularly when it comes to counts or pick outs<br />
(analyzing the structure of the fabric).<br />
° Roll of double-sided tape: If you use exactly<br />
one inch of tape for each swatch, you will<br />
not need more than one roll.<br />
• Open the baggie first and mount the fiber to the box<br />
for Swatch 1 with one inch of double-sided tape.<br />
Place tape in the middle of the box, and cover the<br />
tape with fiber.<br />
• Mount the blue cotton yarn to the box for Swatch 2.<br />
• Mount the silver filament yarn to the box for Swatch<br />
3.<br />
• Now begin mounting the swatches in the four bundles<br />
sequentially in the book. Place one inch of the doublesided<br />
tape horizontally across the top of the swatch<br />
box, and then place the swatch on top of the tape. This<br />
way, you can flip up the swatch to observe and feel both<br />
the front and back.<br />
• As you mount the swatches to the swatch boards, verify<br />
that the swatch matches the description included<br />
on the board. Rely on fabrics that you already know,<br />
such as denim or velvet. Check that you are on the<br />
right number as you get to the end of each bundle.<br />
H O W T O U S E T H E S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S<br />
xviii<br />
Pick Glass<br />
Verify that you have a pick glass in your kit. Open the<br />
pouch and unfold the glass completely. Notice that your<br />
pick glass is a one-inch square. Thread counts are calculated<br />
in this one-inch square.<br />
<strong>Look</strong> through the glass to the ruler below, and look at<br />
the fabric on your sleeve to get used to the pick glass. You<br />
will use this instrument throughout your study of textiles,<br />
so have it with you for every class.<br />
Swatch Boards<br />
While most facts are provided for each swatch in the text,<br />
there are instances where the information for a specific<br />
swatch field has been intentionally left blank. This corresponds<br />
directly to activities in the text or in-class activities<br />
provided by your instructor. You will be required to determine<br />
and fill in the results.<br />
Additionally, the facts provided in the yarn construction<br />
category are simplified. Unless otherwise stated, it is<br />
safe to assume that the yarn type is single, unless identified<br />
as plied. In the case of filament yarns, one can assume multifilament,<br />
since this is most often the case.<br />
Some criteria are present only when it is particularly<br />
relevant. Finishes, for example, is a missing criteria for<br />
most fabrics when it is not an aesthetic or visible finish.<br />
This does not mean that there is no finish on the fabric.<br />
This text recognizes that most fabrics have a dozen finishes<br />
on them before they are seen by the consumer; it means<br />
that there is no visible or discernible finish.<br />
Finally, the information that is most important or relevant<br />
to the pertinent chapter is either listed first (in the<br />
fiber and fabric chapters) or italicized (in Chapters 16 and<br />
17). For example, in Chapters 2–4, when fiber content is<br />
being discussed, fiber is the first item in the list of facts<br />
about the fabric. Fabrics are listed first for each swatch in<br />
the fabrics chapters (Chapters 6–17). The shift is deliberate<br />
to focus on the subject of the relevant chapter.<br />
Quick Reference Guide Tables<br />
You will find Quick Reference Guide tables for Basic<br />
Weaves (Table 9.2), Complex and Pile Weaves (Table<br />
11.1), Weft Knits (Table 13.1), and Warp Knits (Table<br />
14.2) preceding the Swatch Boards. Please remove each<br />
table and place it within its respective chapter for easy referencing.
Acknowledgments<br />
An undertaking of this sort is truly a collaborative<br />
project, and there are many people I wish<br />
to thank for their patience, encouragement,<br />
and support. I am so grateful to Carol Shaw Sutton,<br />
who initially nurtured a love of textiles and helped<br />
me to see the world through fiber eyes. Marjorie<br />
Gosz was one of my earliest mentors, and I miss her<br />
every day. Barry Joe Sims and Maribeth Baloga were<br />
each essential parts of my education for this subject.<br />
Amanda Starling provided the motivation and impetus<br />
for this book. Jacob Kaprelian of Uniprints<br />
and Peter Krauz of Trimknits were each kind enough<br />
to custom produce fabrics for this project. Rubin<br />
Schubert, Mauricio Pena, and the crew at Ragfinders<br />
were of enormous assistance by providing just the<br />
right choices for many of the exciting fabrics found<br />
in this resource. Anne Bennion offered support and<br />
shared valuable resources. Tom Young contributed<br />
much needed research. My technical support team,<br />
colleagues, and good friends have been and continue<br />
to be Ben Amendolara, Cassandra Durant Hamm,<br />
and Judy Picetti (Tyler, too). I truly could not have<br />
put this together without their insights, support, and<br />
xix<br />
faith. A personal thanks to John Perry of Perry Color<br />
Card and to Martin Lujan for shepherding the fabrics<br />
through the swatch-cutting process. I also wish<br />
to extend a heartfelt thanks to the <strong>Fairchild</strong> team for<br />
their initial vision and realization of the final product.<br />
This book would not have come together without<br />
the concerted efforts of Olga Kontzias, Amy<br />
Butler, and Linda Feldman. Invaluable assistance in<br />
the assembly of this project was provided by Mariah<br />
Connell, and I am appreciative of the patience, generosity,<br />
and support of the rest of my family during<br />
the course of this project: Amanda, Diana, Mike,<br />
Kim, and Alyssa. To my mother, Marion, I finally<br />
recognize the many gifts you passed along to me,<br />
each of which is an integral part of what I do and<br />
who I am. Most of all, I want to thank Jim Young,<br />
who travels with me on every wild goose chase, is my<br />
personal editor on this project, and my heart in this<br />
book and in life.
Swatch Reference Guide for Fashion Fabrics
C H A P T E R O N E<br />
The Textile Cycle: From Fiber to Fashion<br />
Reference Swatches<br />
1. Cotton | 2. Spun Yarn | 3. Filament Yarn | 4. Muslin<br />
The development of textiles—spinning, weaving, and<br />
sewing—was one of mankind’s earliest technical<br />
achievements, right after taming fire and mastering<br />
stone tools. And after 20-thousand-plus years of textile<br />
history, the basic processes for producing textiles have not<br />
changed. Fibers still need to be harvested and spun into<br />
thread or yarn. Those yarns have to be manipulated on<br />
some type of loom structure to create fabric.<br />
To be sure, mechanization in the 1800s and the development<br />
of synthetics in the last century brought new<br />
uniformity and speed to the production process. But it’s<br />
our ingenuity and drive to produce stronger, cheaper, better,<br />
and more beautiful fabrics and fashions that make the<br />
field of contemporary textiles so exciting and diverse. The<br />
number of new fibers and fabrics seems to grow exponentially<br />
every day. It is no longer enough to select a textile<br />
simply for its hand, drape, or color. Today’s consumer<br />
wants performance—fabrics that won’t shrink, wrinkle,<br />
or soil and that will do the dishes on Saturdays. In the<br />
current marketplace we can actually meet most of those<br />
demands. Although we haven’t yet trained textiles to do<br />
the dishes, we do have textiles that will allow you to accomplish<br />
this task in your favorite sweater, without worrying<br />
about staining. Making appropriate fabric choices<br />
requires a thorough knowledge of the science of textiles.<br />
Understanding the hygroscopic, thermoplastic, electrical<br />
retention, or hydrophobic qualities of a fiber or fabric is<br />
essential for product developers, apparel manufacturers,<br />
stylists, and fashion designers alike. And if the preceding<br />
sentence sounded a little too technical to you, don’t worry:<br />
you will soon be “speaking textile” too!<br />
The Process: Start to Finish<br />
This text begins with the smallest part of a textile—fiber<br />
—and follows the textile cycle through to the final step,<br />
finishing. With increasing demand for more versatile and<br />
functional fabrics, finishing and care have become major<br />
areas of interest within the textile world, unlimited in<br />
their commercial potential. For example, one segment<br />
of the textile industry is devoted to fibers and finishing<br />
processes that resist stains. In their search for more stainresistant<br />
fabrics, researchers have developed textiles that<br />
have superior color retention—even if the color happens<br />
to be a stain. It is an interesting paradox that once a stain<br />
has managed to get past the finish and into the fibers<br />
of the fabric itself, it becomes more difficult to eliminate.<br />
Stain removal may not be the most exciting segment<br />
of the industry, but when you have spilled ink on your<br />
sister’s favorite shirt, it certainly becomes a compelling<br />
subject. (Hair spray will usually remove that ink and get<br />
you out of trouble.) This and other new developments<br />
in textile science are moving the textile industry into<br />
fascinating new realms.
In Pursuit of the Perfect Textile<br />
As visually stimulating and tactile as textiles are, they are<br />
even more exciting from a technological perspective. Consumers<br />
want high performance and low maintenance; they<br />
want textiles that can do tricks. The field is an exciting<br />
frontier. Space exploration, military and medical research<br />
programs, and, of course, the technology industries have<br />
driven some of the most startling innovations in textile<br />
science. Although not directly inspired by, or created for,<br />
the fashion industry, these innovations trickle down to the<br />
world of couture. All it takes is a little creative thinking to<br />
make the leap from battlefield military to fashion couture.<br />
Savvy designers use these new developments to meet the<br />
market demand for better, unique products.<br />
For example, the military has developed textiles that<br />
interface with Global Positioning System (GPS) to keep<br />
track of people. Think of the possibilities. You could track<br />
your children’s whereabouts or even LoJack ® your spouse!<br />
The military has also developed textiles that make a person<br />
appear invisible, and shoes that can help one jump 20foot<br />
walls. After the jump, however, a six-hour recharge is<br />
required before you can jump back out of enemy territory.<br />
(You might wish to take a spare battery.) Imagine amazing<br />
your friends on a basketball court. On a more serious note,<br />
there are textiles with sensors that will detect the amount<br />
of blood lost by a person wounded in the field, perhaps to<br />
determine the viability of a rescue effort. And we have textiles<br />
that stiffen to act as a splint when necessary for combat<br />
injuries, as well as those that can dispense antibiotics.<br />
But military researchers are not alone on the front<br />
lines of textile development today. The medical field is<br />
also producing advancements, like sensors that record and<br />
transmit to your doctor information such as heart rate,<br />
blood pressure, and insulin level. Fuji Spinning Company<br />
in Japan has developed a shirt that provides your recommended<br />
daily allowance of vitamin C. Through a process<br />
called microencapsulation, your body slowly absorbs<br />
the medication transdermally (through the skin), just by<br />
wearing the shirt. The shirt continues to administer medication<br />
through as many as 30 to 40 washes. Using textures,<br />
sounds, and smells, a scarf has been created to calm<br />
sufferers of autism. Using the same technology, one could<br />
add many different medications to a garment. Consider a<br />
scarf that provides relief for headaches, gloves for arthritis<br />
sufferers, or a special shirt for Alzheimer’s patients. What<br />
happens when these garments become mainstream technology?<br />
Will you need a prescription for your clothes? Will<br />
your dress have an expiration date? Will there be a black<br />
market for medicated underwear? These are fascinating<br />
possibilities, but they raise some provocative ethical questions<br />
as well.<br />
S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S<br />
2<br />
In another example of fiber-forward thinking, researchers<br />
are experimenting with spider silk because of its<br />
extreme strength. Spider silk is so strong that if you were to<br />
spin a strand of yarn the diameter of a pencil, it could stop<br />
a 747 in flight. In manufacturing, fiber strength is critical<br />
because the stronger the fiber, the less that is needed<br />
for a particular use. Spider silk could replace other fibers<br />
to make bulletproof garments—not just vests, but whole<br />
garments—that cover the entire body and that are both<br />
lighter in weight and stronger.<br />
To date, the cultivation of spider silk has been problematic<br />
because the spiders will not cooperate. Unlike silkworms,<br />
spiders are territorial, and they recycle their proteins (that is,<br />
eat their webs), which is the equivalent of packing up their<br />
tents, when they move on. Researchers have had to get creative<br />
in the cultivation of spider silk. Experiments are being<br />
done in crossbreeding spiders with potatoes, corn, and even<br />
goats. Yes, there exists a herd of spider-goats that produce<br />
milk that provides us with really strong fibers. The above<br />
examples are not the future of textiles; they are the present.<br />
Here are some other high-performance textiles that<br />
are pushing the envelope of textile technology:<br />
• Textiles that are perfumed with your favorite fragrance.<br />
The perfume lasts through 30–50 launderings.<br />
• Antibacterial textiles (no bacteria means no odor).<br />
You can work out all day and go directly on a date!<br />
• Shirts with living bacteria that will eat any spills or<br />
perspiration. The effect is a self-cleaning shirt. But because<br />
the bacteria are live, they must be fed regularly,<br />
so although you may not have to wash this shirt, you<br />
might have to feed it!<br />
• Textiles that change color with temperature—or that<br />
change color and pattern with your mood (remember<br />
mood rings?). This is also being done with wallpaper<br />
(it changes pattern or color according to one’s whim).<br />
• Textiles that change color with the presence of odorless<br />
pesticides or gases—great for detecting these dangers<br />
in your children’s play areas.<br />
• Window curtains that act as solar panels and power<br />
your house.<br />
• Power Felt is a new technology that can generate electricity<br />
from your own body heat. You can then throw<br />
your iPod or cell phone into your purse or bag and<br />
have it charged up for when you need it next.
• Textiles that adjust to your body temperature, cooling<br />
you when hot, warming you when cold. Using<br />
Thermocules technology, there are sheets that do<br />
just that so that you do not need to throw the covers<br />
on and off all night. These sheets read your body<br />
temperature and self-regulate.<br />
• Hoodies with cell phones or MP3 players built directly<br />
into a cuff or the hood.<br />
• A “smart bra” that turns into a sports bra by increasing<br />
its support as you begin to run, and then relaxing<br />
when you relax. There is also an e-bra that transmits<br />
your personal vitals through the use of a smartphone.<br />
• T-shirts that play movie trailers or short videos across<br />
your chest, using your body as an electronic billboard.<br />
What about watching a movie on your sleeve?<br />
• X-STATIC ® (produced by Noble Biomaterials, Inc.)<br />
is incorporating silver fibers into nylon fabrics. The<br />
silver creates a static charge that assists in sanitizing<br />
garments without washing them. The effect is selfcleaning,<br />
and it is being used to make underwear,<br />
socks, shirts, hats, etc. Imagine—you can own just<br />
one pair of panties that you don’t have to wash!<br />
The technology is all very exciting, but first we need to<br />
appreciate some more fundamental concepts.<br />
Table 1.1 Basic Textile Definitions<br />
Textile An umbrella term for anything that can be made from a fiber or fabric. This is a very general term that could refer to<br />
a tennis ball cover, a disposable diaper, a dryer sheet, geotextiles (building materials), carpeting, or interior and apparel<br />
fabrics.<br />
Fiber The smallest part of a textile and the raw material of a fabric. A fiber is a hairlike strand very similar to your own hair.<br />
Fibers can be natural or manufactured.<br />
Yarn A number of fibers that are twisted or laid together to form a continuous strand. In order to make fabric, short<br />
fibers must first be made into longer, more usable lengths called yarn. Historically, figuring out how to do this took<br />
humankind a very long time.<br />
Fabric A method of construction or an organization of fibers and yarns. The most common fabric constructions are weaves<br />
and knits, but there are other fabrications as well. Garments and other products are made from fabrics.<br />
Dyeing The science of applying color to textiles.<br />
Printing The process of applying color in a design to textiles.<br />
Finish Any process that is done to a fiber, yarn, or fabric to change the way it looks, feels, or performs. A fabric can be<br />
dramatically changed from its original appearance or performance by the way it is finished.<br />
T H E T E X T I L E C Y C L E : F R O M F I B E R T O F A S H I O N<br />
3<br />
Basic Definitions<br />
The first step in understanding textiles is mastering the<br />
vocabulary. Let us begin with some basic definitions<br />
that break down the language into simple terms so that<br />
you can begin speaking the language of textiles today<br />
(Table 1.1).<br />
The Physical Textile Cycle<br />
A fiber is the smallest visible part of a textile, a single hairlike<br />
strand. A fiber is either staple or filament in length.<br />
Staple fibers are short—only inches long. All natural fibers<br />
are staple except for silk, which is nature’s only filament.<br />
Filament fibers can be miles long and include both manufactured<br />
and silk fibers.<br />
Cotton is staple, with short fibers, and so is wool.<br />
Acrylic is constructed as a man-made filament and is often<br />
cut to staple length, particularly when it is imitating<br />
wool. Likewise, in a blend such as polyester and cotton,<br />
the polyester would first be chopped into staple lengths for<br />
easier blending with the staple cotton fibers and for an allover<br />
cotton hand, the term for how a fiber or fabric feels.<br />
Although filament fibers can be cut to staple length, staple<br />
fibers cannot be made into long filaments.<br />
The swatches in this chapter compare the different<br />
stages of a textile, from the raw fiber through the most<br />
common yarn types, spun and filament, and finally to the<br />
simplest fabric made from these fibers.<br />
Swatch 1 is a staple cotton fiber. Swatch 2 is a yarn<br />
made of staple cotton fibers. Compare this with Swatch 3,<br />
which is filament polyester. Swatch 4 is a fabric made of<br />
staple fibers. In effect, these swatches represent the textile<br />
cycle: harvest the fiber from the plant, spin it into a yarn,
and use the yarn to construct the fabric. Note as well the<br />
simple difference in length between the fibers of the two<br />
yarns (Swatches 2 and 3). In Chapter 5, we will further<br />
explore these differences by comparing two fabrics identical<br />
in structure and fiber; one is made of filament fibers<br />
and the other is made of staple fibers.<br />
[Reference Swatches 1–4]<br />
The Language of Textiles<br />
Before going any further, the core language of textiles<br />
needs to be introduced. This text will allow you to understand<br />
in detail the inherent performance properties<br />
of each fiber, yarn, and fabric construction. Familiarity<br />
with performance concepts and properties helps designers<br />
to determine the specific advantages and disadvantages a<br />
fabric will bring to its end use. In essence this knowledge<br />
reduces the possibility of making poor fabric choices for a<br />
particular garment.<br />
Here is an example: We know that linen wrinkles horribly.<br />
By selecting a particular yarn or fabric construction,<br />
adding a select finish, or blending fibers, we can easily create<br />
a linen garment that will not wrinkle.<br />
The question is which fiber/fabric is best for a specific<br />
purpose? This will be answered in part by studying the<br />
following performance concepts. The performance of any<br />
given textile is determined by the properties of the fiber,<br />
yarn, and fabric; every component inherently has these<br />
properties. In the chapters to come, these performance<br />
concepts will be extended to all the components of fabric<br />
construction. In this way, you will learn to create fabulous<br />
garments that perform beautifully.<br />
Textile Performance Concepts and Properties<br />
Performance concepts relate to the measure of a textile’s<br />
ability to perform in the final product. These concepts include<br />
durability, comfort, care, appearance, and safety.<br />
Properties of Durability<br />
Durability is the measure of a textile product’s ability to<br />
resist stress and serve its intended use. (Each criterion can<br />
be measured in a textile lab.)<br />
• Abrasion resistance: The ability of a fabric to withstand<br />
rubbing without wearing a hole in the surface.<br />
This property is relevant for outerwear, uniforms, and<br />
pants.<br />
S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S<br />
4<br />
• Pilling: The formation of tangled fibers on the surface<br />
of the fabric. Pilling is also caused by rubbing, but<br />
with a different end result.<br />
• Cohesiveness: The ability of fibers to cling together.<br />
Only relevant for yarn spinning. Usually provided by<br />
crimp.<br />
• Feltability: The ability of fibers to matte together to<br />
form a fabric.<br />
• Elongation: The degree to which a fiber may be<br />
stretched without breaking; the amount of give in a<br />
fabric. Growth can be a problem in textiles that simply<br />
elongate and do not recover from stretching.<br />
• Elasticity: The ability of a fiber to stretch and recover<br />
to its original size and shape after stretching. An elastic<br />
fiber prevents bagginess in elbows and knees.<br />
• Elastomericity: The ability of a fiber to stretch 100<br />
percent and recover.<br />
• Dimensional stability: The ability of a fiber to retain<br />
a given size and shape through use and care. Relates<br />
to shrinkage.<br />
• Tenacity (strength): The ability of a fiber, yarn, or fabric<br />
to resist stress.<br />
• Tensile strength: The ability of a fabric/fiber to withstand<br />
a pulling force. Relates to breaking point.<br />
• Tearing strength: The ability of a fabric to resist tearing<br />
or ripping.<br />
• Snag resistance: The ability of a fabric to resist yarns<br />
being pulled out.<br />
• Yarn distortion: The ability of a fabric to resist yarn<br />
or seam slippage.<br />
• Flexibility: The ability of a fabric to bend repeatedly<br />
without breaking. The more flexible the fiber, the<br />
more drapable the fabric will be.<br />
Properties of Comfort<br />
The following traits measure a textile’s ability to serve the<br />
purpose of human comfort. This includes issues of static<br />
and temperature. Comfort does not relate to hand, or the<br />
way a fabric feels.
• Hydrophilic fibers: These absorb moisture easily. This<br />
is a quality that allows the fiber to absorb perspiration<br />
from the body.<br />
• Hydrophobic fibers: These absorb very little moisture.<br />
Garments that are hydrophobic dry very quickly.<br />
They also resist water-based stains. Once stained, they<br />
can be difficult to clean, because they do not absorb<br />
water for cleaning purposes.<br />
• Hygroscopy: The ability of a fiber to absorb water<br />
vapor (moisture from the air) without feeling damp.<br />
• Wicking: The ability of a fiber/fabric to pass perspiration<br />
(moisture) to its surface for evaporation.<br />
• Electrical conductor: A fiber/fabric with the ability to<br />
transfer electrical charges. High electrical conductivity<br />
means no static.<br />
• Electrical retainer: A fiber/fabric with the ability to<br />
build up electrical charges, causing fabric to cling to<br />
the body.<br />
• Thermal conductor: A fiber/fabric with the ability to<br />
transmit heat from the body. Fabrics with high thermal<br />
conductivity are cool to wear.<br />
• Thermal retainer: A fiber/fabric with the ability tohold<br />
heat next to the body. High thermal retention<br />
fabrics are warm to wear.<br />
• Allergic potential: The ability of a fiber/fabric to cause<br />
a physical reaction, such as skin irritation or watery<br />
eyes.<br />
• Weight: A lightweight fiber enables a fabric to be<br />
warm without being heavy, and lightweight fibers can<br />
be made into thick fabrics that are more comfortable<br />
to wear than heavyweight fabrics.<br />
• Air permeability: The ease with which air passes<br />
through the fabric.<br />
• Cover: The ability of a fiber to occupy an area.<br />
Properties of Care<br />
Care is the treatment that is required to maintain the original<br />
look of a textile product; it relates to wear, cleaning,<br />
and storage.<br />
T H E T E X T I L E C Y C L E : F R O M F I B E R T O F A S H I O N<br />
5<br />
• Resiliency: The ability of a fiber/fabric to return to its<br />
original shape after bending, compressing, twisting,<br />
or crushing. Relates to wrinkle recovery.<br />
• Oil affinity:<br />
- Oleophilic (oilophilic): means “oil loving”; holds<br />
oily stains.<br />
- Oleophobic (oilophobic): means “oil hating”; resists<br />
oily stains. Must be cleaned with dry cleaning<br />
agents or enzyme cleaners.<br />
• Chemical reactivity: The ability to interact on a<br />
molecular level with acids, alkali (bases), oxidizing<br />
agents, solvents, enzymes, bleaches, or other cleaning<br />
agents. This impacts the ability to use particular<br />
chemicals for cleaning.<br />
- Harmed by acids means that fruit stains should<br />
be removed immediately to prevent setting.<br />
- Resistant to alkali means that detergents can be<br />
safely used.<br />
- Harmed by alkali means that a mild or neutral<br />
detergent should be used. It also means that the<br />
garment will be harmed by perspiration.<br />
- Harmed by oxidizing agents means that chlo-<br />
rine bleach should not be used and that sunlight<br />
will cause whites to yellow.<br />
• Chemical benefits: Some new fibers on the market<br />
contain trace minerals, vitamins, amino acids, antioxidants,<br />
and anti-inflammatory agents that can be<br />
absorbed transdermally.<br />
• Environmental effects:<br />
- Biological resistance: The ability to resist moths,<br />
mildew, silverfish, and so on. Good for storage.<br />
Caution should be used in thoroughly drying fabrics<br />
with poor biological resistance.<br />
- Sunlight resistance: The ability to withstand degradation<br />
from direct sunlight. This does not describe<br />
fading.<br />
- Aging resistance: The ability to maintain original<br />
qualities over time. Relates to storage.<br />
- Biodegradability: The ability to decompose naturally.<br />
- Fume fading: Color loss due to environmental gases<br />
or pollution.<br />
• Thermoplasticity: The ability to soften, melt, or<br />
shrink when exposed to heat. This aids in the production<br />
of permanent pleats, creases, or embossed shapes.<br />
A thermoplastic material becomes pliable and mold-
able when heated and will retain a predetermined<br />
shape when cooled (heat set).<br />
- Heat tolerance: The ability to withstand heat when<br />
subjected to cleaning, drying, and ironing. Can<br />
iron at any temperature.<br />
- Heat sensitivity: The temperature at which a fiber<br />
will melt, soften, or shrink when subjected to heat.<br />
Relates to cleaning, drying, and ironing. Fabric<br />
may melt with too hot an iron. If harmed by heat,<br />
use steam; wool turns brittle and harsh and will<br />
scorch when subjected to high, dry heat.<br />
Properties of Appearance<br />
Appearance is the measure of a fabric’s ability to remain<br />
aesthetically acceptable and serviceable.<br />
• Shape and length of fiber: The characteristics that influence<br />
appearance, care, and comfort. A short fiber<br />
performs differently from a long one.<br />
• Color: The first aesthetic property noticed in a textile<br />
product.<br />
• Colorfastness: The ability of a fiber/fabric to retain<br />
color when exposed to certain environmental or<br />
chemical conditions, such as bleach or sunlight.<br />
• Dye affinity: The receptivity of individual fibers to<br />
coloration by a particular dyestuff. Dependent on fiber<br />
base and absorbency.<br />
• Luster: The sheen created by light reflection.<br />
• Translucence: The ability to pass light through a fiber,<br />
yarn, or fabric.<br />
• Drape (relates to fluidity): The manner in which a<br />
fabric falls, or hangs. Created by flexibility.<br />
S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S<br />
6<br />
• Body: The stiffness, or firmness, of a fabric. The opposite<br />
of drape.<br />
• Texture: The three-dimensional nature of the fiber,<br />
yarn, or fabric surface.<br />
• Loft: The ability of a fiber or fabric to spring back to<br />
original thickness after being compressed (compressional<br />
resiliency).<br />
• Hand: This is a description of the way a fiber feels<br />
to the touch: soft, smooth, crisp, dry, textured, and<br />
so on.<br />
Properties of Safety<br />
The safety of a fabric for specific end-product uses is determined<br />
by how a fiber burns. In addition, the burn properties<br />
aid in the identification of the fiber. (See Tables 4.4<br />
and 4.5 on page 26–27 of Chapter 4.)<br />
• Inflammable (also known as flammable): Ignites and<br />
burns easily, with a bright orange glow. Inflammable<br />
fibers smell like burning paper or wood and do not<br />
easily extinguish; cellulose fibers are inflammable.<br />
• Flame retardant: Fibers burn but self-extinguish when<br />
removed from flame. Flame-retardant fibers smell like<br />
burning hair; protein fibers are flame retardant.<br />
• Flame resistant: Fibers burn and melt. Flame-resistant<br />
fibers often self-extinguish when removed from<br />
flame. The fibers smell like burning plastic; synthetic<br />
fibers are flame resistant.<br />
• Nonflammable: Fibers do not burn. Flameproof fibers/fabrics<br />
will not ignite; mineral fibers are nonflammable.
Name:<br />
Research Web sites, magazines, or industry publications to find an article about an exciting new textile;<br />
look for new technologic advances such as those referenced on pages 2–3. There are many more examples<br />
of new technology in the textile field. Because you are looking for a truly new innovation, the article<br />
should be no more than six months old.<br />
Write a summary of your article, and be sure to mention what is new and different about the textile.<br />
Also include why it is exciting to you personally and how you, as a designer, could use this new textile in a<br />
garment or product. Be creative!<br />
In selecting an article, be sure to avoid forecasting and trend articles, as well as public relations<br />
pieces by large corporations (who want you to believe that everything that they do is new and exciting).<br />
Also be certain that the textile you select is new. Include a copy of the article with your summary, along<br />
with the source and date.<br />
Activity 1.1 Research Project: New Textiles<br />
Date:
C H A P T E R E I G H T<br />
Twill Weaves<br />
Reference Swatches<br />
70. 3.7 oz. Slub Denim | 71. 10.6 oz. Denim | 72. 7.5 oz. Printed Denim<br />
73. Chino | 74. Hampton Twill | 75. Uneven Gabardine<br />
76. Even-Sided Gabardine | 77. Cavalry Twill | 78. Bull Denim or Drill<br />
79. Herringbone | 80. Houndstooth | 81. Glen Plaid | 82. Surah<br />
The second of the three basic weaves is the twill weave.<br />
Twills are easily distinguished by their strong diagonal<br />
patterning. A twill’s diagonals are called wales,<br />
which are actually raised ridges created by floats. A float is a<br />
skipped interlacing. If a yarn goes over two or more yarns,<br />
it is called a float. Twills are constructed with a minimum<br />
2-to-1 ratio, but other common twills include 3-to-1 and<br />
2-to-2. The basic pattern shifts to the right or left by one<br />
thread in each successive row, forming the diagonals (see<br />
Figure 8.1).<br />
Because of their floats, twills have fewer interlacings<br />
per square inch than plain weaves. This results in fabric<br />
that is more compact, has a higher density and thread<br />
Figure 8.1 Twill pattern<br />
count, and is generally stronger overall. Usually a bottomweight<br />
fabric, twills are more durable and wear well, which<br />
is why twills are considered the workhorses of the three<br />
basic weaves. Twills are most often the fabric of choice for<br />
all types of suiting fabrics, as well as pants of all kinds, including<br />
jeans. Take this opportunity to look closely at your<br />
own denim and its diagonal patterning.<br />
A number of criteria can be measured in a twill weave,<br />
one of the most important being the direction of the diagonal.<br />
Twills are said to be right-handed (diagonal going up to<br />
the right) or left-handed (diagonal going up to the left) (see<br />
Figure 8.2). Traditionally, twills made of silk or wool were<br />
right-handed. Today, twills that are descendants of those<br />
originals are likely to be right-handed, but that is no longer<br />
an absolute. Cotton fabrics were left-handed and are often<br />
still left-handed. Note the differences between the diagonals<br />
of chino (Swatch 73) and gabardine (Swatch 75).<br />
The degree of the angle of the diagonal is also important<br />
to consider. Most twills have a 45-degree angle, but<br />
there are also steep twills (63 degrees) and lazy or reclining<br />
twills (27 degrees) (see Figure 8.3). Generally, the steeper<br />
the twill, the higher the count and the more durable the<br />
fabric. In addition, twills can be even sided (front and back<br />
are the same) or uneven (front and back are quite different).
Left-handed twill<br />
Right-handed twill<br />
Figure 8.2 Left-hand and right-hand twill patterns<br />
63°<br />
Figure 8.3 Twill degrees of diagonal<br />
45°<br />
27°<br />
S W A T C H R E F E R E N C E G U I D E F O R F A S H I O N F A B R I C S<br />
50<br />
Performance Expectations of Twill<br />
Weaves<br />
As float length increases, the following properties improve<br />
or change:<br />
Durability<br />
• Strongest overall weave<br />
• Average abrasion resistance (reduced by float length)<br />
• Improved elasticity<br />
• Improved flexibility<br />
• Higher, unbalanced count<br />
Comfort<br />
• Improved air and water resistance due to floats<br />
Care<br />
• Improved resilience<br />
Appearance<br />
• Hides soil<br />
• Improved drape<br />
• Improved luster<br />
Uneven Twills<br />
Uneven twills have a minimum ratio of 1 to 2 or 2 to 1,<br />
which means the woven structure is over one thread,<br />
under two, or a 3-to-1 ratio. Because the ratios are unbalanced,<br />
the front and back of these fabrics are always<br />
different (more so with 3-to-1 than 2-to-1). Denim is an<br />
example of this type of twill; this fabric always has an obvious<br />
technical face (front) and back. The technical face<br />
has the most pronounced wales and is more attractive<br />
and durable (Figure 8.4).<br />
[Reference Swatches 70–75, 77, 78]
Even-Sided Twills<br />
Even-sided twills are perfectly balanced, with a two-up,<br />
two-down structure (Figure 8.5). This makes it difficult<br />
to tell the difference between the technical face and back<br />
of these fabrics: they appear identical. The patterning still<br />
moves by one thread per row to create the diagonal appearance.<br />
There is generally more warp than weft in these fabrics,<br />
so you can pull yarns out of each side of the swatch to<br />
help you determine warp from weft. Once you have pulled<br />
enough yarns to create fringes in both warp and weft directions,<br />
check to see which direction has more yarns. The<br />
side with the most yarns is generally the warp. Note that<br />
if an even-sided twill is right-handed on the front of the<br />
fabric, it will be left-handed on the back.<br />
Refer to Figure 8.6, Fabric Identification Flow Chart,<br />
(below) as a quick reference for basic twill structures.<br />
[Reference Swatches 76, 79–82]<br />
3:1 Twill pattern<br />
Figure 8.4 Uneven twills: 2:1 right-handed twill (top) and<br />
3:1 left-handed twill (bottom)<br />
T W I L L W E A V E S<br />
51<br />
Figure 8.5 2:2 even-sided twill pattern
Twill<br />
2:1, 3:1, 2:2<br />
Even-sided Uneven<br />
Right hand<br />
Left hand<br />
Broken or reversing<br />
twill line<br />
Napped<br />
Yarn-dyed<br />
plaid<br />
Suiting<br />
Silklike<br />
and often printed<br />
Flannel<br />
Double<br />
twill line<br />
45° 63°<br />
Chino<br />
Denim<br />
Tartan<br />
Serge<br />
Gabardine<br />
Surah<br />
Herringbone<br />
Houndstooth<br />
Glen plaid<br />
Cavalry<br />
twill<br />
Denim<br />
Ticking Gabardine<br />
Hampton twill<br />
Drill<br />
Whipcord<br />
Figure 8.6 Fabric identification flow chart: Twill
Name:<br />
Advanced Assignment<br />
Activity 8.1 Swatch Page: Twills<br />
Date:<br />
Create a technical sketch of a garment that would be appropriate for use with a twill fabric. Search local<br />
fabric stores or thrift shops to find six classic twills that are the correct weight and hand to enhance your<br />
garment. If possible, these swatches should be cut to the appropriate size (2×3 inches). Mount and correctly<br />
identify each of the twills on the following page. Once approved by your instructor, the swatches can be<br />
added to your swatch book as alternative examples of these fabrics. Swatches should be neatly presented<br />
and mounted with the warp placed vertically. Do not share swatches with another student, and do not use<br />
swatch book swatches.
Name:<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Activity 8.1 Swatch Page: Twills (continued)<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Fabric name:<br />
Fiber content:<br />
Yarn construction:<br />
End use:<br />
Date:
Table 13. 1 Quick Reference Guide for Weft Knits<br />
Weft Knits<br />
Jersey knit Front and back of this fabric is different. Fabric curls to the face.<br />
Wales on the front, courses on the back. 3–18 oz.<br />
Lingerie jersey Lighter weight—3–5 oz.<br />
T-shirt jersey Medium weight—4–7 oz.<br />
Sweater jersey Heavier weight—10–18 oz.<br />
Slub jersey Has slub yarns in a jersey body. Uptrending in juniors market.<br />
Fair isle/jersey jacquard Uses floats and colored yarns to make a complex pattern or image.<br />
Single span/microjersey Trade-name—synthetic jersey with spandex.<br />
ITY (intertwist textured yarn) Jersey with crepe-twist yarns, alternating courses of S & Z twists.<br />
Rib Knits<br />
Rib knit 1x1 Count Vs in ribs to determine numbers. Rib knits do not curl.<br />
Rib knit 2x2 2 Vs in each rib.<br />
Pointelle Rib knit with tuck stitches creating a small pattern like hearts or stars.<br />
Slinky Coarse 1x1 rib knit. Acetate with lots of spandex. Downtrending.<br />
Onionskin 1x1 rib knit with tight and loose yarn twists to create texture.<br />
Matte jersey 1x1 rib or interlock with crepe twist yarns—not a jersey!<br />
Piqué knit Rib knit with tuck stitches. Used exclusively for polo shirts.<br />
Thermal knit Rib knit with tuck stitches, also known as waffle knit.<br />
Cable knit Rib variation with plaits or braids on one side.<br />
Purl knit Courses on both sides. Heavy and textured.<br />
Double-Weft Knits<br />
Interlock <strong>Look</strong>s like 1x1 rib; generally lighter weight than rib knits.<br />
Double-knit jacquard Complex—2 layers, yarn dyed. Front and back are different.<br />
Argyle Interlocking diamond pattern, yarn dyed. Argyle is not always a double knit.<br />
Ponte di roma Little stretch, looks like a double piqué. Very stable, used for dresses and suiting.<br />
Double-knit matelassé Double knit with a blistered, dimensional surface.<br />
Pile Knits<br />
Knitted terry Knit terry cloth.<br />
French terry Lower, flatter loops. Better markets.<br />
Knit velour Cut loops—equivalent to a knit velveteen.<br />
Sliver/high pile knit Fake fur.<br />
Crushed knit velvet Lots of texture.<br />
Panne-knit velvet Pile laid in one direction. Highest luster, best drape.<br />
Sweatshirt fleece Napped on one side. Single-sided fleece.<br />
Fleece Napped on two sides. Two-sided fleece.<br />
Swatch Reference Guide for Fashion Fabrics Chapter 13: Specialty Weft Knits
Swatch 45<br />
Fabric name: Voile<br />
Fiber content: Cotton/polyester<br />
Yarn construction: Spun<br />
Count: 64x64<br />
Coloration:<br />
Weight: 1.99 oz./sq. yd<br />
Uses: Blouses, lingerie<br />
Characteristics<br />
Voile is made of hard-twist yarns and is<br />
a lightweight, sheer fabric with a crisp,<br />
mildly crepey hand. Voile has become the<br />
generic term for all fabrics with this basic<br />
weight and structure.<br />
Lightweight Plain Weaves Lightweight Plain Weaves Lightweight Plain Weaves<br />
Swatch 45 Swatch 46 Swatch 47<br />
Swatch Reference Guide for Fashion Fabrics<br />
Swatch 46<br />
Fabric name: Batiste<br />
Fiber content: Cotton/spandex<br />
Yarn construction: Spun<br />
Count: 104x80<br />
Coloration: Piece dyed<br />
Weight: 2.15 oz./sq. yd.<br />
Uses: Shirting, blouses, handkerchiefs<br />
Characteristics<br />
Batiste is often made with combed or<br />
mercerized cotton yarns and has a softer<br />
hand than voile. Voile is more trendy<br />
at the moment, and many batistes are<br />
sold as voile.<br />
Swatch 47<br />
Similarities<br />
These are lightweight, transparent, plain-weave fabrics made of spun yarns from the cotton fiber family.<br />
Fabric name: Gauze<br />
Fiber content: Cotton/spandex<br />
Yarn construction:<br />
Count: 80x64<br />
Coloration: Piece dyed<br />
Weight: 2.06 oz./sq. yd.<br />
Uses: Blouses, summer skirts, shirts<br />
Characteristics<br />
Gauze is a lower-count plain-weave cotton<br />
fabric. Historically, gauzes have been<br />
constructed of wool, linen, and even silk.<br />
Cheesecloth is the low end of the threadcount<br />
range. Gauze may have a crushed<br />
or crinkled finish.<br />
Differences<br />
Voile is comparable to batiste, but it has a slightly more crepey hand and lower count. Batiste is softer, with a smoother hand; it is also<br />
limper, more drapey, and finer than voile. Batiste could be made of a two-ply yarn and printed, yarn dyed, or solid. Batiste and gauze share<br />
soft-twist yarns, while voile is made of hard-twist yarns.<br />
[Reference Swatch 5]<br />
Lawn (Swatch 5) often has a slightly higher count than batiste, with a little more body.<br />
Chapter 6: Plain Weaves
Swatch 173<br />
Fabric name: French terry<br />
Fiber content: Cotton<br />
Yarn construction: Spun<br />
Count: 32x48<br />
Coloration: Fiber/stock dyed<br />
Weight: 6.86 oz./sq. yd.<br />
Uses: Sweatshirts, sweaters<br />
Characteristics<br />
Fiber or stock dyeing is the earliest<br />
dyeing opportunity for natural fibers.<br />
In addition to being extremely thorough<br />
and expensive, this stage of dyeing<br />
creates heather and tweed effects.<br />
Remove a yarn to notice that each<br />
has several colors, which is the best<br />
way to identify stock dyeing.<br />
[Reference Swatch 40]<br />
Stages of Dyeing Stages of Dyeing Stages of Dyeing<br />
Swatch 173 Swatch 174 Swatch 175<br />
Swatch Reference Guide for Fashion Fabrics<br />
Swatch 174<br />
Fabric name: 2:2 plaid twill<br />
Fiber content: Polyester/rayon<br />
Yarn construction:<br />
Count: 54x48<br />
Coloration: Yarn dyed<br />
Weight: 5.74 oz./sq. yd.<br />
Uses: Shirting, lightweight pants<br />
Characteristics<br />
Yarn dyed means that the yarns were<br />
dyed, and then different colored yarns<br />
were brought together to create the fabric.<br />
Remove a yarn and you will see that<br />
each yarn is a solid color, even if each is<br />
a different color. Plaids, in general, are<br />
usually yarn dyed, and this one is an<br />
even-sided, twill plaid.<br />
Swatch 175<br />
Fabric name:<br />
Fiber content: Cuprammonium rayon<br />
Yarn construction: Spun<br />
Count: 138x90<br />
Coloration: Piece dyed<br />
Weight: 4.96 oz./sq. yd.<br />
Uses: Shirting, blouses, skirts, slacks<br />
Characteristics<br />
Piece dyeing results in a solid color,<br />
since the whole fabric is dyed at once.<br />
Although solution or dope dyeing appears<br />
the same (solid-colored), dope dyeing is<br />
more thorough and more colorfast than<br />
piece dyeing.<br />
Similarities<br />
These swatches are presented as a cross section of different stages of dyeing. Dope dyeing is not presented because it appears the same<br />
as piece dyeing, in that it produces a solid-color fabric.<br />
Chapter 16: Dyed and Printed Fabrics
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