Swatch Reference Guide for Fashion Fabrics - Fairchild Books
Swatch Reference Guide for Fashion Fabrics - Fairchild Books
Swatch Reference Guide for Fashion Fabrics - Fairchild Books
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<strong>Swatch</strong> <strong>Reference</strong> <strong>Guide</strong> <strong>for</strong> <strong>Fashion</strong> <strong>Fabrics</strong>
<strong>Swatch</strong> <strong>Reference</strong> <strong>Guide</strong> <strong>for</strong> <strong>Fashion</strong> <strong>Fabrics</strong><br />
Young_FM.indd 1 8/31/10 8:19:52 AM
<strong>Swatch</strong> <strong>Reference</strong> <strong>Guide</strong> <strong>for</strong> <strong>Fashion</strong> <strong>Fabrics</strong><br />
D<br />
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B<br />
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B F a , M F a<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<br />
Young_FM.indd 3 8/31/10 8:19:53 AM
Vice President and General Manager, Education and conference division:<br />
Elizabeth Tighe<br />
Executive Editor: olga T. kontzias<br />
assistant acquisitions Editor: amanda Breccia<br />
Editorial development director: Jennifer crane<br />
senior development Editor: Joseph Miranda<br />
creative director: carolyn Eckert<br />
Production director: Ginger hillman<br />
senior Production Editor: Elizabeth Marotta<br />
copyeditor: Jennifer Murtoff<br />
ancillaries Editor: Noah schwartzberg<br />
cover design: carolyn Eckert<br />
illustrations: ron carboni<br />
Text design and layout: Tronvig Group<br />
director, sales and Marketing: Brian Normoyle<br />
copyright © 2011 <strong>Fairchild</strong> <strong>Books</strong>, a division of condé Nast Publications.<br />
all rights reserved. No part of this book covered by the copyright hereon<br />
may be reproduced or used in any <strong>for</strong>m or by any means—graphic,<br />
electronic, or mechanical, including photocopying, recording, taping, or<br />
in<strong>for</strong>mation storage and retrieval systems—without written permission of<br />
the publisher.<br />
library of congress catalog card Number: 2008943316<br />
isBN: 978-1-56367-728-1<br />
GsT r 133004424<br />
Printed in the United states of america<br />
Mc06<br />
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v<br />
Table of Contents<br />
Preface xv<br />
Chapter 1 The Textile Cycle: From Fiber to<br />
<strong>Fashion</strong> 1<br />
Chapter 2 Natural Fibers 9<br />
Chapter 3 Manufactured Fibers 17<br />
Chapter 4 Synthetic Fibers 23<br />
Chapter 5 Yarns 31<br />
Chapter 6 Plain Weaves 37<br />
Chapter 7 Plain-Weave Variations 43<br />
Chapter 8 Twill Weaves 49<br />
Chapter 9 Satin Weaves 55<br />
Chapter 10 Pile Weaves 63<br />
Chapter 11 Complex Weaves 67<br />
Chapter 12 Knit <strong>Fabrics</strong> 73<br />
Chapter 13 Specialty Weft Knits 83<br />
Chapter 14 Warp Knits 89<br />
Chapter 15 Minor Fabrications 93<br />
Chapter 16 Dyed and Printed <strong>Fabrics</strong> 101<br />
Chapter 17 <strong>Fabrics</strong> Defined by Finishes 107<br />
<strong>Swatch</strong> Boards<br />
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vii<br />
Extended Table of 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 />
Constructing the Book xvi<br />
Instructions xvii<br />
Acknowledgments xix<br />
Chapter 1 The Textile Cycle: From Fiber to <strong>Fashion</strong> 1<br />
The Process: Start to Finish 2<br />
In Pursuit of the Perfect Textile 2<br />
Basic Definitions 3<br />
Table 1.1 Basic Textile Definition 3<br />
The Physical Textile Cycle 4<br />
<strong>Swatch</strong>es 1–4 4<br />
The Language of Textiles 4<br />
Textile Per<strong>for</strong>mance 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 10<br />
Cellulose Fibers 11<br />
<strong>Swatch</strong>es 5–9 11<br />
Table 2.1 Properties Common to All Cellulose<br />
Fibers: Cotton, Linen, Ramie, Hemp 11<br />
Table 2.2 Quick <strong>Reference</strong> <strong>for</strong> Individual<br />
Cellulose Properties 12<br />
Protein Fibers: Wool and Silk 13<br />
<strong>Swatch</strong>es 10–17 13<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<br />
14<br />
Table 2.6 Comparison of Protein Fiber Properties<br />
14<br />
Activity 2.1 <strong>Swatch</strong> Page: Cotton 15<br />
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Chapter 3 Fiber Classification: Manufactured<br />
Fibers 17<br />
Manufactured Cellulose 18<br />
<strong>Swatch</strong>es 18–25 18<br />
Manufactured Protein 18<br />
<strong>Swatch</strong> 26 18<br />
Manufactured Mineral 18<br />
<strong>Swatch</strong>es 27–28 18<br />
Table 3.1 Properties of Individual Manufactured<br />
Fibers 19<br />
Activity 3.1 In-Class Activity: Care Label<br />
Contents 21<br />
Chapter 4 Fiber Classification: Synthetic Fibers 23<br />
The Introduction of Synthetic Fibers 24<br />
<strong>Swatch</strong>es 29–33 24<br />
The Burn Test 24<br />
Table 4.1 General Properties of Synthetic Fibers 24<br />
Table 4.2 Properties Specific to Each Synthetic<br />
Fiber 25<br />
Table 4.3 Significance of Properties Common to<br />
All Synthetic Fibers 26<br />
Table 4.4 Burn Categories of Fibers 27<br />
Table 4.5 Burn Characteristics of Fibers 27<br />
Activity 4.1 Lab Activity: Fiber Burn Test 29<br />
Chapter 5 Yarns 31<br />
Yarn Classification 32<br />
Filament Yarns 32<br />
Spun Yarns 32<br />
Novelty Yarns 32<br />
Yarn Twist 32<br />
Table 5.1 Properties of Yarn Twist 32<br />
Yarn Sizing 33<br />
Yarn Count System 34<br />
The Denier System 34<br />
The Tex System 34<br />
<strong>Swatch</strong>es 34–41 34<br />
Activity 5.1 Lab Activity: Yarn Identification 35<br />
Chapter 6 Plain Weaves 37<br />
Understanding Fiber and Fabric 38<br />
Identifying <strong>Fabrics</strong> 38<br />
Criteria <strong>for</strong> Fabric Identification 38<br />
Table 6.1 Basic Weight Categories 39<br />
Organization of <strong>Fabrics</strong> in This Text 39<br />
Plain Weaves 40<br />
<strong>Swatch</strong>es 42–55 40<br />
Activity 6.1 Research Project: Generic Fiber<br />
Project 41<br />
E x T E N d E d T a B l E o F C o N T E N T S<br />
viii<br />
Chapter 7 Plain-Weave Variations 43<br />
Basket Weaves 44<br />
<strong>Swatch</strong>es 56–59 44<br />
Rib Weaves 44<br />
<strong>Swatch</strong>es 60–71 44<br />
Table 7.1 Per<strong>for</strong>mance Expectations of Basket and<br />
Rib Weaves 46<br />
Activity 7.1 <strong>Swatch</strong> Page: Plain Weaves 47<br />
Chapter 8 Twill Weaves 49<br />
Per<strong>for</strong>mance Expectations of Twill Weaves 51<br />
Uneven Twills 51<br />
Even-Sided Twills 51<br />
<strong>Swatch</strong>es 72–83 51<br />
Activity 8.1 <strong>Swatch</strong> Page: Twill Weaves 53<br />
Chapter 9 Satin Weaves 55<br />
Per<strong>for</strong>mance Expectations of Satin Weaves 56<br />
Summary of the Three Basic Weaves 57<br />
<strong>Swatch</strong>es 84–89 57<br />
Table 9.1 Comparison of Basic Weaves 58<br />
Activity 9.1 Weave Comparison Graph 59<br />
Activity 9.2 <strong>Swatch</strong> Page: Satin Weave 61<br />
Chapter 10 Pile Weaves 63<br />
Construction of Pile Weaves 64<br />
Properties of Pile Weaves 64<br />
<strong>Swatch</strong>es 90–95 64<br />
Activity 10.1 In-Class Activity: Closet Raid I 65<br />
Chapter 11 Complex Weaves 67<br />
Crepe <strong>Fabrics</strong> 68<br />
Jacquard Weaves 68<br />
<strong>Swatch</strong>es 96–111 70<br />
Activity 11.1 Research Project: Storybook 71<br />
Chapter 12 Knit <strong>Fabrics</strong> 73<br />
Construction of Knits 74<br />
Table 12.1 Comparison of Weaves and Knits 74<br />
Table 12.2 Stretch Classifications, 18%–100% 75<br />
Preparing Knits <strong>for</strong> Cut and Sew 76<br />
Knit Quality Criteria 76<br />
The Four Basic Knit Stitches 76<br />
Categories of Knit <strong>Fabrics</strong> 77<br />
<strong>Swatch</strong>es 112–127 78<br />
Table 12.3 Comparison of Weft and Warp Knits 78<br />
Activity 12.1 In-Class Activity: Closet Raid II 79<br />
Activity 12.2 Lab Activity: Knit Fabric Analysis 81<br />
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Chapter 13 Specialty Weft Knits 83<br />
Double Knits 84<br />
Interlock 84<br />
Pile Knits 84<br />
<strong>Swatch</strong>es 128–141 84<br />
Activity 13.1 Application Exercise: Knit <strong>Fabrics</strong> 85<br />
Activity 13.2 <strong>Swatch</strong> Page: Weft Knits 87<br />
Chapter 14 Warp Knits 89<br />
Tricot 90<br />
Raschels 90<br />
Table 14.1 Comparison of Tricot and Raschel<br />
Knits 90<br />
<strong>Swatch</strong>es 142–155 90<br />
Activity 14.1 <strong>Swatch</strong> Page: Warp Knits 91<br />
Chapter 15 Minor Fabrications 93<br />
<strong>Fabrics</strong> Made without Yarn 94<br />
<strong>Swatch</strong>es 156–159 94<br />
Fabric Combinations 94<br />
<strong>Swatch</strong>es 160–161 94<br />
<strong>Fabrics</strong> Made with Yarn 94<br />
<strong>Swatch</strong>es 162–164 94<br />
<strong>Fabrics</strong> Made without Yarn or Fiber 94<br />
Table 15.1 Lace Putups 95<br />
<strong>Swatch</strong>es 165–168 96<br />
Table 15.2 Minor Fabrications 96<br />
Activity 15.1 Lab Activity: Fabric Evaluation by<br />
Weight 97<br />
Chapter 16 dyed and Printed <strong>Fabrics</strong> 101<br />
The Basic Dye Process 102<br />
Stages of Dyeing 102<br />
<strong>Swatch</strong>es 169–171 103<br />
Basic Dye Chemistry 103<br />
Table 16.1 Properties of Dyes and Pigments 103<br />
Special Dye Processes 103<br />
<strong>Swatch</strong> 172 103<br />
Color Management 104<br />
Printed <strong>Fabrics</strong> 104<br />
<strong>Swatch</strong>es 173–187 104<br />
Activity 16.1 Application Activity: Wovens 105<br />
Chapter 17 <strong>Fabrics</strong> defined by Finishes 107<br />
<strong>Swatch</strong>es 188–199 108<br />
Activity 17.1 Application Exercise: Knits 109<br />
<strong>Swatch</strong> Boards<br />
E x T E N d E d T a B l E o F C o N T E N T S<br />
ix<br />
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xi<br />
<strong>Swatch</strong> Board Contents<br />
Chapter 1 The Textile Cycle: From Fiber to <strong>Fashion</strong><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. Flax<br />
8. Ramie<br />
9. Hemp<br />
Protein Fibers: Wool<br />
10. Wool<br />
11. Mohair/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 />
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Chapter 3 Fiber Classification: Manufactured<br />
Fibers<br />
Manufactured Cellulose<br />
18. Rayon ®<br />
19. Bemberg ® Cuprammonium Rayon<br />
20. Modal ®<br />
21. Tencell ® Lyocell<br />
22. Bamboo<br />
23. Acetate<br />
24. Sorona ®<br />
25. SeaTiva ®<br />
Manufactured Protein<br />
26. Soy<br />
Manufactured Mineral<br />
27. Glass<br />
28. Rayon/Metallic<br />
Chapter 4 Synthetic Fibers<br />
29. Nylon<br />
30. Acrylic<br />
31. Polyester<br />
32. Polyester Microfiber<br />
33. Nomex ® Aramid<br />
Chapter 5 Yarn Constructions<br />
Filament and Spun Yarns<br />
34. Single-Spun Rayon<br />
35. Single Multifilament Rayon<br />
36. Two-Ply Spun & Filament<br />
Novelty Yarns<br />
37. Bouclé Jersey<br />
38. Chenille<br />
39. Eyelash Jersey<br />
40. Lamé<br />
41. Herringbone Tweed<br />
Chapter 6 Fabric Structures: Plain Weaves<br />
Balanced Light-weight Sheer Plain Weaves<br />
42. Chiffon<br />
43. Georgette<br />
44. Organza<br />
45. Organdy<br />
Balanced Light-weight Opaque Plain Weaves<br />
46. Challis<br />
47. Voile<br />
48. Batiste<br />
49. Gauze<br />
Balanced Medium-weight Plain Weaves<br />
50. Gingham<br />
51. Madras<br />
52. Chambray<br />
S W a T C h B o a R d C o N T E N T S<br />
xii<br />
53. Shantung<br />
54. Handkerchief Linen<br />
55. Linen Shirting<br />
Chapter 7 Plain-weave Variations<br />
Basket Weaves<br />
56. Canvas/Duck<br />
57. Sportswear Canvas<br />
58. Ox<strong>for</strong>d<br />
59. Ox<strong>for</strong>d Chambray<br />
Rib Weaves: Filament Yarns<br />
60. Taffeta<br />
61. Iridescent Tissue Taffeta<br />
Rib Weaves: Spun Yarns<br />
62. Broadcloth<br />
63. Poplin<br />
Rib Weaves: Spun and Filament Yarns<br />
64. Bengaline<br />
65. Ottoman<br />
66. Faille<br />
67. Crepe Faille<br />
68. Crepe de Chine<br />
Vertical Ribs<br />
69. Pincord<br />
70. Dimity<br />
71. Cotton Ripstop<br />
Chapter 8 Twill Waves<br />
Uneven Twills<br />
72. Light-weight Black Denim<br />
73. Crosshatch Dark Denim<br />
74. Chino<br />
75. Hampton Twill<br />
76. Rayon Gabardine<br />
77. Polyester/Wool Gabardine<br />
78. Cavalry Twill<br />
79. Drill<br />
Even-sided Twills<br />
80. Herringbone<br />
81. Houndstooth<br />
82. Glen Plaid<br />
83. Surah<br />
Chapter 9 Satin Weaves<br />
84. Bridal Satin<br />
85. Charmeuse<br />
86. Crepe-Back satin<br />
87. Antique Satin<br />
88. Flannel-Back Satin<br />
89. Sateen<br />
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Chapter 10 Pile Weaves<br />
90. Terry Cloth<br />
91. Velveteen<br />
92. Pinwale Corduroy<br />
93. Velvet<br />
94. Crushed Velvet<br />
95. Panné velvet<br />
Chapter 11 Complex Weaves<br />
Slack Tension Weave<br />
96. Seersucker<br />
Dobby Weaves<br />
97. Dobby Shirting<br />
98. Dobby Lining/Filament Dobby<br />
99. Bird’s Eye Piqué<br />
100. Waffle Cloth<br />
101. Momie Weave<br />
Extra-yarn Weave/Supplemental Warp or Weft<br />
102. Extra-Yarn Weave<br />
103. Clip Spot<br />
104. Dotted Swiss<br />
Jacquard Weaves<br />
105. Tapestry<br />
106. Filament Damask<br />
107. Cotton Damask<br />
108. Brocade<br />
Double Weaves<br />
109. Double Weave<br />
110. Double-Weave Satin<br />
111. Matelassé<br />
Chapter 12 Knit <strong>Fabrics</strong><br />
Three Basic Weft-knit <strong>Fabrics</strong>: Jersey<br />
112. Lingerie or Tissue Jersey<br />
113. T-Shirt Jersey<br />
114. Slub Jersey<br />
Jersey Variations<br />
115. ITY<br />
Jersey with Color<br />
116. Fair Isle/Jacquard Jersey<br />
Three Basic Weft-knit <strong>Fabrics</strong>: Rib<br />
117. 1×1 Rib Knit<br />
118. 2×2 Rib Knit<br />
Rib Variations<br />
119. Piqué Knit<br />
120. Thermal Knit<br />
121. Pointelle<br />
122. Slinky<br />
123. Cable Knit<br />
124. Matte Jersey<br />
S W a T C h B o a R d C o N T E N T S<br />
xiii<br />
125. Sheer Matte Jersey<br />
126. Onionskin<br />
Three Basic Weft-knit <strong>Fabrics</strong>: Purl<br />
127. Purl-Knit Fabric<br />
Chapter 13 Specialty Weft Knits<br />
Interlock<br />
128. Polyester Interlock<br />
129. Cotton Interlock<br />
Double Knits<br />
130. Double Jacquard<br />
131. Ponte di Roma<br />
132. Argyle<br />
133. Double-Knit Matelassé<br />
134. Bird’s-Eye Wickaway Piqué<br />
Pile Knits<br />
135. Knit Terry<br />
136. French Terry<br />
137. Sliver Knit<br />
138. Velour<br />
139. Stretch Velvet<br />
140. Microfleece<br />
141. Sweatshirt Fleece<br />
Chapter 14 Warp Knits<br />
Tricots<br />
142. Tricot<br />
143. Shimmer<br />
144. Brushed Tricot<br />
145. Sueded Tricot<br />
146. Satin Tricot<br />
147. Athletic Mesh<br />
Raschel<br />
148. Hex Net<br />
149. Power Mesh<br />
150. Triple Mesh<br />
151. Tulle<br />
152. Raschel Lace<br />
153. Cut Press<br />
154. Fishnet<br />
155. Point d’Esprit<br />
Chapter 15 Minor Fabrications<br />
<strong>Fabrics</strong> Made without Yarn<br />
156. Nonwoven, Nonfusible Interfacing<br />
157. Fusible Tricot Interfacing<br />
158. Imitation Suede<br />
159. Needlepunched Eco Felt<br />
Fabric Combinations<br />
160. Pleather<br />
161. Quilt<br />
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<strong>Fabrics</strong> Made with Yarn, but not Woven or Knit<br />
162. Embroidered Eyelet<br />
163. Tufted Chenille<br />
164. Venise Lace<br />
<strong>Fabrics</strong> Made without Yarn or Fiber<br />
165. Film<br />
166. Pro-Shell Ultrex ®<br />
167. Leather<br />
168. Suede<br />
Chapter 16 dyed and Printed <strong>Fabrics</strong><br />
Stages of Dyeing<br />
169. Fiber/Stock Dyed<br />
170. Yarn Dyed<br />
171. Piece Dyed<br />
172. Cross Dyed<br />
Printed <strong>Fabrics</strong>: Classics Recognized by Pattern<br />
173. Calico<br />
174. Toile du Jouy<br />
Printed <strong>Fabrics</strong>: Non-Classic Images<br />
175. Direct Print<br />
176. Blotch Print<br />
177. Overprint<br />
Better-Quality Prints<br />
178. Discharge Print<br />
179. Heat-Transfer Print<br />
180. Heat-Transfer Paper<br />
181. Flock Print<br />
182. Velvet Burnout<br />
183. Batiste Burnout<br />
184. Laser Print<br />
Resist Prints<br />
185. Tie-Dye<br />
186. Batik<br />
187. Ikat<br />
Chapter 17 <strong>Fabrics</strong> defined by Finishes<br />
Napping<br />
188. Flannel<br />
189. Flannelette<br />
Emerizing/Sueding<br />
190. Sueded Wickaway Jersey<br />
191. Moleskin<br />
192. Peachskin<br />
Specialized Calendering<br />
193. Glazed Chintz<br />
194. Moiré Taffeta<br />
195. Embossed knit velvet<br />
196. Pleated Jersey<br />
197. Yoryu<br />
198. Plissé<br />
199. Fulled Double Weave<br />
S W a T C h B o a R d C o N T E N T S<br />
xiv<br />
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xv<br />
Preface<br />
Everyday 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 <strong>for</strong> anyone in the fashion industry: students,<br />
teachers, stylists, buyers, designers, colorists, in short, <strong>for</strong><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. <strong>Fashion</strong> and the apparel trade<br />
require textile science to achieve the appropriate per<strong>for</strong>mance<br />
of the product; however, the science in this book<br />
has a different focus from most textile science 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 per<strong>for</strong>mance 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 <strong>for</strong> their chosen end products. This text strikes the<br />
necessary balance between scientists and designer. It culls<br />
the in<strong>for</strong>mation 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<br />
textile together into a common place. With all the in<strong>for</strong>mation<br />
in one location, students can spend less time attempting<br />
to connect the dots and more time applying the<br />
concepts.<br />
Young_FM.indd 15 8/31/10 8:19:56 AM
The Objectives of the Text<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<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 in<strong>for</strong>mation necessary to make<br />
in<strong>for</strong>med decisions regarding textiles and to communicate<br />
with industry professionals.<br />
Demonstrate correct use of textile terminology, which,<br />
in itself, is a unique language.<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<br />
the fabric. This would include potential product per<strong>for</strong>mance,<br />
cost, and selection, based on fiber, yarn,<br />
fabrication, coloration, and finishes.<br />
Differentiate fiber classifications, yarn types, and fabrication<br />
methods, and determine how different fabrics<br />
will per<strong>for</strong>m <strong>for</strong> a specific end use.<br />
Demonstrate the selection of appropriate components<br />
of a garment with respect to compatibility with each<br />
other and with the desired result.<br />
The Study of Textiles<br />
Ultimately the study of textiles will help the designers to<br />
make in<strong>for</strong>med decisions throughout the entire design and<br />
construction process. For example, if you were to make a cotton<br />
blouse, does the fiber content of the thread also have to be<br />
cotton? What about buttons, linings, and interfacings? Polyester<br />
is often both stronger and cheaper than cotton. Would<br />
polyester be a better choice <strong>for</strong> something as seemingly inconsequential<br />
as sewing thread? The polyester thread could<br />
be too strong <strong>for</strong> the garment, and the fabric might tear be<strong>for</strong>e<br />
the seam gives way. Do polyester and cotton have the<br />
same shrinkage rates? Do they have the same heat tolerance<br />
<strong>for</strong> ironing and care? Certainly they are used together often<br />
enough that they must be compatible. But they are not always<br />
compatible. Polyester and cotton actually have dramatically<br />
different care requirements, so fiber mixing must be done<br />
judiciously. This example represents a tiny fraction of the<br />
myriad decisions that you will face in your career. A diligent<br />
study of textiles will give you the knowledge and confidence<br />
to make more in<strong>for</strong>med and 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 />
is the cost of the fabric. Mistakes in fabric choices can dra-<br />
P R E F a C E<br />
xvi<br />
matically 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 <strong>for</strong> fabrics appropriate<br />
to a given use, design, or silhouette. In addition,<br />
the in<strong>for</strong>mation 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. The<br />
next chapter addresses yarn constructions and relevance.<br />
The body of the text is devoted to the identification and articulation<br />
of fabrics by structure and name. The final chapters<br />
address the dyeing, printing, and finishing of fabrics.<br />
Each chapter is punctuated with representative examples of<br />
swatches to re-en<strong>for</strong>ce the subject of the chapter.<br />
Fibers: Natural and Man made<br />
Yarn constructions<br />
Wovens, knits or Minor Fabrications<br />
dyes or Prints<br />
Finishes<br />
End Uses<br />
Constructing the Book<br />
Your first task will be to build this book. One of the things<br />
that you will notice is that text is provided <strong>for</strong> each swatch;<br />
you need only attach the swatches. Although the book is<br />
organized into logical and sequential chapters, the instructor<br />
may well use swatches out of order. It is advised that<br />
you construct the entire book during the first week of class,<br />
mounting all of the swatches at once. This will enable you<br />
to have a complete resource of swatches at your fingertips<br />
<strong>for</strong> the instructor to draw upon to illustrate ideas.<br />
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Instructions<br />
• Begin by identifying the materials needed:<br />
- Four bundles of swatches: A, B, C, and D<br />
- Small baggie with fiber and two yarns<br />
- <strong>Swatch</strong> boards to mount the swatches<br />
- Pick glass<br />
- Pick needle (not included)<br />
- 1 roll of double-sided tape (not included)<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
The text and swatch boards are shrinkwrapped together.<br />
You have the option of either placing the swatch<br />
boards at the end of your binder, or placing them<br />
next to the accompanying text. All of the swatches are<br />
numbered and correspond to references in the text.<br />
The swatches are bundled in the order that they appear<br />
in the text. Keep the rubber bands on the bundles<br />
until you are ready to assemble the book. Take<br />
swatches from the top of the bundle and keep the<br />
stack face up.<br />
Open the baggie first and attach the fiber to the box<br />
<strong>for</strong> <strong>Swatch</strong> 1 with one-inch of double-sided tape.<br />
Note: If you use exactly one-inch of tape <strong>for</strong> each<br />
swatch, you will not need more than one roll. Place<br />
tape in the middle of the box, and cover the tape<br />
with fiber.<br />
Attach the blue cotton yarn to the box <strong>for</strong> <strong>Swatch</strong> 2.<br />
Attach the white filament yarn to the box <strong>for</strong> <strong>Swatch</strong> 3.<br />
Next, attach the four bundles of swatches sequentially<br />
in the book. Place one-inch of the double-sided tape<br />
horizontally across the top of the swatch box, and<br />
then place the swatch on top of the tape. This way,<br />
you can flip up the swatch to observe and feel both<br />
the front and back.<br />
The swatches are presented in the following bundles:<br />
- 1 bag of fibers and yarns includes <strong>Swatch</strong>es 1-3<br />
- A has <strong>Swatch</strong>es 4–67<br />
- B has <strong>Swatch</strong>es 68–121<br />
- C has <strong>Swatch</strong>es 122–141<br />
- D has <strong>Swatch</strong>es 142–199<br />
Due to availability of some fabrics, there are a few minor<br />
variations in the swatches presented. In all cases,<br />
the swatches have the same character: they share the<br />
same fiber content, yarn construction, count, weight,<br />
stage of dyeing, and finishes. However, the color of<br />
the swatches may vary between kits.<br />
As you apply the swatches to the swatch boards, verify<br />
that the swatch matches the description that is listed.<br />
Rely on fabrics that you already know, such as denim<br />
P R E F a C E<br />
xvii<br />
•<br />
•<br />
or velvet. Check that you are on the right number as<br />
you get to the end of each bundle.<br />
Finally, verify that you have a pick glass in your kit.<br />
Open the pouch and unfold the glass completely.<br />
Look through the glass to the ruler below, and look at<br />
the fabric on your sleeve to get used to the pick glass.<br />
You will use this instrument throughout your study of<br />
textiles, so have it with you <strong>for</strong> every class.<br />
It is often helpful to have a pick needle to assist in<br />
your analysis of fabrics, particularly when it comes<br />
to counts or pick outs (analyzing the structure of the<br />
fabric).<br />
While most facts are provided <strong>for</strong> each swatch in the<br />
text, there instances where the in<strong>for</strong>mation <strong>for</strong> yarn construction<br />
has been eliminated. This corresponds directly<br />
to Activities in the text and requires the student 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 (as opposed to<br />
piled). In the case of filament yarns, one can assume multifilament,<br />
unless otherwise indicated.<br />
Some criteria are present only when it is particularly<br />
relevant. Finishes, <strong>for</strong> example is a missing criteria <strong>for</strong> most<br />
fabrics, when it is not an aesthetic or visible finish. This<br />
does not mean that there is no finish on the fabric, we<br />
recognize that most fabrics have a dozen finishes on them<br />
be<strong>for</strong>e they are seen by the consumer; it means that there<br />
is no visible or discernible finish.<br />
Finally, the in<strong>for</strong>mation that is most important or<br />
relevant to the pertinent chapter is often listed first. For<br />
example, in chapters 2-4 when fiber content is being discussed,<br />
fiber is the first item in the list of facts about the<br />
fabric. <strong>Fabrics</strong> are listed first <strong>for</strong> each swatch in the fabrics<br />
chapters (Chapters 6-17). The shift is deliberate to focus<br />
on the subject of the relevant chapter.<br />
Five blank swatch boards have been provided to allow<br />
the student to expand on this fabric reference with their<br />
own fabrics.<br />
Young_FM.indd 17 8/31/10 8:19:56 AM
xix<br />
acknowledgments<br />
An undertaking of this sort is truly a collaborative<br />
project, and there are many people I wish to<br />
thank <strong>for</strong> their patience, encouragement, and support.<br />
I am grateful <strong>for</strong> the support of Carol Shaw Sutton,<br />
who nurtured a love of textiles and helped me to see the<br />
world through fiber eyes. B. J. Sims and Maribeth Baloga<br />
were each essential parts of my education <strong>for</strong> this subject.<br />
Amanda Starling provided the motivation and impetus<br />
<strong>for</strong> this book. Jacob Kaprelian of Uniprints, Peter Krauz<br />
of Trimknits, and Nori Hill of Texollini were each kind<br />
enough to custom produce fabrics <strong>for</strong> this project. Rubin<br />
Schubert and the crew at Ragfinders generously provided<br />
many of the exciting fabrics found in this resource. Anne<br />
Bennion offered support and resources and Tom Young<br />
contributed much needed research. My technical support<br />
team, colleagues, and good friends have been and continue<br />
to be Ben Amendolara, Cassandra Durant Hamm, and<br />
Judy Picetti. I truly could not have put this together without<br />
their insights, support, and faith. I also wish to thank<br />
the <strong>Fairchild</strong> team <strong>for</strong> their initial vision and realization<br />
of the final product. A personal thanks to Martin, Tim,<br />
and Maria at Perry Color Card <strong>for</strong> shepherding the fabrics<br />
through the swatch cutting process. Invaluable assistance<br />
in the assembly of this project was diligently provided by<br />
Mariah Connell and Chad Simpson. I am appreciative of<br />
the patience of the rest of my family during the course of<br />
this three-year project: Amanda, Diana, Mike, Kim, and<br />
Alyssa. Thank you all <strong>for</strong> your generosity, caring, and support.<br />
Most of all, I want to thank Jim Young, who traveled<br />
with me on every wild goose chase, was my personal editor<br />
on this project (and in life), and my heart in this book.<br />
Young_FM.indd 19 8/31/10 8:19:56 AM
<strong>Swatch</strong> <strong>Reference</strong> <strong>Guide</strong> <strong>for</strong> <strong>Fashion</strong> <strong>Fabrics</strong><br />
Young_FM.indd 21 8/31/10 8:19:56 AM
C<br />
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The Textile Cycle: From Fiber to <strong>Fashion</strong><br />
Young_01.indd 1 8/31/10 8:22:10 AM
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 <strong>for</strong> 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 />
uni<strong>for</strong>mity 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 <strong>for</strong> its hand, drape, or color. Today’s consumer<br />
wants per<strong>for</strong>mance—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 choice<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 <strong>for</strong> 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 <strong>for</strong> more versatile and<br />
functional fabrics, finishing and care have become major<br />
areas of interest within the textile world, unlimited in their<br />
commercial potential. For example, one segment of the<br />
textile industry is devoted to fibers and finishing processes<br />
that resist stains. In their search <strong>for</strong> more stain-resistant<br />
fabrics, researchers have developed textiles that have superior<br />
color retention—even if the color happens to be a<br />
stain. It is an interesting paradox that once a stain has managed<br />
to get past the finish and into the fibers of the fabric<br />
itself, it becomes more difficult to eliminate. Stain removal<br />
may not be the most exciting segment of the industry, but<br />
when you have spilled ink on your sister’s favorite shirt,<br />
it certainly becomes a compelling subject. (Hairspray will<br />
usually remove that ink and get you out of trouble.) This<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 />
and other new developments in textile science are moving<br />
the textile industry into fascinating new realms.<br />
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 per<strong>for</strong>mance 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 <strong>for</strong>,<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 <strong>for</strong> better, unique products.<br />
For example, the military has developed textiles that<br />
interface with the Global Positioning System (GPS) to<br />
keep track of people. Think of the possibilities. You could<br />
track your children’s whereabouts or even LoJack ® your<br />
spouse! The military has also developed textiles that make<br />
a person appear invisible and shoes that can help one jump<br />
20-foot walls. After the jump however, a 6-hour recharge<br />
is required be<strong>for</strong>e you can jump back out of enemy territory!<br />
(You might wish to take a spare battery!) Imagine<br />
amazing your friends on a basketball court! On a more<br />
serious note, there are textiles with sensors that will detect<br />
the amount of blood lost in a person wounded in the field,<br />
perhaps to determine the viability of a rescue ef<strong>for</strong>t. And<br />
we have textiles that stiffen to act as a splint when necessary<br />
<strong>for</strong> combat injuries as well as those that can dispense<br />
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 in<strong>for</strong>mation 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 the<br />
medication transdermally (through the skin), just by wearing<br />
the shirt. The shirt continues to administer medication<br />
through as many as 30 to 40 washes. Using the same<br />
technology, one could add many different medications to<br />
a garment. Consider a scarf that provides relief <strong>for</strong> headaches,<br />
gloves <strong>for</strong> arthritis sufferers, or a special shirt <strong>for</strong><br />
Alzheimer’s patients. What happens when these garments<br />
become mainstream technology? Will you need a prescription<br />
<strong>for</strong> your clothes? Will your dress have an expiration<br />
Young_01.indd 2 8/31/10 8:22:10 AM
date? Will there be a black market <strong>for</strong> medicated underwear?<br />
These are fascinating possibilities, but they raise<br />
some provocative ethical questions as well.<br />
In another example of fiber-<strong>for</strong>ward thinking, researchers<br />
are experimenting with spider silk because of its<br />
extreme strength. Spider silk is so strong that if you were<br />
to spin a strand of yarn the diameter of a pencil, it could<br />
stop a 747 in flight. In manufacturing, fiber strength is<br />
critical because the stronger the fiber, the less is needed<br />
<strong>for</strong> 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<br />
(that is, eat their webs), which is the equivalent of packing<br />
up their tents, when they move on. Researchers have had<br />
to get creative in the cultivation of spider silk. Experiments<br />
are being done in cross-breeding spiders with potatoes,<br />
corn, and even goats. Yes, there exists a herd of spider-goats<br />
that produce milk that provide us with really strong fibers.<br />
This is not the future of textiles; this is the present.<br />
Here are some other high-per<strong>for</strong>mance textiles that<br />
are pushing the envelope of textile technology:<br />
•<br />
•<br />
•<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 />
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 />
•<br />
•<br />
•<br />
•<br />
•<br />
•<br />
•<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<br />
whim).<br />
Textiles that change color with the presence of odorless<br />
pesticides or gases—great <strong>for</strong> detecting these dangers<br />
in your children’s play areas.<br />
Textiles that adjust to your body temperature, cooling<br />
you when hot, warming you when cold. Using Thermocule<br />
technology, there are sheets that do just that<br />
so that you do not need to throw the covers on and<br />
off all night. These sheets read your body temperature<br />
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.<br />
T-shirts that play movie trailers or short videos across<br />
your chest.<br />
Window curtains that act as solar panels and power<br />
your house.<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 />
table 1.1 Basic Textile Definitions<br />
Textile An umbrella term <strong>for</strong> anything that can be made from a fiber or fabric. This is a very general term that could be a<br />
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 <strong>for</strong>m 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 minor 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 per<strong>for</strong>ms. A fabric can be<br />
dramatically changed from its original appearance or per<strong>for</strong>mance by the way it is finished.<br />
Young_01.indd 3 8/31/10 8:22:10 AM
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 <strong>for</strong> 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 a staple, with short fibers, and so is wool.<br />
Acrylic is constructed as a manmade 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 <strong>for</strong><br />
easier blending with the staple cotton fibers and <strong>for</strong> an allover<br />
cotton hand, the term <strong>for</strong> 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 following swatches compare the different stages<br />
of a textile, from the raw fiber through the most common<br />
yarn types, spun and filament, and finally to the simplest<br />
fabric made from these fibers.<br />
<strong>Swatch</strong> 1 is a staple cotton fiber. <strong>Swatch</strong> 2 is a yarn<br />
made of cotton staple fibers.<br />
Compare this with <strong>Swatch</strong> 3, which is filament polyester.<br />
<strong>Swatch</strong> 4 is a fabric made of staple fibers. In effect,<br />
these swatches represent the textile cycle: harvest the fiber<br />
from the plant, spin it into a yarn, and use the yarn<br />
to construct the fabric. Note as well the simple difference<br />
in length between the fibers of the two yarns (<strong>Swatch</strong>es<br />
2 and 3). Both yarns are unusually large to aid identification.<br />
In Chapter 5, we will further explore these differences<br />
by comparing two fabrics identical in structure<br />
and fiber; one is made of filament fibers and the other is<br />
staple.<br />
[<strong>Reference</strong> <strong>Swatch</strong>es 1–4]<br />
The Language of Textiles<br />
Be<strong>for</strong>e 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 per<strong>for</strong>mance properties<br />
of each fiber, yarn, and fabric construction. Familiarity<br />
with per<strong>for</strong>mance 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 />
mitigates the possibility of making poor fabric choices <strong>for</strong><br />
a particular garment.<br />
Here is an example: We know that linen wrinkles horribly.<br />
By selecting a particular yarn or fabric construction,<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 />
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 <strong>for</strong> a specific<br />
purpose? This will be answered in part by studying the<br />
following five per<strong>for</strong>mance concepts: durability, com<strong>for</strong>t,<br />
care, appearance, and safety. The per<strong>for</strong>mance of any given<br />
textile is determined by the properties of the fiber, yarn,<br />
and fabric; every component of the construction of a fabric<br />
(fiber, yarn, and so on) inherently has these properties.<br />
In the chapters to come, these per<strong>for</strong>mance concepts will<br />
be extended to all the components of fabric construction.<br />
In this way, you will learn to create fabulous garments that<br />
per<strong>for</strong>m beautifully.<br />
Textile Per<strong>for</strong>mance Concepts and Properties<br />
Per<strong>for</strong>mance concepts relate to the measure of a textile’s<br />
ability to per<strong>for</strong>m in the final product. These concepts include<br />
durability, com<strong>for</strong>t, care, appearance, and safety.<br />
Properties of Durability<br />
Durability is the measure of a textile product’s ability<br />
to resist stress and serve its intended use. (Each criterion<br />
can 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 />
• Pilling: The <strong>for</strong>mation 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 <strong>for</strong> yarn spinning. Usually provided by<br />
crimp.<br />
• Feltability: The ability of fibers to matte together to<br />
<strong>for</strong>m 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 a fabric.<br />
• Elasticity: The ability of a fiber to stretch and recover<br />
(return to its original size and shape after stretching).<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 />
• Strength-tenacity: The ability of a fiber, yarn, or fabric<br />
to resist stress.<br />
Young_01.indd 4 8/31/10 8:22:11 AM
C<br />
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I<br />
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Plain Weaves<br />
Young_06.indd 37 8/31/10 8:27:14 AM
Understanding Fiber and Fabric<br />
The difference between fiber and fabric is one of the most<br />
fundamental concepts in textiles and generally one of the<br />
most misunderstood. Fibers are the basic building materials.<br />
<strong>Fabrics</strong> are the final woven, knit, or other constructions.<br />
Identifying the fiber content is important, but it<br />
does not provide the complete picture of a fabric. Think<br />
of describing a house by calling it wood. While the house<br />
may be built primarily of wood, that description does not<br />
create an adequate representation of the entire structure.<br />
Quite simply, fiber is what the fabric is made of, and fabric<br />
is what fiber is made into.<br />
Understanding the relationship between fiber and<br />
fabric is essential to every textile-related discipline from<br />
product developer to fashion designer. Cotton is a very<br />
common fiber that can be constructed into many different<br />
fabrics, such as calico, denim, and jersey. Yet not all cotton<br />
fabrics are alike in their per<strong>for</strong>mance capabilities.<br />
Silk and satin are often confused; they are not the<br />
same thing. Silk is a fiber, and satin is a fabric. Sometimes<br />
silk is made into satin, but more often than not, satin is<br />
made of rayon, acetate, or even polyester. And silk can be<br />
made into many other fabrics.<br />
Fabric stores often organize their inventory by fiber.<br />
If you ask an employee the name of a fabric, he or she<br />
might tell you it is cotton or silk, while showing you a<br />
jersey or broadcloth. Although this practice is common,<br />
it leaves too much room <strong>for</strong> expensive errors. The fiber<br />
content is not the fabric name. Think of all the cotton<br />
fabrics that you know. Are they interchangeable? If you<br />
decide to make a cotton T-shirt and you order cotton<br />
fabric, could you make this garment if you received cotton<br />
corduroy or cotton batiste? No, and that is why it<br />
is not enough to identify a fabric by its fiber content.<br />
Knowing the fiber content is a good beginning, but <strong>for</strong><br />
people working in the industry, a greater knowledge of<br />
fabric names and their per<strong>for</strong>mance criteria are required<br />
to successfully create a textile product <strong>for</strong> fashion, home,<br />
or industry.<br />
In Activity 3.1 (see page 21), we analyzed the details<br />
of care labels and discovered that they are rather limited in<br />
scope. If a label says cotton, silk, polyester, or rayon, it is<br />
the fiber content that is listed and not the fabric. In fact,<br />
fabric names are not even required on a care label. Does<br />
this mean that fabric in<strong>for</strong>mation is not important? It is<br />
extremely important, as you will soon see.<br />
Review <strong>Swatch</strong> 1 (cotton fibers) and <strong>Swatch</strong> 4 (the<br />
simplest cotton fabric) <strong>for</strong> a reminder of the difference between<br />
fiber and fabric.<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 />
38<br />
Identifying <strong>Fabrics</strong><br />
How do we identify fabrics? Most people attempt to<br />
identify fabric by feel. With today’s textile manufacturing<br />
technology, you can be completely fooled by this method.<br />
The bottom line is that identification by touch only is extremely<br />
unreliable. A more analytical approach is required<br />
to accurately differentiate one fabric from another<br />
What are the other identifying factors? As we move<br />
through this section, we will be looking at many fabrics<br />
that have the same fabric structure but different names.<br />
First, we must define the criteria <strong>for</strong> identifying fabrics so<br />
that recognition becomes possible. Then we will apply the<br />
basic criteria to each fabric in order to identify it.<br />
Criteria <strong>for</strong> Fabric Identification<br />
The names of fabrics are often tied to their characteristics<br />
and there<strong>for</strong>e can be helpful in determining a fabric’s<br />
identity.<br />
• <strong>Fabrics</strong> can be named <strong>for</strong> their inherent structure.<br />
Herringbone is always a reversing twill; the structure<br />
relates to the fabric’s method of construction and is<br />
created by a specific interlacing pattern. (Interlacings<br />
are the organization of horizontal and vertical—warp<br />
and weft—yarns as they cross over and under one another.)<br />
• Fiber content is sometimes responsible <strong>for</strong> a fabric’s<br />
name, such as China silk or handkerchief linen. Linen<br />
is usually, but not always, made of flax, but China silk<br />
is always a plain weave made of silk.<br />
• <strong>Fabrics</strong> can be named <strong>for</strong> their origins, such as damask<br />
<strong>for</strong> Damascus; paisley <strong>for</strong> the city in Scotland, and<br />
gauze <strong>for</strong> Gaza.<br />
• <strong>Fabrics</strong> are often distinguished by their finishes. Flannelette<br />
is generally a simple plain-weave cotton fabric.<br />
With a napped finish it becomes flannelette and even<br />
per<strong>for</strong>ms differently. Without this finish, it would not<br />
be flannelette.<br />
• Method of coloration is often a factor in identification.<br />
Gingham, chambray, and madras are all plainweave<br />
cotton fabrics that are in the same weight<br />
category. The differences between them lie in the<br />
organization of their yarn-dyed colors. Madras uses<br />
several yarn-dyed colors in both directions, creating a<br />
plaid design. Chambray has a white weft and colored<br />
warp. Gingham uses alternating blocks of white and a<br />
color in both directions to <strong>for</strong>m a checked pattern.<br />
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• Yarn construction can determine fabric identity.<br />
Voile and batiste are basically the same fabric, with<br />
differently twisted yarns. Voile has hard-twisted yarns;<br />
batiste is much softer. The placement of spun and filament<br />
yarns can determine fabric name as well. Bengaline<br />
is often identified by a spun weft and filament<br />
warp.<br />
• Print can be a determining factor. Calico is a lightweight,<br />
plain-weave, cottonlike fabric with a small<br />
floral print. Although each of these factors is important,<br />
it is ultimately the print that gives this fabric its<br />
identity and distinguishes it from many other fabrics<br />
of like hand and structure.<br />
• Finally, weight is an important consideration. Often,<br />
fabrics with different identities share the same fiber,<br />
yarn, and fabric construction. Poplin and broadcloth<br />
are basically the same fabric; their distinguishing feature<br />
is simply weight. Broadcloth is a lighter-weight<br />
version of poplin.<br />
The last factor on this list, weight, is one of the most<br />
significant, defining criteria of a fabric. Fabric is often<br />
bought and sold by weight.<br />
Consider the case of denim. This is an extremely<br />
common fabric that everyone knows, but not all denim is<br />
the same. Denim is described by weight, often expressed<br />
as ounces per square yard (oz./sq. yd.). Denim can range<br />
from a very thin, light-weight 4 to 5 ounces per square<br />
yard up to the aptly named bull denim, which can weigh<br />
as much as 18 ounces per square yard. Different weights<br />
of fabrics have different uses. Top weight generally means<br />
that a fabric is an appropriate weight <strong>for</strong> the top half of the<br />
body—a blouse or shirt. Bottom weight is appropriate <strong>for</strong><br />
the bottom half of the body—pants, slacks, or even suiting<br />
materials. Note in Table 6.1, which shows appropriate uses<br />
table 6.1 Basic Weight Categories<br />
Category oz./sq. yd. Appropriate End Uses<br />
Extremely Light Weight (i.e., lingerie) 0–1 oz. or<br />
< 1 oz.<br />
P l a i n w e a v e S<br />
39<br />
<strong>for</strong> fabrics of different weights, that the medium category<br />
straddles both top and bottom weights. This is a fabric<br />
that is generally considered heavy <strong>for</strong> a blouse, light <strong>for</strong><br />
a pant.<br />
Organization of <strong>Fabrics</strong> in This Text<br />
<strong>Fabrics</strong> in this text are logically organized into groups by<br />
their similarities, beginning with the simplest weave structure,<br />
plain weave. Within each chapter, the fabric organization<br />
will progress from the lightest weight up through<br />
the heavier weight versions of each structure.<br />
<strong>Fabrics</strong> have been around <strong>for</strong> 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, linen, 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, a cottonlike<br />
fabric might be made entirely of polyester. (This<br />
would be an example of polyester imitating cotton, as it<br />
often does.)<br />
The elements of a textile, which are identified with<br />
each fabric, are fiber content, yarn construction, fabric<br />
name, count, coloration method, finishes, and weight. In<br />
terms of yarn construction, one can assume that all yarns<br />
are single unless identified as plied. In the case of filament,<br />
assume multifilament, since this is most often the case in<br />
fabrics. This text also acknowledges that fabrics receive<br />
about a dozen finishes be<strong>for</strong>e they reach the consumer.<br />
Most of these finishes are general, such as washing, ironing,<br />
or bleaching. These will be assumed and not listed.<br />
Only aesthetic (visible) finishes will be listed.<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 />
Chiffon dresses/blouses, sheers<br />
Light Weight (i.e., top weight) 1–4 oz./sq. yd. Blouses, light summer dresses<br />
Medium Weight* (i.e., top weight, bottom weight) 4–7 oz./sq. yd. Heavier top weight and lighter bottom weight slacks and<br />
suitings<br />
Medium to Heavy Weight (i.e., bottom weight) 7–9 oz./sq. yd. Bottom weight slacks and suitings, lightweight summer<br />
jackets<br />
Heavy Weight (i.e., jacket or blanket weight) > 9 oz. Blankets, heavier coats<br />
* Medium weight comprises both top and bottom weights. This is a fabric that is generally considered heavy <strong>for</strong> a blouse and light <strong>for</strong> a pant.<br />
Young_06.indd 39 8/31/10 8:27:15 AM
Name: Date:<br />
Purpose: To determine why certain fibers are used <strong>for</strong> specific consumer end products, based on<br />
evaluation of their properties.<br />
Procedure<br />
1. Research the Internet or retail catalogs to find<br />
five textile-based consumer apparel adver-<br />
tisements that provide the generic fiber con-<br />
tent in the ad.<br />
• The five ads should include:<br />
- one natural protein fiber ad<br />
- one natural cellulose fiber ad<br />
- one man-made cellulose fiber ad<br />
- two different synthetic fiber ads<br />
• Avoid blends. Find ads with single-fiber fab-<br />
rics.<br />
2. Property names: Identify the three most posi-<br />
tive properties <strong>for</strong> the fiber featured in each<br />
of the ads. Select properties that reflect the<br />
best qualities of the fiber.<br />
3. Definitions of properties: Define each of the<br />
three properties you have identified <strong>for</strong> each<br />
advertisement to validate consumer end use.<br />
For each property, provide a correct, specific<br />
description stated in your own words. Finally,<br />
explain why the fiber is relevant to the prod-<br />
uct’s end use.<br />
4. Prepare a presentation on your findings in-<br />
cluding the following:<br />
• Create a title page with the title of the project,<br />
your name, your instructor’s name, the course<br />
number, the class day and time, and the date.<br />
activity 6.1 Research Project: Generic fiber Project<br />
• Place each ad securely and cleanly on a separate<br />
8 1/2×11-inch page. Alternatively, cut and paste<br />
internet ads onto the page. The ads should in-<br />
clude the text from the ad describing the product<br />
and the fiber content. Highlight the text that de-<br />
scribes the fiber content.<br />
• Follow the ad with your typed, double-spaced<br />
content, which should appear on the same<br />
page as the ad.<br />
• Attach all sheets in the packet with a staple.<br />
Tips<br />
• Choose properties relevant to the consumer!<br />
(For example, avoid the dimensional stability<br />
of a wedding gown or a polyester bikini that<br />
will keep you warm!)<br />
• Avoid properties that are average. Sell this<br />
garment with the best possible properties!<br />
• Write about fiber, not fabric.<br />
• Avoid trade names; this is a generic fiber as-<br />
signment.<br />
• Use <strong>for</strong>mal properties: cheap and washable<br />
are not properties.<br />
• Each of the five ads must feature a different<br />
fiber, and each fiber must be intended <strong>for</strong> a<br />
different consumer end use.<br />
Young_06.indd 41 8/31/10 8:27:17 AM
5<br />
<strong>Swatch</strong><br />
Fiber content: Cotton<br />
Fabric name: Lawn<br />
Yarn construction: Spun<br />
Count: 108×88<br />
Coloration: Print<br />
Weight: 1.7 oz./sq. yd.<br />
Uses: Blouses and summer wear<br />
Cellulose Fibers<br />
Cellulose Fibers<br />
<strong>Swatch</strong> 5 <strong>Swatch</strong> 6<br />
6<br />
<strong>Swatch</strong><br />
Fiber content: Organically color-grown<br />
cotton<br />
Fabric name: Poplin<br />
Yarn construction:<br />
Count: 64×35<br />
Coloration: Color grown, natural, undyed<br />
Weight: 6 oz./sq. yd.<br />
Uses: Jacket, blouses, bottom weight, and<br />
decorative uses<br />
© 2011 <strong>Fairchild</strong> <strong>Books</strong>, a division of Condé Nast Publications, Inc. Chapter 2: Fiber Classifications: Natural Fibers<br />
Young_<strong>Swatch</strong>Boards_Final.indd 113 8/31/10 9:27:05 AM
7<br />
<strong>Swatch</strong><br />
Cellulose Fibers Cellulose Fibers Cellulose Fibers<br />
<strong>Swatch</strong> 7 <strong>Swatch</strong> 8 <strong>Swatch</strong> 9<br />
Fiber content: Flax<br />
Fabric name: Butcher linen<br />
Yarn construction: Spun<br />
Count:<br />
Coloration: Natural color<br />
Weight: 7.1 oz./sq. yd.<br />
Uses: Suitings, blouses, and skirts<br />
8<br />
<strong>Swatch</strong><br />
Fiber content: Ramie<br />
Fabric name: Plain-weave “linen”<br />
Yarn construction: Spun<br />
Count: 66×54<br />
Coloration: Piece dyed<br />
Finishes: Beetled<br />
Weight: 5.5 oz./sq. yd.<br />
Uses: Suitings, blouses, and dresses<br />
© 2011 <strong>Fairchild</strong> <strong>Books</strong>, a division of Condé Nast Publications, Inc. Chapter 2: Fiber Classifications: Natural Fibers<br />
9<br />
<strong>Swatch</strong><br />
Fiber content: Hemp<br />
Fabric name: Jersey<br />
Yarn construction: Spun<br />
Count:<br />
Coloration: Bleached<br />
Weight: 7.4 oz./sq. yd.<br />
Uses: Tops and T-shirts<br />
Young_<strong>Swatch</strong>Boards_Final.indd 114 8/31/10 9:27:05 AM
160<br />
<strong>Swatch</strong><br />
Fabric name: Pleather<br />
Fiber content: Vinyl/polyester<br />
Yarn construction: None on face<br />
Count: None<br />
Coloration: Print<br />
Finishes: Embossed<br />
Fabric Combinations<br />
Weight: 13.08 oz./sq. yd.<br />
Uses: Any leather type applications<br />
Characteristics<br />
Laminated, or bonded, fabrics are made<br />
of two to three layers of fabric that are<br />
joined through any number of processes.<br />
Pleather is an embossed film that has<br />
been printed and laminated to a jersey (in<br />
this example). The resultant fabric is an<br />
imitation leather.<br />
161<br />
<strong>Swatch</strong><br />
Fabric name: Quilt<br />
Fiber content: Polyester<br />
Yarn construction: Varies<br />
Count: Varies<br />
Fabric Combinations<br />
<strong>Swatch</strong> 160 <strong>Swatch</strong> 161<br />
Coloration: Piece dyed<br />
Weight: 8.84 oz./sq. yd.<br />
Uses: Jackets, bedding<br />
Characteristics<br />
A quilted fabric is three layers of fabric<br />
that are sewn together with a decorative<br />
stitch. Traditionally, the face is woven, the<br />
backing could be anything, commonly a<br />
muslin and the middle layer is a nonwoven<br />
batting. This fabric has a 1 × 1 rib knit<br />
backing.<br />
Similarities<br />
These fabrics are made by combining layers of fabrics, which changes the weight, hand, and<br />
per<strong>for</strong>mance of the original fabric. Individually, the fabrics may be woven or knit, but the fabric<br />
has a new value by virtue of being combined and layered.<br />
© 2011 <strong>Fairchild</strong> <strong>Books</strong>, a division of Condé Nast Publications, Inc. Chapter 15: Minor Fabrications<br />
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