What is Can-can Fabric

These fabrics are stiff and extensively used for giving  volume to base of  lehengas and suits. These normally are manufactured from nylon and polyester.

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Difference Among Pure Silk, Blended Silk and Part Silk Fabrics

As per BIS (Bureau of Indian Standard) the following definitions will apply. Please note that composition of only ground fabric or base fabric will be considered.

1. Pure Silk

If the content of silk in the fabric is more than or equal to 95% then it is termed as pure silk.

2. Blended Silk

If the content of silk in the fabric is more than or equal to 50% then it is termed as blended silk. A tolerance of +-3% is allowed on the declared content.

3. Part Silk

If the content of silk in the fabric is more than or equal to 20% then it is termed as part silk. A tolerance of +- 3% is permitted.

As per BIS, a silk fabric to be marked with the following information among others:

a. Name of the fabric eg. chiffon, crepe etc.
b. Blend composition e.g. pure silk, blended silk or part silk
c. variety of silk eg. mulberry, eri, muga or tussar

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What is Laser Cut Fabric

As the technology is evolving, newer uses of the industrial application are finding their ways into art and design. One such way is creating designs by way of laser cutting of fabrics.

http://www.hariomlaser.com/

Laser cutting is a misnomer, as the laser never "cuts" the material rather it sears, burns or evaporates the material. In the process, it also seals the edges of the material, stopping it from fraying on the process.

Hollowing

It is a trendy fashion cut that enhances the charm of the fabric. Traditionally it was done on a limited scale, but with the advent of laser cutting, is done on a grand scale.

http://www.hariomlaser.com/

Applique

Laser cutting can also be used to create multiple layer effect applique by placing multiple pieces of fabric together, then cutting each by laser as necessary.

http://www.hariomlaser.com/

Jeans Engraving

It is a type of laser cutting, in which the top surface of the jeans is vapourised and by making the changes in the laser beam according to the requirement, an image can be generated.

http://www.hariomlaser.com/

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What is Scroop Finish

Scroop is a term used commonly as a finish with synthetic fibers and silk. 

In case of silk scroop is the crunchy feel as well as rustly sound that is produced in the fiber on use. Scroop is like the feeling of squeezing a big bag of corn starch or stepping down into a very powdery snow. 

Scroop is not an inherent property of silk. 

Scroop can be induced in silk in two ways:

One way is to leave the gum of the silk (sericin) behind and not remove it. Sericin has a high coefficient of friction and hence resists the easy sliding of fibers one over the other. Vibrations created by friction produce the sound. 

The other way is by treating silk with organic acid such as formic, lactic, citric or acetic acid in a concentration of 2-4 ml/l and drying without washing. 

In case of synthetic fibers, cohesive agents are used to increase the fiber-to-fiber friction. However, it will increase a property called scroop. The attribute is so named, because of the sound that the staple bundle makes when it is squeezed. It is caused by resistance to the fiber movement that results from the increase in friction between the fibers. If a fabric is made from a yarn having high scroop level- a harsh handle is produced. 

Reference: This is an amazing reading on silk by MIT

* By the way - Unrelated to the post- Cashmilon is made of acrylic and not nylon. 

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Technical Specifications of Some Popular Synthetic Fabrics-2

Dechine Dress

Warp of dechine dress is 50/36 bright sized polyester while weft is 75/36/3150 semi dull crimp polyester. Total Ends are 6000. Reed x Pick is 80 x 3 x 80. The weight is 75 Grams per linear meter.

Fuji Chiffon

Warp of Fuji chiffon is 30/12/1000 Bright flat polyester while weft is 50/36/2800 semi dull flat polyester. Total Ends are 6100. Reed x Pick is 100x2x84. The weight is 52 Grams per linear meter.

Silver Matt

Warp of Silver Matt is 84 x 34 x 400 semi dull crimp polyester while weft is 84/34/'0' twist Semi dull crimp polyester. Total Ends are 4080. Reed x Pick is 80 x 2 x 80. The weight is 79 Grams per linear meter.

Bolting Cloth

Warp of Bolting cloth is 30/1 semi dull mono polyester while weft is same as warp. Total Ends are 7360. Reed x Pick is 280x1x140. The weight is 51 Grams per linear meter. 

Metal Chiffon

Warp of metal chiffon is 30/12/1000 Bright flat polyester while weft is 50/54/2800 cationic polyester. Total Ends are 6080. Reed x Pick is 100 x 2 x 88. The weight is 55 Grams per linear meter.

Nara Chiffon

Warp of Nara Chiffon  is 30/12/1000 Bright flat polyester while weft is 30/12/1000 Bright flat polyester. Total Ends are 6736. Reed x Pick is 104 x 2 x 92. The weight is 46 Grams per linear meter. 

Technical Specifications of a Pure Crepe Silk Saree

The following is the technical specification sheet of a pure crepe silk saree as mentioned in one of the tenders invited by Air India.

http://aviatorflight.com/worlds-best-looking-cabin-crew/

What is Chintz and Glaze Finish

A fabric frequently sold as dress material has a very superior luster. In India it comes from Ahmedabad. This is called Chintz.

Chintz is a 100% cotton fabric with glazed finish and multi color print. These fabrics are made of 50% polyester and 50% viscose. Ideally, a chintz fabric should have a highly twisted cotton warp intersecting a low coarse twisted cotton weft yarn. The weave should be firm.

Glaze finishing in chintz can be done in two ways. The first method is called "non durable" and the fabrics made from this method are called friction glazed. In this case the fabric is given a starch finish and then it is pressed between heated calender to produce a high luster or polish. It has a very good gloss and hand. However as the base is water soluble, it is sold as dry cleanable product.

In the durable class, the fabric is treated with resin. The resin binds the fabric with the help of cross linking.

A method to identify if a finish is of durable or non durable class is to use a drop of iodine on the fabric. If the drop turns blue it is of durable class, else non durable.

In India, prints in the style of bandhini do come with Chintz finish, have a look below:

New Book on Dyeing- Why Turquoise Bleeds

Why Turquoise Bleeds?

Essential Dyeing Knowledge for the Merchandisers

A Book By

Priyank Goyal

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This book takes the reader through intricacies of understanding deing from a very beginner level. It covers all dye classes and their practical implications for the merchandiser.

Order Here

Product details Format: Kindle Edition File Size: 779 KB Print Length: 75 pages Simultaneous Device Usage: Unlimited Publisher: Priyank Goyal; 1 edition (6 October 2014) Sold by: Amazon Digital Services, Inc. Language: English ASIN: B00O8ZSVI6

Order Here There is a dearth of books in the market that can help merchandisers in understanding the basics of dyeing especially those who are not from the textile background. This book is an attempt towards fulfilling that gap. The author has tried as far as possible to keep the book away from the technical and chemical jargon and tried to present the material in the way that a layman who is introduced to this trade would understand.  This book can be taken as a complement to his other book for the merchandisers “Who is Mangalgiri? Essential Fabric Knowledge for the Merchandisers”, also published by Amazon. Apart from merchandisers, this book is suitable for students, teachers, traders, buyers, sellers and managers.  The first chapter “An introduction to Dyes and Classes of Dyes” clarifies the concepts related to dyeing. It introduces gently the readers to various dye classes such as direct, reactive, vat and others and their distinguishing properties.  The second chapter “A Few Details about dye classes” takes the reader through the details of the various dye classes such as the fibers they can be applied on, the method of application and the properties related to of those dye classes. It introduces in details the various terms related to the colorfastness of dyes.  The third chapter “Dyeing from Fiber to Garment Stage” takes the reader through the details of dyeing at various stages of textile chain, their advantages and the process of application.  The fourth chapter “Coloring by Pigments” introduces the concept of pigments, how they are different from dyes and their various methods of application.  The fifth chapter “Some practical notes for the merchandisers” takes the reader through the practical and commercial aspects of dyes, how to identify them in practical settings and other related issues.  The sixth chapter “Natural Dyes” introduces the concept of natural dyes, how these are different from the synthetic dyes. Their advantages and limitations and some commonly used natural dyes.  The seventh chapter “Dyeing with Indigo” takes the reader into details regarding indigo dyeing, the method and process of application and especially its use by the handloom weavers.  Order Here

Count, Construction and Width of common Cotton Fabrics

Please note that value in bold represents count. The values afterwards represent EPI ( Ends per inch) and Picks per inch. Then the available widths are given in inches.


Cotton Drill Fabrics


16 X 12 /96 X 48 / 48",63", 93" , 98", 120"

20 X 20 / 108 X 56 / 48", 63", 93" , 98" , 120"

20 X 16 / 108 X 56 / 48", 63" , 93 ", 98" , 120"

30 X30 / 124 X 64 / 48", 63", 93", 98", 120"

40 X 40 / 144 X 72 / 48", 63 ", 93" , 98 " , 120"



Linen/Cotton Fabrics

88 X 64 / 20s X 20s Linen / 63"

72 X 68 / 20s X 16s Linen / 63"


Cotton Oxford Fabrics

84 X 38 / 2 / 20s X 2/ 20s / 48", 63"

84 x 28 / 16 X 8 / 48 " , 63"

108 X 72 / 20 X 16 / 48", 63"


Cotton Poplin Fabrics

92 X 88 / 40 X 40 / 50" , 63"

100 X 80 / 40 X 40 / 50" , 63"

100 X 92 / 40 X 40 / 50" , 63"

124 X 64 / 40 X 40 / 48" , 63"

124 X 72 / 40 X 40 / 48" , 63"

132 X 72 / 40 X 40 / 48" , 63"



Cotton Twill Fabrics

124 X 64 / 30 X 30 / 48 " to 120"

132 X 72 / 40 X 40 / 48 " to 120"

144 X 74 / 40 X 40 / 48 " to 120"

144 X 74 / 50 X 50 / 48 " to 120"


Cotton Voile Fabrics

92 X 88 / 80 X 80 / 48 ", 63 "

92 X 104 / 80 X 80 / 48 ", 63 "

80 X 80 / 80 X 80 / 48 ", 63 "

100 X 92 / 80 X 80 / 48 ", 63 "


Cotton Satin Fabrics

100 X 80 / 40 X 40 / 98 " , 120"

132 X 72 / 40 X 40 / 120"

124 X 64 / 30 X 30 / 120"

144 X 72 / 40 X 40 / 120"

175 X (56 X 2) /  60 X 60 / 120 " - 300 TC

175 X (50 X 4) / 60 X 80 /120 "  - 400 TC

195 X ( 72 X 4) / 80s X 100s X 120 " -500 TC

195 X ( 86 X 4) / 80s X 100S X 120" - 600 TC

175 X 146 / 4 / 120s X 2 / 120s / 120" - 1000 TC



Cotton Bedford Fabrics

132 x 72 / 40x40 / 48" & 63"

144 x 100 / 60x60 / 48" & 63"

124 x 100 / 40x40 / 63"

144 x 72 / 50x50 / 63"


Cotton Cambric Fabrics

132 X 108m / 60 X 60 / 48",54",63"

92 X 88 / 60 X 60 / 48" , 54", 63"

132 X 72 / 50 X 50/ 48" , 63"

124 X 100 / 50 X 50 / 63 "


Cotton Plain Fabric or Cotton Sheeting Fabrics

44 X 40 / 10 X 10 / 48", 63", 93", 98" , 120" to 143"

60 X 60 / 16 X 16 / 48 " , 63 ", 93" , 98" , 120" to 143"

60 X 60 / 20 X 20 / 48 " , 63 ", 93" , 98" , 120" to 143"

68 X 68 / 30 X 30 / 48 " , 63 ", 93" , 98" , 120" to 143"

72 X 68 / 30 X 30 / 48 " , 63 ", 93" , 98" , 120" to 143"

Amazing Explanation of Cotton, Wool and Silk Fabric

An Amazing dictionary of the cotton, silk and wool fabrics is given in this directory of Internet Centre of Canadian Fashion and Design.

It is different from the other dictionaries in that the explanation is divided into four parts: Fiber, Weave, Characteristics and uses.

The following Fibres are covered:

Cotton Fabrics:
Armure Batiste Birdseye Broadcloth Brocade Buckram Butcher Linen Calico Cambric Candlewick Fabric Canton Flannel Canvas Chambray Chamois Cloth Chamoisette Cheesecloth Chenille Fabric Chino Chintz Chite Corduroy Cotton Crepe Crettone Denim Dimity Domett Flannel Dotted Swiss Drill Duck Flannelette Fustian Gabardine Gingham Homespun Hopsacking Jersey Lawn Madras Monk's Cloth Nainsook Organdy Oxford Percale Pique Plisse Point d'esprit Poplin Provence Sailcloth Sateen Seersucker Terry cloth Tiking Velveteen Velour Vichy Voile Whipcord

Wool Fabrics
Agneline Albert Cloth Astrakhan Barathea Beaver Cloth Bedford Cord Birdseye Blanket Cloth Bolivia Bombazine Boucle Broadcloth Cavalry Twill Challis (Chalys) Cheviot Chinchilla Covert Crepe Doeskin Donegal Duvetyn(e) Eponge (Souffle) Felt Flannel Wool Flannel Worsted Flannel Fleece Gabardine Homespun Hopsacking Jersey Wool Jersey Doubleknit Kersey Lambswool Loden ClothMackinaw Melton Monk's Cloth Montagnac Pin Check, Pinhead and Pick Pyrenees Repp or Rep Serge Sharkskin Shatush Shetland Suede Tricotine Tropical Worsteds Tweed Harris Tweed Venetian Viyella Whipcord Wool Zibeline

Silk Fabrics
Bayadere Bengaline Brocade Brocatelle Camocas Cendal Chiffon China Silk CrepeCrepe-back satin Crepe de ChineCreponGeorgette CrepeFlat CrepeMoss Crepe Degummed Silk Doupion, Douppioni Duchesse Faconne Faille Foulard Frise Glove Silk Habutai Honan Illusion Lame Marquisette Matelasse Messaline Mousseline de Soie Moire Net Ninnon Organza Ottoman Panne Peau de Cynge Peau de Peche Pongee Rajah SatinSatin-back Crepe Satin-backDouble-face SatinDuchessSatin FaconneSlipper SatinPaillette SatinPeau de Soie Shantung Sharkskin Sheer Silk Spun Rayon Surah TaffetaFaille TaffetaPaper TaffetaPoumpadou TaffetaShot TaffetaTissue TaffetaWarp-print TaffetaTricot Tulle Tussah VelvetCisele VelvetFaconne VelvetLyons VelvetNacre VelvetPanne VelvetPlushTransparent VelvetUtrecht VelvetVelvet Satin

I just wish it were supplemented by pictures !!

Some Common Indian Fabrics

Here is a site which gives some details about the fabrics sold in Indian markets ( although the language is a bit colloquial)

Khadi Cotton
Bandani Cotton
Linen
Poplin
Vial Cotton
Teri Rubia
2x2 Rubia Cotton
Lizzy Bizzy Cotton:50% cotton 50% Polyster
Polyester
Bafta Cotton
Lining cotton
Floral cotton
Small Pleads cotton
Medium Pleads cotton
Cotton Silk
Khadi Silk
Bandani Silk
Raw Silk
Pure Silk
Crepe Silk
Polyester Silk
Satin Silk
Crepe Back Satin
Chikan kari
Chiffon:
Georgette
Artificial Silk Sari fabric
Silk Sari fabric
Sari Border
Curtain Fabric
Crepe
Net Fabric
Tissue
Wool

Common Weaving Defects-2

Float (Jala)


A float or Jala is formed when there is no proper interlacement of the warp and weft yarns over a certain area. The remedial measures are the use of overall high warp tension and keeping the lease rods close to the heald shafts.

Starting Marks


Weft Crack (Jerki)

A srip in the fabric where the pick density is lower than normal is calld a weft crack or jerki

Crammed Pick (Patti)

A strip in the fabric where the pick density is more than normal is called a patti. The defect is caused by improper setting of the anti crack motion.

Shuttle Smash

The defect is caused when many ends break consequent to a shuttle trap. The important causes of shuttle trap are : wrong timing of shedding, soft picking, insufficient checking of shuttle in the boxes, severe slough off, and damaged or broken picking accessories.

Weft Slough

A weft slough of one or two coils. the main causes of slough are softly wound pirn, overfilled pirns, high density of coils, short chase length etc.

Improper Weft Threading (Single Moti)

The defect is characterised by a loose and uneven selvedge consisting of weft and warp protroduing loosly beyong the true selvedge line.

Gout
Hardened fluff, as well as foreign matter such as piece of leather accessories or wood chips, woven into the texture of the fabric is called a gout.

Temple Marks

In this defect, the yarns are distorted from their true paths and fine holes are caused near the selvedges. Unsuitable choice of temples and poor mechanical condition of temples are the main causes of this defect.

Hard Size

The defect is characterised by uneven and distorted appearance of the fabric, because of hard gummed spots in the warp. Use of cold size or keeping the immesion roller dipped in size during a long machine stop causes such spots.

Stains (Daghi)

Stains are caused by lubricants and rust. Most of the stains can be traced back to poor manintenance and material handling.

Common Fabric Defects-1

Common Fabric Defects

1. Weft Streaks

These are faint or sometimes prominant lines along the lenght of the fabric. Use of good quality reeds will largly reduce streaks due to uneven end spacing. Streaks can also be avoided through careful housekeeping and ensuring that different batches of yarns do not get mixed up.

2. Reediness

This defect is characterised by a general grouping of warp ends drawn through individual dents of the reed with a fine crack showing up in between such groups. This is caused by
- insufficient tension difference between the shed lnes during beat up.
- excessive warp tension
- late shedding

3. Irregular reppiness

It is characterised by the prominance of alternate picks over small areas on one face of the fabric. The following precautions can help to minimise the occurrence of reppiness.

a. Worn out tappets and tradle bowls should be replaced
b The back rest should be raised by about 4 cm with respect to the fell line.
c. The emery rolles should be in good condition.
d. An increase in warp tension within workable limits helps to reduce this defects.

4. Small weft loops ( phurkies)

A phurki is a weft loom protruding from the cloth surface. Generally, the length of the yarn in the loop is not sufficient to permit snarling. These loops may protrude from both faces of the fabric. Early shedding, incresing warp tension within workable limits, use of good temples and adequate size pick of about 12% or higher - these measures can be used to prevent the occurrence of phurkies.

5. Curled and folded selvedges

This defect is characterised by the appearance of curls and folds in the fabric selvedges. The following points merit attention:

a. Denting order- the number of ends per reed dent in the selvedge should be 50 to 100% more than that in the body.

b. Warp Tension- An increase in warp tension results in a tighter selvedge.

c. Selvedge construction- The selvedge yarns should be preferably two ply and should be drawn one end per heald eye.

6.Missing Interlacement of weft at selvedges

In this defect, a group of extreme warp ends in the selvedges do not interlace with the weft over a fabric length of 1 to 4 cm. The main cause of this defect is excessive tension in the weft yarn.

7. Weft snarls

A weft snarl in a fabric is caused by a short length of three fold weft yarn of which two folds are intertwisted.
The incidence of such snarls can be reduced by ensuring the process setting of twist and by minimising the possibility of severe rubbing of yarn between the shuttle and the box front plate.

8. Weft Bar

A weft bar is dark or light band across the width of the fabric which shows up prominantly particularly in dyed fabrics.

Medium to long term periodic irregularity in yarn will produce regular weft bars in the fabric.

The remedial measures can be:
a. Better process control such as:
i. uniformity of count on groups of ring frames spinning the same count.
ii. Prevention of periodic irregularity in the yarn.
iii. Control of winding and pirning tension.
iv. Proper maintenance of let off and take up motion
v. Control over blend proportion.
vi. Better housekeeping to prevent mixing up of yarn from frames.

9. Broken Picks

In plain woven fabrics, this defect materialises by the presence of two picks in the same shed for a part of the width of the fabric.

The main cause of weft breaks are rough surfaces of shuttle, shuttle box, rough or incorrect placement of shuttle eye, loose fitting of pirn in the shuttle, incorrect alignment of pirn with shuttle eye and low yarn strength.

10. Lashing-in

Lashing in is the term used to describe bits of extra weft yarn found tucked into the selvedge of the fabric.

Remedial measures are:
a. Proper maintenance of accessories and loom parts.
b. Adjusting the pattern of changes of the boxes.
c. The use on drop-box looms of a suitable brush fixed at the end of the temple rod.

11. Missing End (Chira)

A defect where one or more warp ends are missing in the fabric is called a chira. This is the most frequently occurring defect in Indian fabrics and constitutes 40-50% of the total defects. Most chiras are caused by broken that are not mended immediately.
It can be prevented by minimising missing ends in the beam and efficient maninteance of the warp stop motion.
Effective supervision to ensure that a broken end is not left unmended for long can also minimise the occurrence of chira.

Easy guide to textile processes and fabric knowledge

Here is an easy guide to textile processes and fabric knowledge

Fabric Knowledge

Please refer to the following link for fabric knowledge