TEXTILES: Fibers and Weaves

Section objectives
After finishing this section, students will be able to:
Understand the structure of fabric
Describe the differences and similarities between woven and knit
Outline the differences in cutting instructions based on fabrics and patterns
Indentify the importance of fabric selection for each garment panel regarding its design detail
KEY TERMS:
Fabrics
Hand
Hanger
Weight
Warp
Weft
Selvage
Fill
Plain weave
Basket weave
Twill
Herringbone
Satin
Nap
Pile
Jacquard
Dobby

Floats
Fabric:
Lengthwise grain
Crosswise grain
Bias
Greige goods
Top weight
Bottom weight

Knits:
Weft knits
Warp knits
Jersey
Rib knit
Double knit
Interlock knit

Stockinette knit
Torque
Layout:
Marker
Color Additions
Yarn dye
Piece dye
Repeat
One-way
Directional fabric
Directional prints
Large motif
Engineered prints
Border prints
Nap or pile
Stripes and plaids

Fabric Characteristics
Appearance
Weight

Drape
Pliability
Color depth

Stretch qualities
Wrinkling
Hand

WOVEN FABRICS
Warp: vertical yarns, stretched on the loom
Weft: horizontal yarns, woven over the warp (or called fill)
Grainline: is the warp direction of the textile. This is the up and down of fabric when cut for
most apparel.
Cross grain: is the weft or horizontal direction of the textile when it is cut for most apparel
Selvage: is the woven edge of the textile where the weft yarn turn the corner and weaves back
to the other side. On modern textiles that are wide (over 42) you may see this as an even
fringe instead of a clean woven edge. The selvage may be denser than the center of the textile
so that this edge can keep the fabric straight rather than bowed.
Bias: is a 45 degree angle across the warp and weft. The bias direction will have stretch that is
often used in apparel to create body fit and stretch. The bias direction may pull, stretch or grow
when worn or hung. This is noticeable on semi-circle skirts where the hem falls unevenly.
Stretch woven: is a modern textile made with texturized yarns or Lycra fibers. This fabric will
usually stretch only two ways, as the warp is often stable. This fabric gains popularity during the
late 1980s.
Plain weave: simple over and under weaving pattern: muslin, poplin, chambray, sheeting
Basket weave: same as plain weave but with 2 yarns in each pattern, rather than one.
Twill weave: diagonal ribscreated by weaving over one warp, then under two or more warp
threads
Floats: skipped yarns, these can catch or snag, creating pulled threads (satin, twills)
Herringbone twill: two colors (black and white) are woven in sections that reverse the twill
diagonals
Satin weave: several warp yarns are skipped, creating floats
Jacquard: complicated woven patterns, often two layers like damask or tapestry
Dobby: a textured and geometric pattern: birdseye, piqu, honeycomb
Pile: surface has soft texture of cut threads: velvet, with a nap
Nap: direction of the textured fiber, brushed up or down
Woven textiles are produced on looms. The yards are usually seen in a grid format when held
up to a light. The density of the fibers is called thread count. The higher the number, the more
strands of yarn there are in an inch. A high thread count is very smooth. Lower thread counts
are rougher. Lower thread counts may also appear more open or gauzy in texture.

KNIT FABRICS:
Knit textiles are produced on knitting machines with long spools of yarns. Knit textiles are
looped together, rather than woven. The continuous looping creates a tubular fabric, without a
selvage or side. The sides will be cut and often fused to create edges or selvages. When
horizontal stripes are knit, they are usually slightly diagonal, or not perfectly straight, since they
spiral around the tube of fabric. These interlocking loops provide fabric stretch. When a thread is
clipped, it will create a run that unravels down the fabric in a ladder. Recovery is the term used

for how much a knit bounces back when stretched apart. Knits were used only for sport and
under garments until the 20th century. Coco Chanel is credited with introducing womens
fashion to knits.
Single knits: are made with a single yarns.
2 way stretch: stretches in both directions (side-to-side). T shirts are common single knit
garments.
Double knits: are made with more than one set of knitting needles or hooks. This type of knit
seems to be very firm and thick. It was popular in the late 1960s and early 1970s when made
from polyester or acrylic. Wool double knits were used, but more expensive to purchase.
Interlock knits: are double knits that feel smooth on the face and back of the fabric
Jacquard knits: are patterned knits
Rib knits: have vertical grooves created on grain that provide stretch across the fabric width.
This is created by alternating two styles of stitches: knit and purl. This is often used for cuffs and
collars on flat knits. There may be one or more stitches in each set of ribs.
Lycra: is often added to knits to create a very stretchy textile for a smoother fit. The Lycra yarn
is usually a core fiber, wrapped in the colored cotton, polyester or other yarn.
4 way stretch: fabric stretches both side-to-side and up-and-down
Bonded knits: this method of creating heavy knits was popular during the 1960s and 1970s.
Generally a light weight knit face was backed by a jersey skin with a layer of foam between
them. Over time this foam layer may deteriorate and crumble into a dust. This cannot be
repaired.
Single knit: This is used for many T shirt styles
Interlock: A knit where both sides are smooth
Tricot: A silky knit, often used in lingerie and slips.
Velour: A velvet looking knit, that has a pile, but unlike velvet, it can stretch.
Double knit: A heavy knit with double thickness. This often has a texture or pattern in the
weave.
Ribbing: Stretchy knit identified by its vertical grooves
SEASONAL TEXTILES
Fall/Winter: warm textiles, wooly textures
Fibers: wool, cashmere, acrylic, heavy cotton, heavy silk
Wovens: plaids, stripes, corduroy, velvet, canvas, twill, cotton sateen, gabardine
Knits: fleece, panne velvet, polar fleece, polar tech, sweatshirt fleece, French terry
Spring/Summer: cool textiles, smooth absorbent textures
Fibers: cotton, linen, light silk, light wool crepe
Wovens: broadcloth, pique, gingham, seersucker stripes, eyelet, lace, chiffon, georgette, gauze
Knits: jersey, rib knit, crepe knit, flat knit, tricot
Most target customers have specific fabrics that they prefer to wear during each of the four
seasons. Although there are some crossover fabrics such as cotton knit and denim, even these
have slight variations in weight depending on the season. Designers who disregard these

traditional textiles may have difficulty selling their styles, since stores want to carry specific
items dedicated to the season.

Spring: medium weight fabrics such as cotton broadcloth, silk broadcloth,

medium weight linen. Some wools are worn: crepe and tropical weight wool
suiting. Special occasion fabrics such as silk crepe, matt jersey, satin, georgette,
and chiffon.

Summer: light weight twills and broadcloth fabrics of cotton, linen and silk. No
wool. Broadcloths and smooth flat textiles are popular. Textured cottons such as
seersucker pique and twills for suits and tailored garments. Washed silks and
linens for travel. Sheers in cotton (voile), silk and polyester (chiffon, georgette),
and knits (matt jersey).

Fall: Back to school textiles include: denim, corduroy, sweatshirt fleece, cotton
knits, rib knits, and cotton flannel. These should be medium weight. Softer hand
includes fleece, brushed denim, pinwale and wide wale corduroy, flannels.
Heavier cotton knits such as French terry and double knits are worn.

Winter: cold weather textiles are heavier, with more density. Heavy denim, thick
corduroy, fleece, and heavy knits. Winter fabrics have texture such as brushed
fabrics, quilted fabrics, and tweeds. Weather proof textiles include rip-stop nylon,
polyester or nylon canvas, windproof fleeces and tech fabrics.

Holiday: Party fabrics arrive around Halloween. Shiny textiles such as satin,
lame, Mylar, metallics, sequins and beads are popular. Fuzzy and warm textiles:
mohair, angora, cashmere and faux fur appear in fashion. Winter weddings and
proms have more opaque textiles, fewer sheers like chiffons and georgettes.

-------------------------READINGS on TEXTILES
What is fabric made from?
Fabric is made from yarns that are derived from nature or are synthetic. The fiber used can
affect how the fabric feels and performs. Fiber length is a key element in fabric feel or hand.
Longer stands can produce smoother fabrics. Silk is a long, natural fiber, so it is associated with
smoother fabrics, however polyester can also be produced as a long, synthetic fiber. Fuzzy or
rough fabrics are usually made from short fibers called staple. Wool and cotton are staples that
are natural. Acrylic is a staple fabric that is man made to feel like wool.
Natural Fibers
All fabric and textiles used before the 1920s were made from natural fibers. These are usually
made from plants or animals. Most common plant fibers used in apparel and textiles are cotton,
linen and ramie (cellulose based). Animal fibers used were wool, silk and cashmere (protein
based). Animal fur creates wool and cashmere. Silk is produced from the cocoon of the silk
worm.

Textiles are prepared internationally. Although textile centers were developed in Europe and
the U.S., fabric has a long history of trade and development internationally. Some fabrics are
unique to specific regions: silks from Italy, brocades from China, cottons from India, wools from
Britain and such.
Natural fabrics found in historical garments and products have longevity. Cellulose fibers are
known to last for centuries (or with the Egyptians, even longer). Breakdown in natural fibers is
often due to the dye processes. Silk is known to tear or break with age. This is not part of silk
behavior, rather it is a by-product of the dye and manufacturing process practiced during the
late 1800s where metals were introduced into the fibers to make the fabric seem heavier (called
weighting), and now over time these metals have corroded.
Brief History of Synthetic Fibers
Synthetic fibers are man-made and are derived from several sources, both natural and
chemical. Development of synthetics has been occurring for more than a century. Applications
for synthetic fibers is applied to apparel as well as many other products where innovative
surfaces or fibers are required.
First on the textile and fashion scene were cellulose based synthetic fibers that were developed
from wood pulp (cellulose). Wood pulp produces fibers that perform similar to linen, cotton and
ramie. This means that in apparel, the fabric would feel and wear similar to linen or cotton.
However, early developments were aimed at reproducing silk in an affordable way. The impact
on textiles and apparel would be to introduce a silky fabric to the masses.
Rayon, 1920s
The first synthetic silk was Rayon in 1920. By 1924 use of the term rayon for this fiber was
used. It also was termed viscose. This would be used in womens apparel, especially after
1929 and the beginning of the depression. Producing affordable silk substitute fabric was in big
demand. Advertising during this time was important in introducing this fiber to the consumer.
Rayon fabrics will feel silky and will wrinkle. Silk tends to feel warm when crushed in the hand,
and rayon will feel cool.
Acetate, late 1920s
In 1924, Acetate was spun into yarn by the Celanese company. This invention was followed by
commercial development of acetate fabric. Fashions emerged that seemed to be of silk, but
were acetate instead. Acetate is prone towards fading, and may show dramatic color loss at the
tops of shoulders, hems and side seams when exposed to light in closets. Acetate is also very
flammable, and will flash burn, making it a dangerous textile, regardless of the fact that it was
the most popular textile for Halloween costumes until recent legislation prohibited its use.
Nylon, as fabric after 1945
Nylon was spun into stockings in 1937, by DuPont. It was not until 1940 that it was available
widely to the consumer as stockings. During the pre-WWII years it had some other non-textile
applications. Nylon was not available during WWII for public use (which is when we see women
using leg paint). It becomes popular as a fashion fabric following the end of the war in 1945.

Nylon is a petroleum based fiber, so it can have some problems with stains that are oil or
grease based, but it performed very well in wash and wear use. Knit nylon jersey fabrics were
very popular in the post war and early 1950s. In conservation the sewing thread of cotton may
have popped along seam lines due to fabric stretch. Sometimes the yarns are cut or torn where
the seam line was sewn. Usually nylon fabrics hold dye color well if not exposed to sunlight. In
fashion, nylon jerseys were still widely worn into the late 1960s as a soft alternative to the more
expensive (still new) polyester knits.
Polyester, as fabric after early 1950s
Polyester was developed for use in 1941 and called Terylene. Later the term Dacron would
come into use (in 1950 by DuPont). As an apparel fabric, it appears in 1951 with a promise of
being crease resistant. In 1953 it comes into use in the US. The term Kodel is used by
Eastman in 1958. During this time, polyester may be blended with cotton to be wash n wear or
crease resistant. It is common in the late 1950s and early 1960s to see many cottons that have
some polyester. These garments and textiles can be identified by their resistance to wrinkles. If
washed they can be hung to dry with few wrinkles. Pure polyester came into popularity in the
mid- to late- 1960s with double knit fabrics that held their shape without interfacing or starch.
These were popular until their use became too common. Popular traits with the consumer were
the color fast quality of the fiber, wrinkle resistance, seam line stability (it didnt unravel),
moderate stretch (stable on grain, some stretch cross grain). Unpopular traits were difficult stain
removal due to its attraction to oils and grease, lack of moisture absorption, lack of warmth, and
hand or lack of drape. The drape effects were improved when Qiana (DuPont) was introduced
in 1968. Originally used in couture fashion, this soft fabric was usually knit in a light weight
jersey. It has a silky character, more drape, and a lighter weight than conventional polyester of
that time. Qiana would continue in popularity through the early 1980s.
During the 1960s,
Synthetic fabrics became so popular that in 1968 more synthetic fabrics were produced than
natural. This is important to know in determining value of apparel. Fashion garments made from
natural fibers, especially silk, linen or wool would have been much more expensive to purchase
than the mass produced ready to wear where synthetic fibers were used.
Stretch fabrics
Spandex was invented for apparel in 1959 (DuPont). It would also be termed Lycra by DuPont.
It also is called elastane outside the US. Prior to this time, elastic fabrics were usually made
from a rubber core, wrapped with a fiber. Natural rubber is sensitive to temperature, light,
moisture, and pollutants in the air and will lose its stretch easily.
Acrylic, early 1950s
A synthetic wool called acrylic was developed in 1950 (DuPont) and was also called Orlon.
This appeared in the 1950s in less expensive sweaters and winter textiles. Because it is
washable, it gained favor in childrens wear as well. DuPont had created this synthetic in 1941,
but it could not be made commercial until after the war. Acrilan (Chemstrand), another synthetic
fiber to imitate wool.
Verel (1956, Eastman), Creslan (1956, American Cyanamid), are also acrylics.

Arnel, a triacetate, in 1954 was in use for about 20 years (Celanese).

Ultrasuede, early 1970s
Important to apparel, the big textile development of the 1970s was Ultrasuede (by Dr. Okamoto
at Toray in 1970). This was the first microfiber, an ultra fine fiber that would continue in
development as it produced softer fabrics. DuPont introduced Micro Fiber in 1989, a silky
broadcloth with a hand like silk charmeuse.
Fibers of the 1960s and 1970s
1965: typical blends: Dacron polyester and cotton, Kodel polyester and cotton, Kodel polyester
and Avril rayon, Orlon acrylic knit (bonded), cotton, Antron nylon knit (bonded),
(new blends: Dacron polyester and cotton, Fortrel polyester and cotton, Kodel polyester and
Avril rayon: all in blouse fabrics advertised as wrinkle resistant, no iron blouses)
1965: Double knit in wool (suit), acetate nylon (blouse), acrylic (lacy shell)
1977: Qiana best selling fabric, Dec. 7, 1977 (LA Times), from Burlington Klopman
1978: Qiana knit tops and separates: skirts, pants tops, 100% Qiana interlock knits (dresses
and separates)
1980: Qiana fashion skirts (Virgin Islands Daily News)
How Can Fabric Fiber be Identified?
One of the most common methods for testing fabric is a burn test. Use a well ventilated
location that is fire proof. This may be in the kitchen at your stove area with the overhead fan
on. Use tweezers or tongs to hold fibers while burning. Do not touch melting ash or other hot
debris. Work over a cookie sheet or inverted pan lid (or other flame proof surface). More
detailed information is available at many online sources.
Pull threads from an inner seam allowance, or cut a sliver of the fabric. If the fabric seems to be
made from two different fibers, you will want to test fibers from both the warp and weft. Some
fiber strands are a blend, and you may notice inconclusive evidence.
Cellulose:
Cotton flames like paper or wood, ash will crumble, ash floats like burning paper
Linen flames like cotton but not as fast, can be blown out, crisper feel to ash
Rayon flames like cotton, has a wood smell, usually burns complete with little ash
Acetate flames easily, woody smell, ash is hard and may drip while burning, hard to put out
flame
Note: acetate will dissolve in acetone (nail polish remover)
Protein:
Wool does not burn as easily as cellulose, smells like burning hair
Silk also smells like burning hair, soft ash, may burn longer than cellulose
Synthetic:
Nylon smells like plastic, will burn quickly and melts like plastic
Acrylic smells harsh or acrid, burns quickly (very flammable), hard ash

Polyester plastic melt with the burn, black smoke, hard ash (like melted plastic)
Other Textile Terms
Fusible: any textile application where the fabric is heat bonded to another. This is often seen in
the application of interfacing to the back side of a fashion fabric. It is also used for some
appliqu decorations. Older fusible may be loosened under heat or warm conditions such as hot
water or dryer.
Interfacing: this is an inner fabric that is put behind buttonholes and inside collars and cuffs to
make them stable, crisp and often heavier. Early interfacings were sewn into the garment, while
later interfacings are fused or glued into the garment. Interfacings were crisp or heaving during
the 1960s and 1970s, becoming lighter and softer during the 1980s. Gauze-like cotton
interfacing fabric may be found behind buttons and buttonholes for many decades.
Pellon (Freudenberg, Germany) is a brand of interfacing that appears to look much like a heavy
paper. Pellon is a nylon non-woven fabric used for shape retention, stiffness and stability in
apparel. It came into use after WWII in the early 1950s.
Hair canvas: Menswear tailoring techniques used hair canvas for many decades, adopting
Pellon types of interfacing during the 1970s. Fusible tailoring grew popular during the 1980s
with Armanis influence towards light weight mens suitings. Early tailoring is a shaping process
where the fabric is hand molded and sewn to produce the garment shape retention.
Lining: an inner fabric used to cover the fashion fabric. It was used for more than one reason:
to hide the seamlines, prevent show through when wearing, create more weight in the finished
garments, provide stiffness or body to a light weight fashion fabric, and to put a smooth surface
next to the skin. Linings may be silk, nylon, acetate and rayon. Fine weight cotton is also used in
linings. Usually linings are smooth or slippery so that the garment doesnt pull or catch on the
body while being worn.
Shoulder pads: are included in most tailoring processes, and were also used by womens
apparel during the period between about 1937 and 1950. Gilbert Adrian, both a movie costumer
and couture designer, is credited with the adoption of shoulder pads in the mid-1930s (for Joan
Crawford). This silhouette tended to extend the shoulder, while the height was minimal.
Shoulder pads used in dress making were often of fabric or ruffles inside the shoulder seam.
However actual padded shoulders were worn. Following WWII and Diors introduction of an
hourglass silhouette, many designers dropped this technique. It continued to be seen, especially
in womens suits through the early 1950s. Shoulder pads of the late 1970s through 1990s
were thicker and higher than the structured shoulder of the 1930s and 1940s. These were
made from polyester fiber fill, fleece yardage cut and layered, or foam shapes. The silhouette
both extended and raised the shoulder line.

-------------------------Class discussion:
1. How are knits and wovens the same?
a. How are they different?
b. Suggest garments that could be made with either .
c. Suggest garments suitable for only one type.
2. How is bias used in fashion?
a. Find examples of bias used in current trends.
3. Motif in fabric patterns: show examples of fabric matching (plaids, stripes, large motif etc.)
a. Would the version you show cost more to produce than a non-matched textile?
4. Compare the stretch differences in several types of knits
a. What uses do these have and why would one be better than another in a specific garment?
---------------------------Homework PROJECT: TEXTILES
TEXTILES, 50 POINTS
Create 5 pages or slides that show a full garment or outfit, include a title and your name on each
page.
Print up each page and add to that page 4 textiles swatches that are suitable in weight, fiber,
color, cost, and season for the outfit or garment. Swatches must be 2" minimum.