Procion Reactive Dyes in Textile Printing - Part 2: One-Stage and Two-Stage Printing Processes Explained

Procion Reactive Dyes in Textile Printing

Part 2: One-Stage and Two-Stage Printing Processes Explained

In Part 1, we understood the basic nature of Procion reactive dyes, their classification, and the ingredients used in a typical printing paste. We saw that Procion dyes are suitable for cotton and viscose because they form a chemical bond with cellulose fibres under alkaline conditions.

Now we come to the next important question:

How is the printing process actually controlled?

In Procion dye printing, the key point is not only which dye is used, but also when alkali is introduced into the system. This gives rise to two broad methods of printing:

1. One-stage process
2. Two-stage process

Understanding this difference is very important because it affects paste stability, fixation, shade development, and print quality.

Visual 1: One-stage vs two-stage Procion dye printing process.

Why Alkali Timing Matters

In reactive dye printing, alkali plays a central role. It activates the reaction between the dye and the cellulose fibre.

But alkali also creates a practical problem.

Once alkali is mixed with the dye paste, the dye becomes more active. This means the dye may start reacting or losing strength even before it reaches the fabric. Therefore, the timing of alkali addition becomes very important.

A simple way to understand it:
Alkali is necessary for fixation, but if introduced too early, it can reduce paste stability.

This is why textile printers choose either a one-stage or two-stage process depending on the dye class, production requirement, and available equipment.

One-Stage Process

In the one-stage process, alkali is already present in the printing paste.

The fabric is printed with this complete paste, and then the printed fabric is fixed by a process such as:

• Steaming
• Baking

Since dye and alkali are present together in the same paste, the system is ready for reaction once the right moisture, temperature, and time are provided.

How the One-Stage Process Works

The general sequence is:

1. Prepare the printing paste with dye, thickener, urea, resist salt, water, and alkali.
2. Print the fabric.
3. Dry the printed fabric.
4. Fix the colour by steaming or baking.
5. Wash the fabric to remove unfixed dye and auxiliaries.

This method is convenient because the printing paste already contains the necessary ingredients for fixation.

Advantages of the One-Stage Process

The one-stage process is relatively simple to understand and operate.

Its advantages include:

• Fewer processing steps
• Alkali is already present in the paste
• Suitable for processes where immediate fixation is planned
• Convenient for steaming or baking-based fixation

However, the limitation is that the paste may not remain stable for long, especially when highly reactive dyes are used.

Limitation of the One-Stage Process

The biggest limitation is paste stability.

If the dye is highly reactive, the presence of alkali in the paste may make the paste unstable. This is especially important in the case of Procion-M dyes.

Procion-M dyes are highly reactive. Therefore, their paste should not be prepared too much in advance. It should be prepared only in the quantity needed for immediate printing.

Two-Stage Process

In the two-stage process, the printing paste is prepared without alkali.

The alkali is applied separately, either before or after printing.

This means the dye paste remains more stable because the chemical trigger, alkali, is not present in the paste at the beginning.

How the Two-Stage Process Works

There are two possible approaches.

1. Alkali Before Printing

The fabric may be treated with alkali first, dried, and then printed with dye paste that does not contain alkali.

This approach is seen in processes such as air-hanging, where the fabric may be padded with soda ash before printing.

2. Alkali After Printing

The fabric may first be printed with a paste that does not contain alkali. After printing and drying, the alkali is applied by padding or another suitable method.

This approach is used in processes such as:

• Flash ageing
• Vat development
• Pad alkali–batch process

Advantages of the Two-Stage Process

The two-stage process gives better control over the reaction.

Its advantages include:

• Better paste stability
• Cleaner printing in many cases
• Useful where the printed fabric has to be stored before development
• Better control over fixation
• Suitable for processes where alkali is applied separately

In this method, the dye and alkali are kept apart until the required stage. This prevents premature reaction and helps maintain paste quality.

One-Stage vs Two-Stage Process

Point	One-Stage Process	Two-Stage Process
Alkali position	Present in printing paste	Applied separately
Paste stability	Lower, especially with reactive dyes	Better
Process simplicity	Simpler	More controlled but involves an extra step
Fixation method	Usually steaming or baking	Alkali treatment before or after printing
Best suited for	Immediate fixation	Controlled fixation and better paste life

Visual 2: Why alkali timing controls paste stability and fixation.

Paste Stability of Different Procion Dyes

The stability of printing paste depends largely on the reactivity of the dye.

Procion-H and Procion-Supra

The paste of Procion-H and Procion-Supra dyes can remain usable for a long time, up to about 28 days.

This is because these dyes are not as highly reactive as Procion-M.

Procion-H is the least reactive among the three groups, so its paste stability is good. Procion-Supra has intermediate behaviour and also shows reasonable paste stability.

Procion-M

The paste of Procion-M does not remain stable for long.

Because Procion-M dyes are highly reactive, their paste should be prepared only as much as required.

This is a very practical production point.

If Procion-M paste is prepared in excess and stored for too long, the dye may lose its effectiveness and the final print may suffer.

Compatibility of Procion Dye Classes

Most Procion dyes can be used together to obtain different shades. However, compatibility depends on their reactivity.

Important practical rule:
Procion-H and Procion-M dyes should not normally be used together.

This is because Procion-H is slow-reacting, while Procion-M is highly reactive. Their fixation behaviour is different, and this may create difficulty in obtaining proper shade development.

However:
Procion-Supra and Procion-H can be used together.

This is because their behaviour is more compatible in practical printing conditions.

Role of Resist Salt in Procion Printing

During roller printing, it has been observed that colour may sometimes go to the back side of the fabric. This can affect the appearance and quality of the print.

To control this problem, resist salt is used.

Resist salt helps in preventing unwanted effects during printing and is especially useful where controlled print definition is required.

It is also used in discharge printing.

Resist Salt and Discharge Printing

In discharge printing, a reducing or discharge agent removes colour from selected areas of the fabric.

However, one practical problem may occur.

Sometimes the discharge effect does not remain limited only to the printed area. The surrounding area may also get affected. This can spoil the sharpness of the design.

To prevent this, the fabric may be treated before printing with a mild oxidizing agent.

Examples include:

• Sodium nitrobenzene sulphonate
• Sodium chlorate

These chemicals help neutralize the unwanted effect of reducing or discharge agents that may spread beyond the printed area.

Why Oxidizing Agents Are Used

If a discharge or reducing agent comes out from the printing paste and spreads to surrounding areas, it may unintentionally affect the fabric.

When the fabric has already been treated with a mild oxidizing agent, the reducing effect is reduced or neutralized.

In simple words:
The oxidizing agent protects the surrounding fabric from unwanted discharge.

This helps maintain cleaner print boundaries and reduces accidental damage to nearby areas.

Visual 3: Resist salt and oxidizing agent help control unwanted printing effects.

Foam Control in Printing Paste

Sometimes chemicals may also be added to the printing paste to prevent foam formation.

Foam can create problems during printing because it may lead to uneven application, spots, weak print areas, or poor design clarity.

Therefore, foam control is another small but important part of printing paste management.

Development After Printing

After the fabric is printed and dried, the colour has to be developed or fixed.

The main development methods include:

1. Steaming
2. Baking
3. Flash ageing
4. Air-hanging
5. Vat development
6. Pad alkali–batch process

These methods will be discussed in detail in Part 3.

Important point:
Printing applies the dye design, but development fixes the dye onto the fibre.

Without proper development, the dye may remain unfixed and may wash out.

Practical Understanding for Students

The difference between one-stage and two-stage printing is not merely a process detail. It is a way of controlling the chemistry of reactive dye printing.

In one-stage printing, the dye and alkali are together in the paste. This makes the process simpler, but paste stability can become a concern.

In two-stage printing, dye and alkali are kept separate until the desired stage. This improves control and paste stability but adds another process step.

The printer must balance:

• Dye reactivity
• Paste stability
• Print sharpness
• Fixation method
• Production timing
• Available machinery

This is why textile printing is both a chemical and practical craft.

Common Mistake

A common mistake is to think that alkali should always be added directly into the printing paste.

That is not always true.

In many processes, alkali is deliberately kept out of the paste and applied separately. This is done to improve paste stability, print quality, and process control.

Knowledge Nugget

In Procion dye printing, alkali is the trigger, but timing is the control.

Adding alkali at the right stage is one of the most important decisions in the printing process.

Reflection Question

Why does a two-stage process generally give better paste stability than a one-stage process?

The answer is simple:

Because the dye and alkali are kept separate until the desired stage of fixation.

Disclaimer and Safety Note: This article is intended for educational and informational purposes only. The recipes, chemical names, quantities, temperatures and process conditions mentioned here are provided to explain the principles of Procion reactive dye printing and should not be treated as direct instructions for unsupervised practical use. Textile printing involves the use of dyes, alkalis, salts, thickeners and other auxiliary chemicals, which should be handled only with proper knowledge, suitable safety precautions and appropriate supervision. Before using any chemical, always refer to the latest supplier technical data sheet, safety data sheet and applicable local regulations. Use appropriate personal protective equipment, ensure good ventilation, safe storage, careful measurement, spill control and responsible disposal of chemical residues and wastewater. The author and publisher do not accept responsibility for any loss, damage, injury or environmental harm arising from the direct or indirect use of the information given in this article, and readers are advised to consult trained textile processing professionals before attempting any laboratory or industrial application.

Buy my books at Amazon.com

Silk Fabric Terms Explained — Part 3: Chiffon, Chiffon Twist, Georgette and Crepe-Georgette Yarn

In Part 1, we created a practical map for understanding silk fabric terms.

In Part 2, we discussed important silk yarn terms such as raw silk, bivoltine silk, China silk, katan and organzine.

Now we move to one of the most interesting areas of silk fabrics:

Twist-based sheer fabrics.

This part will explain terms such as chiffon, chiffon twist, crepe georgette, georgette crepe fabric and crepe/georgette yarn.

These terms are very important because they show how a simple change in yarn twist can change the entire character of a fabric.

A silk yarn may be smooth.

But when it is given very high twist, it becomes lively.

It starts developing torque.

It tries to curl, contract and create texture.

This behaviour gives us fabrics like chiffon, georgette and crepe.

Central idea: In chiffon and georgette, twist is not only inside the yarn. Twist becomes visible on the fabric surface.

Twist-based silk fabric map: yarn twist, torque, openness and surface texture. Click image to view full size. Generated by AI- can have mistakes

Why Twist Matters So Much in Silk

Silk is a filament fibre. It is naturally long, fine, smooth and lustrous.

Because silk filaments are continuous, they can be twisted in different degrees to create different yarn behaviours.

A low-twist silk yarn may give a smooth, soft and lustrous fabric.

A high-twist silk yarn may give a crinkled, grainy, springy or lively fabric.

This is why twist is one of the most powerful tools in silk fabric construction.

Twist Level	Yarn Behaviour	Fabric Effect
Low twist	Smooth, soft, stable	Smooth silk fabrics
Medium twist	Balanced, stronger	General woven silk fabrics
High twist	Lively, torque-rich	Chiffon, georgette, crepe effects

Low twist gives smoothness. High twist gives texture and liveliness.

This one line helps us understand chiffon and georgette better.

Understanding TPI and TPM

Before discussing chiffon and georgette, we must understand two units:

TPI means twists per inch.

TPM means twists per metre.

Both measure how many turns are inserted into the yarn.

A yarn with higher TPI or TPM has more twist.

In silk chiffon and crepe yarns, twist may be very high. For example, chiffon twist may range from about 2,000 TPM to 4,000 TPM, which is approximately 50 to 100 TPI.

This high twist gives the yarn a tendency to kink or contract. When such yarns are woven and finished, they create the characteristic texture and handle of chiffon or georgette.

Simple Conversion Idea

Since 1 metre is about 39.37 inches:

TPM ≈ TPI × 39.37

So:

• 50 TPI is approximately 1,968 TPM
• 100 TPI is approximately 3,937 TPM

That is why 50–100 TPI is roughly similar to 2,000–4,000 TPM.

1. Chiffon

Chiffon is a very light, sheer and open fabric made from hard twisted yarns.

Silk chiffon is made from raw silk in both warp and weft directions. The yarns are highly creped and twisted, generally in the range of about 50 to 100 TPI, or 2,000 to 4,000 TPM.

Chiffon is known for its delicate, transparent and flowing character.

Practical Understanding

Chiffon is not just a thin fabric.

It is a combination of:

• fine silk yarn,
• high twist,
• open construction,
• light weight,
• and sheer appearance.

Because of this, chiffon has a floating quality. It does not behave like a dense silk fabric. It has movement, transparency and softness.

In garments, chiffon is often used where lightness and drape are required.

Why Chiffon Looks Sheer

Chiffon looks sheer because of two major reasons:

1. Fine yarns are used
2. The fabric construction is open

When fine yarns are woven with enough spacing, light passes through the fabric easily. This gives chiffon its transparent look.

The high twist gives the fabric liveliness and slightly rougher handle compared to very smooth silk fabrics.

Chiffon in simple words: Chiffon is a light, sheer silk fabric made from highly twisted yarns in an open construction.

2. Chiffon Twist

Chiffon twist is a hard twisted single raw silk thread used for making chiffon, mousseline de soie and similar fabrics.

The twist is usually very high, about 2,000 TPM to 4,000 TPM.

This means chiffon twist is not the fabric.

It is the yarn used to make the fabric.

This is an important distinction.

Chiffon vs Chiffon Twist

Term	Meaning
Chiffon	The fabric
Chiffon twist	The highly twisted yarn used to make chiffon

Many students confuse the two.

But once we understand the difference between yarn and fabric, the confusion disappears.

Why Chiffon Twist Is Hard Twisted

The yarn is hard twisted to give it:

• strength,
• liveliness,
• slight crepe effect,
• and better fabric behaviour in sheer construction.

If the yarn were very soft and loosely twisted, it would not produce the same chiffon character.

The beauty of chiffon comes partly from its lightness and partly from the behaviour of hard twisted yarn.

Chiffon and georgette comparison: sheerness, yarn twist, surface texture and fabric handle. Click image to view full size. Generated by AI- can have mistakes

3. Crepe/Georgette Yarn

Crepe/georgette yarn is a twisted yarn usually having about 2,000 TPM to 3,600 TPM. It is generally made of two threads of raw silk.

This yarn is used to create georgette or crepe-like effects in fabric.

The important word here is twisted.

Like chiffon twist, crepe/georgette yarn has high twist. But its use and arrangement in the fabric create the specific georgette or crepe appearance.

Practical Understanding

Crepe/georgette yarn helps create:

• grainy surface,
• slight crinkle,
• springy handle,
• better drape,
• and less flat appearance.

A fabric made from such yarn does not look completely smooth. It has a subtle texture.

This texture is often valued because it gives the fabric depth and movement.

4. Crepe Georgette

Crepe georgette is a sheer fabric similar to chiffon, made with crepe yarn that gives the fabric a crepe appearance.

This definition immediately tells us two things:

1. It is sheer like chiffon.
2. It has a crepe appearance because of crepe yarn.

So crepe georgette can be understood as a fabric between chiffon and crepe.

It has transparency and lightness like chiffon, but with more surface texture.

Chiffon vs Crepe Georgette

Feature	Chiffon	Crepe Georgette
Appearance	Very sheer and delicate	Sheer but more grainy
Surface	Relatively smoother	Crepe-like texture
Yarn	Hard twisted yarn	Crepe yarn
Handle	Light and flowing	Slightly heavier, grainier and springier
Common use	Flowing garments, scarves, overlays	Sarees, dresses, dupattas, flowing garments

The difference is often felt by touch.

Chiffon feels lighter and more delicate.

Georgette feels slightly grainy and has more body.

5. Georgette Crepe Fabric

Georgette crepe fabric is a fine, lightweight, open-texture fabric usually in plain weave. It is made from crepe yarns, generally with two Z-twisted and two S-twisted yarns in both warp and weft.

This is a very important technical definition.

Let us break it down.

Fine and Lightweight

Georgette is generally fine and light. It is not a heavy fabric.

Open Texture

The fabric has an open structure. This gives it sheerness and drape.

Plain Weave

Most georgette fabrics are plain woven. The texture does not mainly come from a complex weave. It comes from the yarn twist and arrangement.

S and Z Twist Arrangement

This is the heart of georgette.

The fabric uses yarns twisted in two directions:

• S twist
• Z twist

When these are arranged in a controlled way, the torque balances and the surface becomes grainy rather than distorted.

The definition mentions two Z-twisted and two S-twisted yarns in both warp and weft.

This arrangement helps create the characteristic georgette surface.

Understanding S Twist and Z Twist

S twist and Z twist describe the direction in which a yarn is twisted.

If the slope of the twist follows the middle part of the letter S, it is called S twist.

If the slope follows the middle part of the letter Z, it is called Z twist.

This may look like a small technical detail, but it has a big effect in high-twist fabrics.

When only one twist direction is used, the yarns may create imbalance. But when S and Z twists are used alternately, the fabric can become more balanced while still retaining texture.

Practical Note

A good georgette is not just made by using high-twist yarns randomly.

It depends on controlled arrangement.

The balance of S and Z twist gives the fabric its grainy texture, drape and stability.

S twist and Z twist arrangement in georgette fabric. Click image to view full size. Generated by AI- can have mistakes

Chiffon, Georgette and Crepe: How They Are Related

Chiffon, georgette and crepe are related because all three can involve high twist.

But they are not the same.

Fabric	Main Character	Role of Twist
Chiffon	Very light, sheer, open fabric	High twist gives liveliness
Georgette	Sheer, grainy, slightly springy fabric	S/Z crepe yarns create texture
Crepe	Crinkled, puckered or pebbly fabric family	High twist may create crepe surface

So chiffon is more about lightness and sheerness.

Georgette is about sheerness with grain.

Crepe is about crinkled or pebbly surface.

Technical Note: Why High Twist Creates Texture

When high twist is inserted into a filament yarn, the yarn stores energy. This energy is called torque.

The yarn tries to untwist or contract.

When such yarn is woven and later relaxed or finished, the torque causes small distortions in the fabric surface.

This creates:

• crinkle,
• grain,
• puckering,
• pebbly effect,
• and a lively handle.

This is why high twist yarns are used in chiffon, georgette and crepe fabrics.

The yarn remembers the twist, and the fabric shows it.

That is a beautiful way to understand twist-based fabrics.

Practical Note for Merchandisers and Buyers

When buying chiffon, georgette or crepe-type fabrics, the name alone is not enough.

Ask the supplier:

Question	Why It Matters
Is the fabric silk or synthetic?	Many chiffons and georgettes are now polyester or nylon
What yarn is used?	Yarn type affects handle, strength and drape
Is the yarn high twist?	Required for true chiffon/georgette character
What is the twist level?	Helps assess fabric authenticity and behaviour
Is S/Z twist used?	Important for georgette texture and balance
What is the fabric weight?	Affects transparency, fall and end use
Is the fabric plain weave?	Many chiffon/georgette fabrics are plain woven
Is the fabric finished or heat-set?	Important especially in synthetic versions

For example, a fabric may be sold as “georgette”, but it may simply be a lightweight synthetic fabric with a georgette-like finish.

Similarly, a “chiffon” may not be silk chiffon. It may be polyester chiffon.

So the technical question is not only:

Is it chiffon?

The better question is:

What yarn, twist, fibre and construction are creating the chiffon effect?

Common Confusions

Confusion 1: Chiffon and Georgette Are the Same

They are not the same.

Both are light and sheer, but chiffon is generally more delicate and transparent, while georgette has a more grainy crepe-like surface.

Confusion 2: Chiffon Twist Means Chiffon Fabric

Chiffon twist is the yarn.

Chiffon is the fabric.

The yarn creates the fabric character, but the two terms are not identical.

Confusion 3: Georgette Is a Weave

Georgette is usually plain woven. Its character comes mainly from crepe yarns and S/Z twist arrangement, not from a special georgette weave.

Confusion 4: All Crepe Fabrics Are Georgette

Georgette may be a type of crepe-like sheer fabric, but all crepes are not georgettes.

Crepe is a broader family.

Confusion 5: Transparency Alone Makes Chiffon

No.

Transparency is only one feature. Chiffon also requires lightness, open construction and highly twisted yarns.

Knowledge Nugget

A fabric name is often a shortcut.

But the fabric itself is a result of technical decisions.

For chiffon and georgette, the important decisions are:

• how fine the yarn is,
• how much twist is inserted,
• whether S and Z twist are balanced,
• how open the weave is,
• and how the fabric is finished.

So a good textile person does not stop at the name.

He asks: What is producing the effect?

That one question converts market vocabulary into textile knowledge.

Quick Recap

Term	One-line Meaning
Chiffon	Very light, sheer, open fabric made from hard twisted yarns
Chiffon twist	Hard twisted single raw silk thread used for chiffon
Crepe/georgette yarn	Highly twisted yarn, generally made from two raw silk threads
Crepe georgette	Sheer fabric similar to chiffon but with crepe appearance
Georgette crepe fabric	Fine, lightweight open fabric made from S and Z crepe yarns

Main lesson: Chiffon and georgette are best understood through yarn twist, openness and surface texture.

Reflection Questions

1. Why does high twist create liveliness in silk yarn?
2. What is the difference between chiffon and chiffon twist?
3. Why is georgette usually grainier than chiffon?
4. Why are S and Z twist yarns used together?
5. Why is transparency alone not enough to define chiffon?

Final Words

Chiffon and georgette are beautiful fabrics, but their beauty is not accidental.

It comes from fine yarns, high twist, open construction and careful arrangement of S and Z twist.

Chiffon teaches us how lightness and openness can create delicacy.

Georgette teaches us how twist can create grain and movement.

Crepe teaches us how yarn behaviour can become fabric surface.

So when we touch a chiffon or georgette fabric, we are not only touching silk.

We are touching twist.

We are touching yarn behaviour.

We are touching construction.

And that is why textile terminology is not just a list of words.

It is a way of understanding how fabric is born.

Buy my books at Amazon.com

Silk Fabric Terms Explained — Part 2: Understanding Silk Yarns

In Part 1, we created a practical map for understanding silk fabric terms.

We saw that a silk fabric name may tell us about fibre, yarn, twist, weave, finish, handle or traditional usage.

Now we will begin with the most basic layer: silk yarn.

This is important because before silk becomes chiffon, georgette, crepe, kora, habutai or matka, it first exists as yarn. The character of the yarn decides the character of the fabric.

A smooth silk yarn gives one type of fabric.

A highly twisted silk yarn gives another.

A yarn made from waste or pierced cocoons gives a very different surface.

So, to understand silk fabrics properly, we must first understand silk yarns.

In this part, we will discuss five important terms:

Raw silk, bivoltine silk, China silk yarn, katan and organzine.

Silk yarn journey: silkworm race, cocoon, filament, raw silk, twisted yarn and fabric. Click image to view full size.

Why Yarn Terms Matter in Silk

In cotton, wool or synthetic fabrics, yarn is also important. But in silk, yarn becomes especially important because silk is a filament fibre.

A filament is a long continuous fibre. Silk filament is obtained from the cocoon of the silkworm. Several fine filaments are brought together to form a silk thread.

This is different from cotton, where many short fibres are twisted together to make yarn.

Because silk is naturally long, fine and lustrous, small changes in yarn preparation can create large differences in the final fabric.

For example:

Yarn Condition	Fabric Effect
Silk with natural gum	Firmer handle, more body
Degummed silk	Softer handle, higher lustre
Twisted silk	Better strength and weaving performance
Highly twisted silk	Crepe, chiffon or georgette effect
Waste silk yarn	Irregular, textured, rustic appearance

So when we hear a silk fabric name, we should not ask only, “Is it silk?”

We should ask: What kind of silk yarn has been used?

1. Raw Silk

Raw silk is the silk thread reeled from cocoons by drawing together the required number of filaments. It still contains its natural gum, known as sericin.

This gum is important.

Sericin acts like a natural coating on the silk filament. Because of this, raw silk has more body and stiffness than fully degummed silk.

In simple words:

Raw silk is silk before the full removal of natural gum.

This does not mean that raw silk is unfinished in a careless way. It means that the gum is still present and is part of the yarn’s behaviour.

Practical Understanding

Raw silk generally feels firmer than degummed silk. It may have more body, more stiffness and less softness.

This is useful in weaving because the gum can give strength and protection to the yarn.

In many traditional silk fabrics, raw silk is used deliberately. The gum helps in maintaining body during weaving and finishing.

Why Raw Silk Matters to Merchandisers

A merchandiser should not treat raw silk and soft finished silk as the same.

Raw silk may affect:

• fabric handle,
• drape,
• lustre,
• dyeing behaviour,
• finishing behaviour,
• and customer perception.

If a customer expects very soft, fluid silk and receives a firmer raw silk fabric, she may feel that the fabric is not comfortable. But for certain products, that firmer handle may be exactly what is required.

So raw silk should be understood as a technical condition, not merely a market word.

2. Bivoltine Silk

Bivoltine silk refers to cocoons produced by a silkworm race having two generations or life cycles in a year.

The word can be divided into two parts:

Bi means two.

Voltine refers to the number of broods or generations in a year.

So, bivoltine silk comes from silkworm races that complete two life cycles in a year.

Practical Understanding

Bivoltine silk is often discussed in relation to silk quality, cocoon quality and filament quality.

For a textile student, the important point is that bivoltine is not a fabric structure. It is not a weave. It is not a finish.

It refers to the biological production pattern of the silkworm race.

This makes it different from terms like katan or organzine, which refer to yarn preparation.

Common Confusion

A student may think bivoltine silk is a type of fabric.

It is not.

It is connected to the silkworm race and cocoon production.

Correct understanding: Bivoltine silk is a source-quality term, not a fabric-construction term.

3. China Silk

The term China silk has two meanings.

First, it refers to a plain weave, lustrous, lightweight silk fabric traditionally produced in China and Japan.

Second, it can refer to a white raw silk yarn of superior quality from north China.

In this article, since we are focusing on yarn terms, we will consider the second meaning also.

China Silk as a Fabric

As a fabric, China silk is generally light, plain woven and lustrous. The threads may be irregular and soft. It is usually dyed or printed and used for blouses, lingerie, linings and similar products.

Historically, it was handwoven in China using mulberry silk. Later, the term was also applied to machine-made imitations.

China Silk as Yarn

As a yarn term, China silk may refer to a white raw silk yarn of superior quality.

This is important because the same term may refer to both a fabric and a yarn depending on context.

Practical Understanding

Whenever the term China silk is used, ask:

Is the person referring to the fabric or the yarn?

In fabric trade, China silk may mean a light silk fabric.

In yarn or raw material discussion, it may refer to a quality of raw silk yarn.

This is a very good example of why textile terminology must be read contextually.

4. Katan

Katan is twisted filature silk.

This is a short definition, but it is very important.

Let us break it.

Filature silk means silk that has been reeled from cocoons in a controlled way. It is generally smoother and more continuous than spun silk.

When this filature silk is twisted, it becomes katan.

So katan is not merely silk. It is twisted reeled silk.

Practical Understanding

Twist gives silk better strength, body and weaving performance.

In many fine silk fabrics and sarees, katan yarn is valued because it gives a clean, strong and elegant fabric.

A fabric made with katan can have better structure than fabric made with very loosely twisted or untwisted silk.

Katan Cloth

Katan cloth is a plain weave mulberry silk fabric in which double and twisted yarn is used in both warp and weft.

This means that katan cloth is not only about fibre. It is about the use of twisted silk yarn in fabric construction.

Why Katan Matters in Indian Textiles

In Indian saree vocabulary, katan is often associated with richness, strength and fine silk character.

But technically, the important point is:

Katan means twisted filature silk.

Once we understand this, the term becomes clearer.

It is not just a market name. It tells us something about the yarn.

Comparison of raw silk, katan and organzine yarns. Click image to view full size.

5. Organzine

Organzine is a silk yarn used mainly as warp yarn for weaving or knitting.

It is made by twisting single silk threads first. Then two, three or four of these threads are folded together. After folding, they are twisted in the opposite direction to the original single twist.

The twist generally ranges from about 350 to 700 twists per metre.

This construction gives organzine strength, balance and stability.

Why Organzine Is Used in Warp

In weaving, warp yarns face more stress than weft yarns.

Warp yarns are held under tension on the loom. They pass through healds and reed. They experience repeated movement and abrasion.

Therefore, warp yarn must be strong and stable.

Organzine is suitable because its folded and balanced twist structure gives better performance during weaving.

Organzine and Organza Are Different

This is one of the most common confusions.

Organzine is a yarn.

Organza is a fabric.

Organzine may be used in making many silk fabrics. Organza is a sheer, crisp, transparent fabric.

The similarity in spelling creates confusion, but technically they are different.

A simple way to remember:

Organzine = yarn.

Organza = fabric.

How These Yarn Terms Differ

Let us compare the terms clearly.

Term	What It Refers To	Main Meaning	Practical Importance
Raw silk	Yarn condition	Silk with natural gum	Gives body and firmness
Bivoltine silk	Silkworm/cocoon source	Two life cycles in a year	Related to cocoon and filament quality
China silk	Fabric or yarn	Lightweight silk fabric or superior raw silk yarn	Meaning depends on context
Katan	Yarn type	Twisted filature silk	Gives strength and clean appearance
Organzine	Warp yarn	Folded and twisted silk yarn	Strong and stable for weaving

This table shows that all terms do not belong to the same category.

Some are biological terms.

Some are yarn terms.

Some are fabric terms.

Some have more than one meaning.

That is why classification is important.

A Simple Flow from Cocoon to Fabric

To understand these terms better, imagine this sequence:

Silkworm race → cocoon → filament → raw silk → twisted silk yarn → woven silk fabric

Now place the terms in this flow:

Stage	Related Term
Silkworm race	Bivoltine silk
Reeled silk with gum	Raw silk
Superior raw silk yarn from China	China silk yarn
Twisted filature silk	Katan
Folded and twisted warp yarn	Organzine
Plain weave silk fabric	Katan cloth, China silk fabric

This is a much better method than memorising definitions.

When we know where a term fits in the production chain, we understand it more deeply.

Classification of silk yarn terms: source, yarn condition, yarn type and fabric usage. Click image to view full size.

Technical Note: Sericin and Degumming

Silk filament has two main protein components:

Fibroin is the main structural silk fibre.

Sericin is the natural gum that surrounds the fibroin.

When silk is reeled from the cocoon, sericin is still present. This gives raw silk its firmer feel.

The process of removing sericin is called degumming.

After degumming, silk becomes softer, more lustrous and more comfortable. But before degumming, the gum can help the yarn during weaving.

So the decision to use raw silk or degummed silk is not accidental. It depends on the intended fabric and process.

Practical Note for Buyers and Merchandisers

When dealing with silk fabrics or silk yarns, it is useful to ask the supplier a few direct questions:

Question	Why It Helps
Is the silk raw or degummed?	Helps understand handle and finish
Is the yarn reeled or spun?	Helps understand smoothness and irregularity
Is it filature silk?	Indicates continuous reeled silk quality
Is the yarn twisted?	Helps understand strength and fabric behaviour
Is it single, double or folded yarn?	Helps understand body and durability
Is it used in warp or weft?	Helps understand performance in weaving
What is the twist level?	Helps identify chiffon, crepe or organzine type yarns

A fabric name alone is not enough.

For example, two fabrics may both be called “silk fabric”, but one may be made from raw silk, another from katan, another from spun silk and another from synthetic filament.

The buyer should always ask for the yarn story behind the fabric.

Common Mistakes

Mistake 1: Treating Raw Silk as a Fabric Name Only

Raw silk is not only a market category. Technically, it refers to silk thread containing its natural gum.

Mistake 2: Confusing Bivoltine with a Fabric Type

Bivoltine refers to the silkworm race and cocoon production cycle. It is not a weave or fabric construction.

Mistake 3: Confusing Organzine with Organza

Organzine is a yarn. Organza is a fabric.

Mistake 4: Assuming All Silk Yarns Are Smooth

Silk yarns may be smooth, twisted, folded, raw, degummed, spun, waste-based or irregular. Each gives a different fabric character.

Mistake 5: Ignoring Warp and Weft Difference

Some yarns are especially suitable for warp because they have better strength and stability. Organzine is a good example.

Knowledge Nugget

A silk fabric does not begin at the loom.

It begins much earlier.

It begins with the silkworm race, the cocoon, the filament, the gum, the reeling method and the yarn twist.

That is why a good textile person reads silk backwards:

Fabric → weave → yarn → filament → cocoon

The more we understand this chain, the more clearly we understand the fabric.

Quick Recap

In this part, we studied five important silk yarn-related terms:

Term	One-line Meaning
Raw silk	Silk thread containing natural gum or sericin
Bivoltine silk	Silk from silkworm races with two generations in a year
China silk	Lightweight silk fabric or superior white raw silk yarn
Katan	Twisted filature silk
Organzine	Folded and twisted silk yarn mainly used as warp

Main lesson: Silk yarn terms are not just definitions. They explain the behaviour of the final fabric.

Reflection Questions

1. Why does raw silk feel firmer than degummed silk?
2. Why is organzine suitable for warp?
3. How is katan different from ordinary untwisted silk?
4. Why should China silk be understood from context?
5. Why is bivoltine silk not a fabric-construction term?

Final Words

Silk fabrics become easier to understand when we understand silk yarns.

Raw silk explains gum and body.

Katan explains twist and strength.

Organzine explains warp performance.

China silk reminds us that one term may have more than one meaning.

Bivoltine silk takes us even further back, to the silkworm race and cocoon source.

So before asking, “What silk fabric is this?”, we should ask:

What silk yarn is this fabric made from?

That question changes our understanding completely.

In the next part, we will move from yarn to twist-based sheer fabrics and understand chiffon, chiffon twist, georgette and crepe-georgette yarns.

Buy my books at Amazon.com

Silk Fabric Terms Explained — Part 1: A Practical Map for Understanding Silk Fabrics

Silk is not one fabric.

This is the first important point to understand.

When a customer says “silk”, she may be imagining a smooth, lustrous saree. When a merchandiser says “silk”, he may be thinking of katan, organzine, raw silk, crepe yarn or chiffon twist. When a weaver says “silk”, he may be thinking of warp strength, twist, degumming, gum content, yarn count, reed, pick and finishing.

So the word silk is simple in the market, but quite layered in textile practice.

That is why terms such as chiffon, georgette, crepe, habutai, kora, matka, ghicha, organzine, katan, bafta and scroop should not be memorised only as dictionary meanings. They should be understood as fabric constructions.

This article is the first part of a series on silk fabric terms. In this part, we will not go very deep into each term. Instead, we will create a practical map so that the terms become easier to understand in the coming articles.

Silk fabric understanding map: fibre, yarn, twist, weave, finish and fabric name. Click image to view full size.

Why Silk Fabric Names Become Confusing

Silk terminology becomes confusing because one term may refer to different aspects of the fabric.

For example, crepe may refer to:

• a crinkled fabric surface,
• a highly twisted yarn,
• a type of weave,
• or a family of fabrics such as crepe-de-chine, flat crepe, crepe georgette and crepe-backed satin.

Similarly, kora is often used in the market for an undegummed silk fabric. But technically, it also tells us about the condition of the silk yarn — that the silk still contains its natural gum.

In the same way, organza tells us about transparency and crispness, while organzine is a type of silk yarn used mainly in warp.

The two words sound similar, but they are not the same.

This is where many students and merchandisers get confused.

A silk fabric name may tell us about one or more of the following:

What the term may indicate	Example
Fibre used	Mulberry silk, tasar silk, silk-cotton blend
Yarn type	Raw silk, katan, organzine, ghicha, matka
Twist level	Chiffon twist, crepe yarn
Weave	Plain weave, satin weave, crepe weave
Surface appearance	Sheer, crinkled, pebbly, lustrous, stiff
Finish or handle	Scroop, crispness, stiffness, gum content
Traditional or market name	Bafta, kora, habutai, matka

Therefore, the best way to understand silk fabric terms is not to memorise them alphabetically.

The better way is to decode them layer by layer.

The Five Layers of Silk Fabric Understanding

A silk fabric can be understood through five important layers:

1. Fibre
2. Yarn
3. Twist
4. Fabric construction
5. Finish and handle

Let us understand each of these layers.

1. Fibre: What Kind of Silk or Fibre Is Used?

The first question is simple:

What fibre has been used?

The fabric may be made of mulberry silk, tasar silk, raw silk, waste silk, cotton-silk blend or even man-made filament yarns imitating silk.

For example, bafta is traditionally described as a fabric made with silk warp and cotton weft. Here, the fabric name immediately tells us about a blend of two fibres.

This is important from a practical point of view.

A silk-cotton fabric will not behave exactly like a pure silk fabric. It may have a different fall, different handle, different absorbency, different price point and different performance during washing or finishing.

Similarly, fabrics made from waste silk yarns such as matka or ghicha will have a more irregular, textured and handmade character compared to smooth reeled silk fabrics.

So the first layer is always fibre.

2. Yarn: What Type of Silk Yarn Is Used?

The second layer is yarn.

In silk fabrics, the yarn is extremely important because the same silk fibre can give very different fabrics depending on how the yarn is prepared.

Raw Silk

Raw silk is the continuous silk thread reeled from the cocoon before complete removal of sericin. Sericin is the natural gum present in silk.

Because of this gum, raw silk has more body and a slightly firmer handle. It is not as soft as fully degummed silk.

In many fabrics, raw silk is used deliberately because the gum gives strength and character during weaving.

Katan

Katan is twisted filature silk. It is commonly associated with fine silk fabrics and sarees.

The word is important because it tells us that the silk is not just reeled, but twisted. This twisting gives better strength, body and usability in weaving.

Organzine

Organzine is a strong silk yarn generally used in the warp direction.

It is made by twisting single silk threads and then folding two, three or four such threads together. The folded yarn is then twisted in the direction opposite to the single twist.

This opposite twist gives balance and strength.

Since warp yarns have to withstand loom tension, abrasion and repeated movement during weaving, organzine is suitable as warp yarn.

Ghicha and Matka

Ghicha and matka are associated with silk waste, pierced cocoons or cocoons from which continuous reeled silk cannot be obtained easily.

Ghicha yarn is drawn by hand, often from tasar cocoons.

Matka yarn is spun from pierced or waste cocoons, traditionally with simple hand appliances.

Both produce fabrics with an irregular, natural and textured appearance.

This is why matka fabric does not look like smooth filature silk. Its beauty lies in its unevenness.

3. Twist: How Much Twist Has Been Given to the Yarn?

The third layer is twist.

Twist is one of the most important ideas in silk fabrics.

A yarn may be softly twisted, normally twisted or highly twisted. When a yarn is given very high twist, it develops torque. It tries to curl, kink or contract. This behaviour is used deliberately to produce special fabric effects.

This is the basis of fabrics such as chiffon, georgette and crepe.

Low twist and high twist silk yarn comparison. Click image to view full size.

Chiffon Twist

Chiffon twist is a hard twisted single raw silk thread used for making chiffon and similar fabrics.

The twist may be in the range of about 2,000 to 4,000 twists per metre.

Such high twist gives chiffon its light, sheer and slightly lively character.

Crepe Yarn

Crepe yarn is also a highly twisted yarn. It is used to produce a crinkled, puckered or pebbly surface in the fabric.

Important point: In silk fabrics, twist is not only a yarn property. Twist becomes a fabric surface.

This is a very useful concept.

The twist is inside the yarn, but its effect is visible on the fabric.

When S-twist and Z-twist yarns are arranged in a controlled way, they create balanced or textured effects. This is why terms like S twist, Z twist, crepe yarn, chiffon twist and crepe-de-chine yarn are important in silk terminology.

4. Fabric Construction: How Is the Fabric Made?

The fourth layer is construction.

After understanding the fibre, yarn and twist, we must ask:

How has the fabric been woven?

Many silk fabrics are plain woven, but they still differ because of yarn twist, yarn type, gum content, finishing and density.

Chiffon

Chiffon is a very light, sheer and open fabric made from hard twisted yarns.

Silk chiffon is made from raw silk in both warp and weft directions. Because of its open structure and high twist, it has a delicate, transparent and flowing character.

Georgette

Georgette is also light and sheer, but compared to chiffon it generally has a more grainy or crepe-like surface.

It is usually made from crepe yarns, often with two Z-twisted and two S-twisted yarns arranged in both warp and weft.

This arrangement gives georgette its characteristic texture.

Crepe

Crepe is not just one fabric. It is a family.

A crepe fabric is identified by its crinkled, puckered or pebbly surface. This surface may be created by:

• high twist yarns,
• crepe weave,
• chemical treatment,
• embossing,
• or a combination of these methods.

So, when we say “crepe”, we should immediately ask:

Is the crepe effect coming from yarn, weave, finishing or all of them?

Crepe-de-Chine

Crepe-de-Chine is a lightweight silk fabric made with highly twisted S and Z filament yarns alternating in the weft, along with normally twisted filament yarns.

It has a soft crepe effect, but it is usually smoother than heavy crepe fabrics.

Habutai

Habutai is a soft, lightweight Japanese silk fabric. It is generally plain woven and may be used for linings, blouses and printed fabrics.

It has a smooth, light and supple character.

Tabby

Tabby is a lightweight plain woven silk fabric, usually printed, using untwisted raw silk in warp and weft.

This shows that even a plain weave fabric can have its own identity depending on yarn and finish.

5. Finish and Handle: What Does the Fabric Feel Like?

The fifth layer is finish and handle.

Some silk terms are not only about construction. They are about the final feel of the fabric.

Scroop

Scroop is a special property of finished silk. It gives silk a characteristic crisp feel and a slight crackling or crunching sound when the fabric is crushed by hand.

It may be produced by treating silk with mild acid, such as acetic acid, and drying without washing.

This is a beautiful textile property because it is not only seen. It is felt and heard.

A good textile person does not only look at fabric. He touches it, crushes it, listens to it and observes its recovery.

Organdie, Organdy and Organza

Organdie is a lightweight, translucent fabric with a permanent stiff finish.

Organza is also a lightweight, sheer, plain-woven fabric. It was originally made from raw silk and has a crisp, shimmery and translucent quality.

In the market, the words organdie, organdy and organza are sometimes used loosely. But technically, the important point is that these fabrics are known for transparency and crispness.

A silk fabric can therefore be soft and flowing like chiffon, grainy like georgette, pebbly like crepe, crisp like organza or textured like matka.

This is the language of handle.

Indian Silk Terms: Why They Deserve Special Attention

Some silk terms are especially important in the Indian textile context.

These terms are not merely technical. They are connected with traditional production, handloom practices, local usage and market vocabulary.

Bafta

Bafta is an Indian term for a fabric made with silk warp and cotton weft.

This combination is interesting because it brings together the lustre and strength of silk in the warp with the comfort and economy of cotton in the weft.

Such fabrics show how Indian textiles often balance beauty, cost and function.

Kora Cloth

Kora cloth is a silk fabric mainly made of mulberry silk used in both warp and weft in an undegummed and untwisted condition.

It is used for printed sarees, scarves and dress materials.

The term kora reminds us that gum content is an important part of silk fabric identity.

Matka Fabric

Matka fabric is a rough handloom fabric made from yarn spun out of pierced cocoons, generally with organzine in the warp.

It is used for dress material, furnishing, cushion covers and similar products.

The roughness of matka is not a defect. It is the character of the fabric.

Ghicha-Ghicha Fabric

Ghicha-ghicha fabric is a medium-weight fabric made from tasar waste silk yarn. It is generally hand woven and used for dress making and furnishing.

Both matka and ghicha show that silk is not always smooth and luxurious in the conventional sense. Silk can also be rustic, irregular and earthy.

Classification of silk terms into yarn, fabric and finish categories. Click image to view full size.

A Practical Framework for Students and Merchandisers

Whenever you come across a silk fabric name, do not stop at the name.

Ask seven questions.

Question	Why It Matters
What fibre is used?	Determines basic nature, cost and comfort
Is it reeled silk, spun silk or waste silk?	Affects smoothness, strength and texture
Is the silk raw or degummed?	Affects handle, lustre and stiffness
What type of yarn is used?	Explains body, surface and performance
How much twist is present?	Explains crepe, chiffon and georgette effects
What weave is used?	Explains structure and appearance
What finish is applied?	Explains feel, sound, stiffness and drape

This framework is much better than memorising definitions.

Definitions give vocabulary.

Framework gives understanding.

Simple Comparison of Important Silk Terms

Term	Main Idea	Practical Understanding
Raw silk	Silk with natural gum	Firmer handle, contains sericin
Katan	Twisted filature silk	Stronger, cleaner silk yarn
Organzine	Folded and twisted silk yarn	Mainly used as warp yarn
Chiffon	Sheer open fabric	Light, transparent, highly twisted yarns
Georgette	Sheer crepe fabric	Grainy surface, S and Z twist yarns
Crepe	Crinkled fabric family	Effect may come from yarn, weave or finish
Habutai	Soft plain silk fabric	Lightweight, smooth, often used for linings
Kora	Undegummed silk fabric	Used for printed sarees and scarves
Matka	Rough silk fabric	Made from pierced or waste cocoons
Ghicha	Hand-drawn silk yarn/fabric	Rustic, textured, often tasar-based
Organza	Crisp sheer fabric	Transparent, stiff, dressy
Scroop	Crackling silk feel	Produced by finishing treatment

Common Confusions

Organza and Organzine Are Not the Same

Organza is a fabric.

Organzine is a silk yarn.

Organza is sheer and crisp. Organzine is strong and used mainly in warp.

Chiffon and Georgette Are Not the Same

Both are light and sheer, but chiffon is more delicate and transparent, while georgette has a more grainy crepe surface.

Raw Silk and Matka Are Not the Same

Raw silk is reeled silk with gum.

Matka is spun from pierced or waste cocoons and has a rough, irregular appearance.

Crepe Is Not One Fabric

Crepe is a family of fabrics. The crepe effect may come from yarn twist, weave structure, chemical treatment or embossing.

Technical Note: Why Twist Is So Important in Silk

Silk is a filament fibre. It is naturally long and fine. Because of this, it can be twisted in different ways to create different fabric behaviours.

In low twist yarns, the fabric may become smooth and lustrous.

In high twist yarns, the yarn develops torque. When the fabric is relaxed or finished, this torque produces contraction, crinkle or grain.

That is why chiffon, georgette and crepe are closely connected with twist.

A simple way to remember this:

Low twist gives smoothness.

High twist gives liveliness, crinkle and texture.

Practical Note for Fabric Buyers

When buying silk fabrics, do not rely only on the fabric name.

Ask for:

• fibre composition,
• whether the silk is raw or degummed,
• yarn type,
• twist level if relevant,
• weave,
• weight,
• finish,
• end use,
• and care requirements.

Two fabrics may both be sold as “silk crepe”, but one may be made of pure silk and another may be made of man-made filament yarn. One may have true crepe yarn and another may have only a surface finish.

The name is the starting point, not the final specification.

Practical Note for Students

For students, silk terminology becomes easier if you draw a small flow:

Silk fibre → silk yarn → twist → weave → finish → fabric name

For example:

Raw silk + high twist + open plain weave = chiffon type fabric

Crepe yarn + S/Z arrangement + sheer construction = georgette type fabric

Waste silk yarn + hand spinning + irregular texture = matka or ghicha type fabric

This method makes definitions logical.

How This Series Will Continue

This article is only a map. In the next parts, we will study each group in detail.

Part 2: Silk Yarns

Raw silk, katan, organzine, China silk yarn and bivoltine silk.

Part 3: Chiffon and Georgette

Chiffon, chiffon twist, georgette crepe and crepe/georgette yarn.

Part 4: Crepe Family

Crepe, crepe fabric, crepe-de-chine, flat crepe and crepe-backed satin.

Part 5: Indian Silk Terms

Bafta, kora, ghicha, matka and related Indian silk fabrics.

Part 6: Lightweight Plain Silk Fabrics

Habutai, China silk and tabby.

Part 7: Finish, Feel and Special Effects

Organdie, organza and scroop.

Final Words

Silk terminology looks difficult because the terms come from many sources: technical textile language, weaving practice, finishing practice, trade vocabulary and traditional Indian usage.

But most silk terms can be understood by asking three simple questions:

What yarn is used?

How much twist is given?

What construction and finish create the final fabric?

Once we ask these questions, the names become meaningful.

Chiffon is no longer just a delicate fabric.

Georgette is no longer just a market name.

Crepe is no longer just a crinkled surface.

Matka is no longer just a rough silk.

Each term becomes a clue to the story of the fabric.

That is the real value of textile terminology.

It is not just vocabulary.

It is fabric knowledge.

Buy my books at Amazon.com