Types of Dyes used in Handblock Printing

The following is a brief description of the chemical dyes used in handblock printing in India:

Pigment dyes

Pigment colors are mixed with kerosene and a binder. The mixed color can be stored for a few days. The motif is printed directly on white or light-colored ground with a variety of pigment colors. Pigment colors are widely popular today because the process is simple, the mixed colors can be stored for a period of time, subtle nuances of colors are possible, and new shades evolve with the mixing of two or three colors. Also the colors are visible as one prints and do not change after processing. Colors can be tested before printing by merely applying it onto the fabric. The pigment color is made up of tiny particles, which do not dissolve entirely and hence are deposited on the cloth surface while rapid dyes and indigo sols penetrate the cloth.

Rapid fast Colors

In this process, the ground color and the color in the design are printed on white and/or light-colored grounds in one step. The dyes once mixed for printing have to be used the same day. Standard colors are black, red, orange, brown and mustard. Color variation is somewhat difficult and while printing it is not possible to gauge the quality or depth of color.

Discharge Dyes

These dyes are used if you need to print onto a dark background. Medium to dark grounds are dyed on fabric with specially prepared dyestuff . The printing colors then used on the fabric contain a chemical that interacts with the dye. This interaction simultaneously bleaches the color from the dyed ground and prints the desired color on its place. Areas can also be discharged and left white. The primary advantage of this process is that vivid and bright colors along with white can be printed on top of medium and dark grounds. 

    

Napthol

These are two sets of chemicals which upon reaction produce a third chemical essentially colorful in nature. Fabric is dyed in one and later printed with the other. The chemical reaction produces a third color. However, the biggest drawback of this process is that there are just a few chemicals available which produce colors upon reaction.

Source: http://www.aiacaonline.org/pdf/block-printing-extended-documentation.pdf 

See the images of these prints here : http://www.sashaworld.com/learn/learnframe.htm              

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Why Different types of Reactive Dyes Dye differently

Almost all the reactive dyes are built on a similar structure (Remazol Dye from Hoechst is the exception). This structure consists of (1) a chromophore (the color-bearing group), (2) a reactive group (usually a heterocyclic carbon-nitrogen ring system), and (3) a "leaving group" which is part of the carbon-nitrogen group which is generally a halogen compound (chlorine family).

Influence of Dye characteristics in reactive dyeing:

The major dye variables that affect reactive dyeing are dye chemistry, substantivity,Reactivity and solubility.

Dye chemistry:

Reactive dye has a wide variety in terms of their chemical structure. The two most important component of a reactive dye are the chromophore and the reactive group. The characteristics governed by the chromophore are color gamut, light fastness, chlorine / bleach fastness, solubility, affinity and diffusion.

The dye characteristics governed by reactive group are reactivity, dye-fiber bond stability, and efficiency of reaction with the fiber and affinity. Dyeing conditions, especially the alkali requirements and temperature as well as the use of salt also depends upon the type of reactive group.

Substantivity:

The affinity of dye for a given substrate ( textile material) is called substantivity

Substantivity more depends upon chromophore as compared to reactive system. A high substantivity may results:

• Lower dye solubility.

• High primary exhaustion.

• A high reaction rate.

• Lower diffusion coeffecient.

A low sensitivity of dyes to the variation in the processing conditions such as time, temperature, pH, material to liquor ratio may results:

• Less diffusion.

• Less migration and levelness.

• More difficult to the removal of unfixed dyes.

Substantivity is also the best measure of the ability of a dye to cover dead cotton or immature cotton fibers. Covering power is best when the substantivity is either high or very low. An increase in the dye substantivity may be affected by:

• Lower concentration of dyes.

• Higher concentration of electrolyte.

• Lower temperature.

• Higher pH upto 11.

• Lower liquor to material ratio (M:L)

Reactivity:

High dye reactivity entails a lower dyeing time and lower efficiency of fixation. To improve the efficiency of fixation by reducing dye reactivity requires a longer dyeing time and therefore less effective than an increase in substativity. Also there is wide range of temperature and pH over which the dye can be applied. Altering the pH or temperature, two dyes of intricsically different reactivity may be made to react at a similar rate can modify reactivity of dye.

Solubility:

Dyes of better solubility can diffuse easily and rapidly into the fibers, resulting in better migration and leveling. Increasing the temperature, adding urea and decreasing the use of electrolyte may affect on increase in dye solubility.

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Textile and Comfort

People have always been interested in the connection between clothing and physical well-being.Comfort has its physiological, physical-chemical and psychological components. Major components in case of textiles are Warmth, Absorbing capacity and humidity, General comfort , Cloth convenience , Skin perception , Weight and Softness. Out of these major part of comfort is directly related to the body temperature. Thus any clothing can be measured on comfort by the fact that how well it can regulate the temperature of the body. Sweating is the most effective way the human body has of cooling down. How well can a clothing provide comfort depends upon (among other factors) how well it can handle sweating.

The most effective cooling is achieved by sweat evaporating directly on the skin. Thus any clothing that behaves closest to the skin is comfortablee. The ability of a textile to transport perspiration in the form of vapour through itself and out to the exterior is generally referred to as its breathability. It is incorrect to use the terms breathability (or resistance to water vapour) and air permeability interchangeably, because low air permeability does not in itself result in lower breathability. The best example of this is modern wind- and waterproof membranes, which allow very little air to permeate in from outside (windproof), but still allow evaporated perspiration to pass through from the inside.

Fiber characteristics influence breathability the most. However contrary to popular belief,synthetic fibers are not always bad in terms of comfort. If textiles made from synthetic fibres were properly designed, they could not only offer the same heat and moisture management qualities as natural fibres but even exceed them.For example in in double faced clothings, layers of natural and synthetic fibres were combined, yet kept separate. The synthetic fibres of the "double face material" were next to the skin and conducted perspiration quickly and efficiently away from the body and into the outer cotton layer. In combination, the two materials were far more comfortable than cotton, because of the drier feeling on the skin."

There are some interesting developments in getting comfort characteristcs of fabrics they include a gradual variation in the fineness of the fibres and yarns from the inner surface of the textile to the outer surface. It improves moisture management; because the resulting narrowing of the capillaries (denier gradient) means that the moisture can be transported away from the skin really effectively. Other measeures include integrating electrical and electronic components such as heating or cooling elements. The latest battery technology and innovative methods of processing and wiring.


Sources:

http://www.innovationintextiles.com/articles/732.php

http://www.technica.net/NT/NT3/comfort_clothing.htm
 

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What is Eli Twist Yarn

EliTwist Yarn: A Compact Route to Two-Ply Yarn Production

In yarn manufacturing, a small change in spinning technology can create a major difference in yarn appearance, strength, hairiness, fabric performance, and production economics. One such development is EliTwist yarn, associated with Suessen’s compact spinning technology.

EliTwist is not just another yarn name. It represents a specific way of producing a two-ply compact yarn directly on the ring spinning frame, instead of first making single yarns and then twisting them separately in a later process such as TFO twisting. In that sense, EliTwist combines the advantages of compact spinning and doubling/twisting in one integrated route.

EliTwist yarn formation: two rovings are drafted, compacted, and spin-twisted into one compact two-ply yarn. This is a creative representation, actual process may vary

What is EliTwist yarn?

EliTwist yarn is a compact spin-twisted yarn produced using Suessen’s EliTe compact spinning system. In conventional yarn manufacturing, if a two-ply yarn is required, two single yarns are first produced and then twisted together in a separate process. EliTwist changes this route.

In EliTwist, two rovings are fed into one spinning position. These rovings are drafted separately, compacted, and then combined by twist. The result is a yarn that behaves like a two-ply yarn but is produced directly on the ring spinning frame.

EliTwist = compact yarn + doubled yarn character + direct production on ring frame.

This is why EliTwist is interesting both technically and commercially. It aims to give the spinner the quality advantages of doubled yarn while reducing the need for separate doubling and twisting operations.

How EliTwist yarn is produced

The EliTwist process begins with two rovings. These two rovings pass through the drafting system separately. After drafting, the fibre strands enter a compacting zone. In this zone, the fibres are condensed before twist insertion.

The compacting zone is important because it reduces the spinning triangle. In normal ring spinning, fibres at the edge of the strand may not be fully integrated into the yarn body. These edge fibres become hairiness, fly, or weakly bound surface fibres. In compact spinning, the fibre strand is condensed before twist insertion, so more fibres become part of the main yarn body.

In EliTwist, this compacting principle is applied to two drafted fibre strands. The two compacted strands are brought together and twisted to form a spin-twisted compact yarn. The structure becomes cleaner, more compact, and more controlled than an ordinary ring-spun yarn.

Why the spinning triangle matters

The spinning triangle is the small triangular zone between the front roller nip and the point where twist is fully inserted into the yarn. This zone may look small, but it has a major effect on yarn quality.

In ordinary ring spinning, the spinning triangle allows some fibres to remain loose or poorly integrated. This leads to higher hairiness and lower fibre utilization. In compact spinning, the fibre strand is condensed before twisting, so the spinning triangle becomes smaller.

Source : www.suessen.com

Effect	Result
Better fibre control	Lower hairiness
More fibres inside yarn body	Higher strength
Compact yarn structure	Smoother yarn surface
Better yarn roundness	Improved fabric appearance
Lower loose fibres	Less lint and fly

EliTwist applies this compacting advantage while also creating a two-ply-like yarn structure.

Comparison of ordinary ring spinning and compact spinning: a smaller spinning triangle helps reduce hairiness. Creative representation- may differ from actual process

EliTwist versus conventional TFO yarn

To understand EliTwist properly, it helps to compare it with conventional TFO yarn. In a traditional route, two single yarns are produced first. Then these yarns are twisted together on a TFO machine. This gives a conventional two-ply yarn. TFO yarns are widely used because they offer better strength, balance, and fabric performance than single yarns.

EliTwist tries to achieve many of these two-ply advantages directly at the spinning frame. This gives it a process advantage because it can reduce separate doubling and twisting operations.

Point of comparison	Conventional TFO yarn	EliTwist yarn
Production route	Single yarn spinning + separate twisting	Two rovings spun and twisted directly
Process length	Longer	Shorter
Yarn surface	Depends on single yarn quality and twisting	Compact and smooth
Hairiness	Generally higher than compact EliTwist	Lower
Strength	Good	Often higher in studies
Abrasion resistance	Can be better in some cases	May be lower than TFO in some studies
Production economy	Additional process required	Potentially more economical

The important point is that EliTwist is not merely a substitute for TFO in every situation. It has its own structural identity. It gives many advantages, especially in hairiness, compactness, smoothness, and tensile properties, but TFO may still perform better in certain abrasion-related conditions.

Suessen’s claimed advantages of EliTwist

Suessen presents EliTwist as a high-quality compact spin-twisted yarn system. The major advantages claimed for EliTwist include high yarn strength, low hairiness, compact cross-section, smooth yarn surface, good evenness, resistance to yarn slippage, abrasion resistance, and process economy.

Advantage	Practical meaning
High yarn strength	Better performance during weaving and processing
Low hairiness	Cleaner yarn and fabric surface
Compact cross-section	Better yarn roundness and appearance
Smooth yarn surface	Improved handle and fabric clarity
Good evenness	Better visual uniformity
Resistance to yarn slippage	Useful in woven structures
Abrasion resistance	Better durability in some applications
Process economy	Avoids separate doubling and twisting route

For mills, the economic attraction is also important. If a yarn with doubled-yarn-like performance can be produced without a separate twisting process, the saving in time, handling, machinery, energy, and labour can be meaningful.

What research papers say about EliTwist yarn

Research on EliTwist yarn is not as large as research on ring, rotor, air-jet, or compact yarns, but several useful papers exist. These papers mainly compare EliTwist with TFO yarn, compact doubled yarn, regular doubled yarn, and other spinning systems.

The research themes are fairly consistent. Most studies examine yarn hairiness, tensile strength, elongation, friction, abrasion resistance, fabric behaviour, moisture transport, elastic recovery, and sewing-thread performance.

1. Comparative assessment of EliTwist and TFO yarns

One of the most useful studies compares EliTwist yarn with conventional ring-spun TFO yarns. This paper studies properties such as mass irregularity, imperfections, hairiness, diameter, tenacity, elongation, coefficient of friction, and abrasion resistance.

The findings are interesting because they show that EliTwist is superior in several properties, but not in every property.

Property	EliTwist compared with TFO
Mass irregularity	More or less similar
Imperfections	Similar or sometimes slightly higher
Hairiness	Lower
Yarn diameter	Lower / more compact
Tenacity	Higher
Breaking extension	Higher
Coefficient of friction	Lower
Abrasion resistance	Lower than TFO in that study

The lower hairiness and lower diameter make sense because EliTwist is based on compact spinning. The higher tenacity and breaking extension are also linked to better fibre integration. More fibres are held inside the yarn body and contribute to load bearing.

However, the finding on abrasion resistance is important. TFO yarn performed better in abrasion resistance in that particular study. This may be because the fibres in conventional doubled yarn are trapped differently at the interface of the two yarns, giving better resistance to repeated rubbing.

Balanced conclusion: EliTwist is generally cleaner, smoother, more compact, and stronger, but TFO may still be better where abrasion resistance is the dominant requirement.

2. Optimization of process parameters in EliTwist yarn

Another research direction studies the effect of process parameters on EliTwist yarn quality. In EliTwist, two important variables are feed roving distance and negative suction pressure. These parameters affect how the fibre strands are compacted and how effectively fibres are integrated into the yarn structure.

If the roving distance is not suitable, the two drafted strands may not combine optimally. If suction pressure is too low, compacting may be inadequate. If suction pressure is excessive, it may affect fibre movement, energy consumption, and process stability.

Parameter affected	Meaning
Yarn fineness	Whether the yarn count remains controlled
Rkm / strength	Load-bearing capacity
Elongation percentage	Stretch before break
Unevenness percentage	Mass variation
Imperfections	Thick places, thin places, neps
Hairiness	Surface fibre protrusion

This is a useful reminder that EliTwist quality is not automatic. The technology gives a strong base, but the final yarn quality depends on machine settings, fibre properties, twist, count, roving preparation, and process control.

3. Fabrics made from EliTwist and other doubled yarns

Some studies compare fabrics made from EliTwist yarn with fabrics made from combed compact doubled yarn and regular combed doubled yarn. The general observation is that EliTwist fabrics often show better overall characteristics. This can include better compactness, appearance, fabric weight, thickness, air permeability, and moisture management depending on the yarn and fabric construction used.

At the fabric level, the benefit of EliTwist comes from its yarn structure. A smoother and less hairy yarn can produce a cleaner fabric surface. Better yarn strength can improve weaving performance. A compact yarn structure can also influence fabric thickness, cover, handle, and comfort.

However, one should be careful. Fabric performance depends not only on yarn type but also on yarn count, twist level, fabric structure, fibre blend, and finishing.

Performance comparison map: EliTwist often improves hairiness, compactness, friction, and tensile strength, while TFO may perform better in some abrasion cases. Creative Representation

4. EliTwist as sewing thread

Another interesting research area is the use of EliTwist yarn as sewing thread. Sewing thread requires high strength, low friction, low hairiness, good abrasion behaviour, and stable performance at high machine speeds.

Research comparing EliTwist sewing thread with conventional sewing thread reports encouraging results. EliTwist sewing thread showed lower hairiness, lower friction, and higher tensile strength. Low hairiness is useful in sewing because hairy thread can generate lint, friction, and needle heating. Higher tensile strength can reduce thread breakage. Lower friction can help smoother passage through guides, needle eye, and fabric.

This suggests that EliTwist may have potential beyond ordinary weaving or knitting yarns.

5. Elastic recovery of polyester-cotton EliTwist yarns

Research has also studied elastic recovery properties of polyester-cotton blended EliTwist yarns. This is important because yarn behaviour changes significantly with fibre blend.

Polyester has better elastic recovery than cotton. Cotton tends to deform more and recover less after extension. Therefore, polyester-cotton blend ratio influences immediate recovery, delayed recovery, and permanent deformation.

Variable	Effect
Polyester/cotton blend ratio	Higher polyester generally improves recovery
Extension rate	Affects deformation behaviour
Extension amplitude	Higher extension may increase permanent deformation
Yarn structure	Influences fibre movement and recovery

This means EliTwist yarn cannot be judged in isolation. A 100% cotton EliTwist yarn, a polyester-cotton EliTwist yarn, and a 100% polyester EliTwist yarn may behave differently.

6. Moisture transport behaviour of EliTwist knitted fabrics

Some studies also examine moisture transport in knitted fabrics made from EliTwist yarn. Moisture management is important for comfort, especially in apparel fabrics.

Yarn structure affects how moisture moves through fabric. Hairiness, compactness, capillary spaces, fibre type, twist, and fabric construction all influence wetting and transport. EliTwist yarns, because of their compact structure and smoother surface, may affect moisture spreading and transport differently from ring, rotor, or conventional doubled yarns.

In knitted fabrics, this can influence wearer comfort, drying, and sweat movement. Again, fibre composition matters greatly. Cotton, polyester, and blends behave differently in moisture management.

Why EliTwist yarn has lower hairiness

Hairiness is one of the most important advantages of EliTwist. In yarn testing, hairiness refers to fibres protruding from the yarn surface. Higher hairiness can affect fabric appearance, pilling tendency, lint generation, processing performance, and dyeing appearance.

EliTwist reduces hairiness because of compact spinning. Before twist is inserted, the fibre strand is condensed. This allows edge fibres to be captured inside the yarn structure. In ordinary ring yarn, some fibres remain outside the main yarn body. In EliTwist, more fibres are integrated. The result is a smoother yarn surface.

Area	Benefit
Weaving	Less fly and fewer weak protruding fibres
Knitting	Cleaner yarn path
Fabric appearance	Smoother surface
Dyeing and finishing	More uniform surface behaviour
Sewing thread	Lower friction and lint

Why EliTwist yarn can be stronger

Strength improves when more fibres contribute to load bearing. In a poorly integrated yarn, some fibres are present but do not fully share the load. They may slip, protrude, or break early.

In EliTwist, compacting improves fibre alignment and integration. More fibres become part of the yarn body. This improves tenacity and breaking extension. The doubled structure also contributes to performance. Since two strands are involved, the yarn has a balanced and stable structure. The compact nature of the yarn improves the efficiency of fibre packing.

In simplified form, yarn strength may be understood as:

\( \text{Yarn Strength} \propto \text{Fibre Strength} \times \text{Fibre Integration} \times \text{Twist Efficiency} \)

EliTwist mainly improves the fibre integration and twist efficiency part of this relationship.

Where EliTwist yarn may be useful

EliTwist yarn can be useful in applications where a clean, strong, compact, two-ply-like yarn is needed. For shirting and fine fabrics, low hairiness and smooth appearance are especially valuable. For sewing threads, low friction and strength are important. For woven fabrics, strength and reduced hairiness can improve loom performance.

Application	Why EliTwist helps
Shirting fabrics	Smooth surface, low hairiness, good strength
Fine woven fabrics	Better clarity and compactness
High-quality knitting yarns	Cleaner yarn surface
Sewing threads	Low friction and higher strength
Polyester-cotton blends	Better performance depending on blend
Premium apparel fabrics	Improved appearance and handle
Weaving yarns	Fewer breaks and cleaner processing

Limitations and cautions

EliTwist should not be treated as a miracle yarn. It has advantages, but its suitability depends on the end use. Some studies suggest that TFO yarn can perform better in abrasion resistance. Also, EliTwist quality depends heavily on machine settings such as suction pressure and roving distance.

Caution	Explanation
Abrasion resistance may not always be superior	Some studies found TFO better in abrasion resistance
Settings matter	Roving distance and suction pressure affect quality
Fibre blend matters	Cotton, polyester, and blends behave differently
Fabric construction matters	Yarn advantage may change at fabric level
Cost-benefit must be calculated	Machine investment and savings must be compared
Not all doubled yarns are equal	TFO and EliTwist have different structures

The best approach is not to ask, “Is EliTwist better?” but rather: for this fibre, count, twist, fabric construction, and end use, does EliTwist give the required performance more economically?

List of useful research papers and articles

Below is a practical reading list for anyone who wants to study EliTwist yarn in more detail.

No.	Paper / article	Main focus
1	Comparative assessment of Eli-Twist and TFO yarns	Comparison of EliTwist and conventional TFO yarn properties
2	Optimization of Process Parameters in Eli-Twist Yarn	Effect of roving distance and suction pressure
3	Comparative Analysis of Fabrics Made from Eli-Twist and Other Doubled Yarns	Fabric-level comparison
4	Elastic recovery properties of polyester-cotton blended Eli-Twist yarns	Recovery behaviour of blended EliTwist yarns
5	Eli-Twist sewing thread: an alternative to conventional sewing thread	EliTwist as sewing thread
6	Effect of Yarn Structure on Yarn and Fabric Properties Produced using EliTwist Yarn and TFO Yarn	Yarn and fabric structure comparison
7	Moisture transport behaviour of Eli-Twist knitted fabric	Comfort and moisture transport
8	EliTwist: Compact yarn on continuous spinning machine	Technical explanation of EliTwist system
9	Reflections on the spinning of two-ply yarns with EliTwist CompactSet	Early technical discussion of EliTwist spinning

Final understanding

EliTwist yarn is best understood as a compact spin-twisted two-ply yarn produced directly on the ring spinning frame. It combines compact spinning with the idea of doubled yarn formation. Its main strengths are low hairiness, smooth surface, compact structure, better tensile properties, and potential process economy.

Research generally supports the claim that EliTwist yarn has lower hairiness, lower friction, better compactness, and higher tensile performance compared with conventional TFO yarns. However, TFO may still perform better in some abrasion-related situations. Therefore, EliTwist should be selected based on the specific performance requirement of the final fabric or product.

EliTwist is valuable when a fabric or thread needs the strength and appearance benefits of doubled yarn, but the spinner wants a shorter, cleaner, and potentially more economical compact-spinning route.

General disclaimer

This article is intended for educational and technical understanding only. The performance of EliTwist yarn may vary depending on fibre type, yarn count, twist level, roving quality, suction pressure, machine condition, fabric construction, finishing process, and end-use requirement. Before making industrial or commercial decisions, mills and buyers should conduct controlled trials, laboratory testing, and cost-benefit analysis under their own production conditions.

Queries from the Readers

I am normally asked questions from readers, the exact answer to which I am unable to provide.

I have decided to post these questions so that you can help, by giving answer in the comments.

Here are two of the questions:

1. Using Fiber Reactive Dyes on Silk:

I am a Silk Artist and work with pure silk (silk habotai). I've used silk paints all this time and now have decided to use dyes instead. However 'Silk Dyes' are not available where I live and therefore I use Fibre Reactive Dyes. Firstly I used Reactive Dyes with Soda Ash according to the cold water method and found out that it takes off the sheen of the silk and also that it is not very practical for the 'painting' (direct application' method). So I followed the instructions given in Paula Brich's website and used reactive dyes as an acid dye by heating with vinegar. The effect is really wonderful and the colours are so vibrant. but the problem is with the wash fastness: colour washes off even after 10 washes. I would very much appreciate if you could shed some light on how I could use fibre reactive dyes as acid dyes on silk effectively. 2. Getting the Exact Blend in Polyester and Cotton I am government supplier so i have to give excat specification fabric as per tender.I have to give Blend 65% Polyester & 35% Cotton or PV Fabric & width 47" Weight 90gram+ per meter. But the problem i am facing is in India mostly 70:30 P/C Yarn is available so i cant supply. So please suggest what i should use in warp & weft(eg:100%cotton warp & weft 80:20 PC)to maintain average blend excat 65:35 P/C or P/V whichever is cost effective at both grey & processing stage. So i just want blend 65:35 P/C or P/V weight 90gram+ as per width 47". Count& rid/pick doesnt matter. So please suggest as soon as possible which is cheapest way. Incidentally it is the 400th Post. I thank you all for the support and encouragement you have provided

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Common Parameters measured in Silk Yarn

Common Parameters measured in a Silk Yarn: An Example

Direction of Twist: S
Average Twists Per Metre: 691.4 Turns
C.V.Twist: 3.09 %
Percentage of Twist Deviation: 1.23 %
C.V.Size: 4.18%
Cleanness: 98.2 Percentage
Neatness: 96.15Percentage
Tenacity: 3.89 Grans/Denier
Elongation: 19.2%
Average Moisture Regain: 10.99%
Grade:***
Circumference of the Swift:*** Inches
Skein Weight:  about 500 grams

To know more about these tests you can click here.

General Denier Qualities in Mulberry Silk

14/16,16/18,18/20,20/22

General Norms for Organzine Twist

z800- Z direction Twist, No. of twists per meter-800
s850- s direction twist, No of twists per meter- 850


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Difference between Tabby Silk and Habutai

Both are plain weave Mulberry silk. Tabby silk is lighter weight of 20 grams. whereas Habutai starts from 40 grams silk and become heavier.

Puff Printing

Watch these Videos on Puff Printing



Here is the industrial version of it:



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Heat Transfer Printing

Watch this amazing video on Heat Transfer Printing



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Water Based Vs. Plastisol Pigment Printing Inks

Until the late eighties water based white inks and clear bases were used for the piece printing of garments. However in the nineties, when automatic machine printing came in vogue, there was a need to have trouble- free-non-choking inks which led to the development of PVC based plastisol inks. Since the beginning of the 21st century there has been an increased awareness about the ill effects of PVC / residual VCM in PVC and phthalate plasticizers used in these inks. Leading European garment brands have been intensively campaigning for PVC / phthalate / APEO / formaldehyde / heavy metal free water based inks. This led to the shift back to water based inks. The challenge to day is to offer water based systems meeting the eco-standards but at the same time ability to address the user friendliness especially on high speed automatic machines.

An excellent comparison between water based and plastisol inks is given here.

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What is High Density Printing

High Density is a popular special effect that rises straight up off the shirt and has a hard rubbery feel with sharp edges. A High density print has slight glossy finish.

The source of this image is Anomaly Ink.

To get these effects about 20% of the puff base is taken which is then mix with colored inks to make it 100%. The base is Vinylidene chloride based polymer and the inks are Acrylic co-polymers. 

Then it is printed in 5-8 rounds depending upon height required on normal screen ( 2 flood/ 2 strokes). After that 3 rounds of printing is given with 150 micron film screen and then 2 rounds with 220 micron capillary film screen depending upon the height. 

An excellent video on flooding and stroking is embedded as below:

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What is Glitter Printing

Glitter Printing

Glitter printing enables the fabric to show glittering granules on the fabric. For this Glitter powder is used.

Glitter Powder is generally PET with size of 1/8" to 1/256". It is cut into square and hexagon shape. It is available in metallic, rainbow, laser and iridescent colors. Generally it comes in 25 kg bag. A typical glitter power substance is heat resistant to 170 degree celcius and is acid and alkaline proof. The picture of the glitter powder is as given below:

To Print, first glitter paste is prepared. Glitter powder is added in the Glitter ink, under stirring slowly to avoid lumb formation. Glitter ink is made of acrylic co-polymer. Then it is screen printed using Bull nose squeegee (You can read an excellent manual on squeegee here.) The mesh size should not be more than 20 T (An excellent premier on mesh size can be read here).

One can get an idea of the prices of the chemicals used for glitter printing here.

Source of Picture: http://www.ampmerch.com


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What is Foil Printing

Foil printing is to print some pattern with the foil on the fabric for shiny effect. There are twos kind of foil printing method. In the first method, the pattern is printed by a foil/transfer adhesive on the fabric, and then pressed with foil paper by hot steel roller. The pressure is generally 5-6 bar on printed portion and at 190 degree Celcius on fusing machine for 8-12 seconds.  

In foil printing, the quality of the adhesive is very important. Generally it is made up of acrylic co-polymer with water as diluent. Cheaper qualities show very poor stretch, loss of softness and smoothness after five washes and look very unlike the original print. The foil should not stick to cured inks under pressure. Normally a matting agent is added to avoid sticking.

In the second method, printing is done on the foil paper first, and then foil is pressed on the fabric with hot steel roller or iron. 

Foil paper is called the stamping foil paper. Actually it is not the paper but the detachable foil film on the plastic base. Generally it is PET film of 15 micron thickness, available in widths of 640 or 1500mm. 

source of image: http://www.newasiajsc.com

You can watch an amazing video on foil printing here:

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Jala(Jaala) and Adai

Jala and Adai Mechanisms are used in Indian Traditional Saris. They are a close substitute for jacquard machine for weaving intricate designs. Both extra warp and extra weft figuring is possible with these mechanisms.

However there is a basic difference between the two. The following points highlight those. They also talk about some of the distinctive features of Kanchipuram Saris


• In Varanasi Sari, Extra warp and extra weft patterning is done by means of a Jaala, in Kaanchipuram it is done with the help of an adai.

• Separate adai have to be prepared for extra warp border designs, crossborder designs and for body butas. Crossborder is used to refer to the extra weft ornamentation done across the width of the sari to mark the end of its length.

•Solid coloured borders with extra warp patterning and solid colored pallu with extra weft pattern form the distinctive feature of the saris from Kanchipuram. The meaning given to the term solid is that both warp and weft are of the same color.  The warp is made of 2 ply 20-2 denier filature silk, weft of 2 ply twisted 2-=2 denier charkha silk, while 3 ply pure gold/metallic yarn/zari is used for extra warp patterning.

•Jaala mechanism leads to more ornamentation that adai mechanism.

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Count and Denier Made Simple

Yarn count, simply said, is a measure of the fineness of a yarn. Thus it gives an estimation of how thick or thin a yarn is. We can also measure the diameter of the yarn and express it in inches etc. However, the yarn is not exactly circular in cross section. Also most yarn are soft and compressible and hence the moment we apply some scale etc, it gets deflated. 

A method, which is popular in cotton yarns, is to measure the length of a particular weight of yarn. Thus the yarn which has more length will be finer than the other yarn which has less length of the same weight. For cotton yarn this particular weight is one pound, and the length is measured in 840 yards. Thus a cotton yarn has one count, if we measure the length of one pound of this yarn, and it comes out to be 840 yards. If it comes out to be 1680 or 2 x 840 yards for one pound of weight, we call it as a yarn with 2s count and so on. Generally thick shirtings are in the range of 30s count, medium weights are in 60s count and finer weights in 80s count. 

For cotton the length is taken as 840 yards and weight as one pound. For Linen, the length is 560 yards. Thus the yarn of a linen is of count 20 if in one pound there is 20 x 560 yards of length. 

Now, in real world, we come across with two yarns twisted together. If we twist two yarns of 40s count, we call  the yarn as that of 2/40s count. If we twist 3 yarns of 60s count, we call it as a yarn of 3/60s count. 

A method which is also popular in silk is to weigh a particular length of the yarn. In this system, the yarn which has less weight of the same length than some other yarn will be finer than the other yarn. Commonly this is called denier. In denier system, the unit of weight is grams and that of length is 9 km. Thus if a silk yarn weighs 24 grams of 9km of length this is said to be of 24 denier. 

The General Relation ship between count and denier is given by the fact that no of deniers is equal to 5315 divided by no of counts thus if cotton is of 30s count then it will be of 5315/30 or 177.66 deniers. 

Simply speaking, more the count, finer is the yarn. More the denier, coarser is the yarn. 

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How to Identify Fekwa ( Fekva), Katrawan and Kardhwan Techniques and Designs

These Techniques are frequently used in supplementary extra weft figuring in Varanasi brocades and Chanderi saris. Here is a brief description of the techniques:

Fekva ( Fekwa)

When the extra threads are picked from one border of the fabric to the other, the threads appear on the face of the fabric in the design portion and float on the back of the fabric in the remaining portion. If the fabric is comparatively thick, the floats on the back of the fabric are allowed to remain in the fabric and technically the design is called “fekwa”. Thus in a Fekwa or Fekva design, one can see the long floats at the back of the fabric. 

Katrawan or Katravan

If the fabric is comparatively fine and the spaces between the figures are required to appear transparent, the floats at the back of the fabric in such spaces are cut off. In these fabrics, care is taken to see that the extra figuring threads are properly bound (interlaced) with the ground warp near the edges of the figures, so that when the floats at the back of the fabric are cut off, the remaining portion of the threads forming figures do not become loose. The design is technically called a katrawan design.

Kardhwan Designs

In the fabric in which figures are brought out by extra weft by means of tillies (spools), each of which work only on the restricted warp threads in the corresponding place, manipulated from one side to the other, no float appears at the back of the cloth between figures. The design is technically called kardhwan design.

One can get more information here.

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Chikankari-Kaudi Work

Chikankari Stitches- Murri, Ghas Patti, Pechni

Notes on Chikankari

There is an amazing report on the process of Chikankari done by Ms. Neha Sharma of NIFT Mumbai. I am reproducing the various stitches representing Chikankari. The source is given below.

1. In Chikankari untwisted thread of cotton or tussar is used

2. The process of  Embroidery is as follows

a. Cutting
b. Stitching
c. Stitching
d. Printing
e. Embroidering
f. washing




Printing is done with Synthetic Indigo and emulsion of synthetic gum.

There are three types of embroideries

1. Flat Stitches

a. Tepchi

This is a running Stitch



b. Janjira

Chain stitch is used as the outline



c. Khatao

White on White Applique work, gives different opacity



d. Rahet

It is a stem stitch worked with six threads on wrong side of the fabric. Forms a solid line of back stitch on the right side of fabric.



e. Gitti

Mainly blanket stitch with buttonhole stitch is done to create circular pattern in the form of wheel like motif.



f. Turpai and Darzdari





2. Embossed Effect

g. Murri

Oval Shaped French knot



h. Phanda



i. Ghas Patti



3. JAALI

j. Jaali



k. Hool

Fine detached eyelet stitch.



Source: Please click here or get it from here. 

Chikankari Stitches- Keel and Ulta Bakhia

Gaanth and Jaali Work

What is Tapestry Weave

Tapestry is the name given to a weave in which two basic principles are found at play:

1. The hiding of the warp with a closely packed weft to secure solid planes of color.
2. Weaving of independent weft each confined to its own area within any given pick.

The places where the two colors junction intermingle, any one of the following methods may be employed:

If the two weft picks interlock each other, it is called interlock.

If the interlocking is on alternate rows it is called single interlock.

If it is practiced on each row it is called double interlock.

If the two weft picks interlock around a common warp without simultaneously interlocking with each other, it falls within the category of dovetail tapestry.

If there is no interlocking at color junction this is called slit tapestry or Kilim.

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More about Silkworms and Silk fiber- Mulberry, Muga, Tasar and Eri

Silkworm belong to the order Lepidoptera. They belong to family of Bombycidae and Saturniidae. Under Bomycidae, we have Bombyx Mori or commonly known as Mulberry Silkworm. Under Saturniidae family the eri silk worm is called Philosamia Ricine, Muga is called Anthrerea Assamensis and Tasar is called A. Mylitta. 

Silk filament is made up of 75-80 percent fibroin and 20-25% sericin or gum. Fibroin is insoluble but sericin may be removed by boiling. 

The Muga and Tasar varieties of the worm also secrete a cement which causes a drab color to develop, making bleaching a very laborious process. 

Silk of the B. Mori variety is triangular in cross section. It has a capacity to reflect light and the layers of protein impart it with a pearly sheen. Tasar silk has a flatter structure which is a reason for its dull appearance. 

Muga is rounder and more lustrous. 

The B.Mori and Muga imagos cut their way through one end of the cocoon, thus making the filament discontinuous. The Tasar moth secrets an enzyme called cocoonase, which softens the cocoon shell facilitating  emergence. The eri moth spins an open ended cocoon through which the imago can fly to full term. 

In silk only male worm can fly. 

During the process of boiling of silk 75% of the sericin is removed. Care is taken to retain the 25% of the gum to prevent tangling. If the boiling is insufficient, filaments tend to snap during weaving, while excess boiling increases the amount of waste silk. 

The thread drawn from the cocoon is of uneven consistency, being finer at the beginning and the end. In order to provide uniformity in consistency, additionaly filaments are drawn in course of reeling, the process is called throwing. 

Because of the structure of cocoon, the process of reeling also generates a residue of waste fiber. In B. Mori, about 45% of the product is floss. This material is spun. This is called Matka. In the case of muga worm 25 to 50 percent may be spun. With regard to tasar only about 10 per cent of the filament can be reeled

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Difference between Throw Shuttle and Fly Shuttle Looms

The throw shuttle is a loom in which the shuttle is thrown across the shed by hand. In a fly shuttle loom, the shuttle is sent across the shed by means of a mechanical picker. This is an improved type of loom, which increased three to four times the production of the weavers. It has all the advantages of the throw shuttle, except for, weaving intricate extra weft patterns. 

http://mytextilenotes.blogspot.com

Ajrak Motifs -Illustrated

http://mytextilenotes.blogspot.com

Quest for the sparkling white cotton - Home - livemint.com

India’s finest variety, the low-yielding Suvin, has all the right properties, but its production has dropped sharply—from 10,000 bales in 2006-07 to 2,000 bales last year—because of high production costs,

via livemint.com

Quest for the sparkling white cotton - Home - livemint.com

On the CIE Index, an international standard for whiteness, Indian cotton fabric achieves a rating of 145; American and Egyptian fabric, by comparison, achieve ratings of 155 and 160, respectively. The gap may not sound massive, experts say, but visually the difference is huge, leading to the lower-rated cloth being rejected as inferior.

via livemint.com

Some More Notes on Ajrakh

1. True Ajrak or Ajrakh is only worn by men

Image Via Indianetzone.com

2. Ajrak printing can be applied to one side of the cloth called Ekpuri. Bipuri is double sided printing.

3. As these designs conform to Islamic design principles, they must not depict human or animal figures.

4. Saudagiri is the most highly documented genre of block design.

5. Riyal are those designs in Ajrak which are built around circular motifs.

6. True Ajrakh blocks are square, must matchup on all four sides, and also reflect to allow the reverse of the cloth to be printed.

7. Simples form of Ajrak has only one shade of red and blue. To apply additional shades of red, blue, yellow and green is called Meenakari.

You can read a brief description of the Ajrakh process here.

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Difference among Lycra, Spandex and Elastane

"LYCRA® is DuPont's brand of elastane, or spandex. The word "spandex" is used only in the United States while "elastane" is recognized worldwide, so we tend to use the more widely known term."

via http://www.proz.com/kudoz/german_to_english/textiles_clothing_fashion/1066193-elasthan.html

Difference among Chiffon, Crepe, Crepe-de-Chine, Georgette, Organza,

Understanding Silk Fabrics: Organza, Chiffon, Crepe, Georgette, Crepe de Chine and Momme Weight

Silk fabrics are admired for their beauty, softness, sheen, drape, and elegance. However, not all silk fabrics behave in the same way. Some are crisp and transparent, some are soft and flowing, some have a pebbled surface, while others are sheer but comparatively stronger.

This article explains some important silk fabrics such as organza silk, chiffon silk, crepe fabric, crepe silk, crepe de Chine, georgette silk, and Kashmere silk. It also explains the meaning of momme weight, which is commonly used to describe the weight of silk fabrics.

Technical Note:
Many silk fabrics differ not only because of the fibre used, but also because of yarn twist, weave structure, fabric weight, and finishing. For example, chiffon, georgette, and crepe may all be made from silk, but their appearance and handle are different because of the twist and arrangement of yarns.

1. Organza Silk

Silk organza is a sheer, thin, open-weave fabric. It is heavier and crisper than silk gauze. It has a smooth, flat finish and is known for its stiffness, transparency, and structural quality.

The crispness of organza comes mainly from the use of tightly twisted yarns. Organza is usually made in a plain weave. The yarns may have around 10 to 20 turns per inch, giving the fabric its firm and wiry handle.

Organza is similar to cotton organdy in appearance, but organza is made with silk and is transparent. Because of its crisp drape, it is often used where volume, stiffness, or a transparent layer is required.

Common Uses of Organza Silk

Organza is used for veils, undergowns, bridal wear, evening dresses, overlays, decorative panels, and as a base fabric for embellishment. In Indian textiles and fashion, organza is also seen in sarees, dupattas, embroidered panels, and festive garments where a crisp transparent appearance is desired.

Practical Note:
Organza requires careful sewing. Since it is transparent, seams, facings, hems, and stitching lines may be visible from the outside. This is why finishing techniques become very important when stitching organza garments or saree blouses.

2. Chiffon Silk

The word chiffon literally means “rag” in French, but in textile usage it refers to an elegant, sheer, lightweight fabric with a soft and graceful drape.

Chiffon has a soft, supple, thin hand and a slightly crepe-like texture. It is generally made using a loose plain weave and tightly twisted single crepe yarns in both warp and weft.

Chiffon may be made from silk, cotton, nylon, polyester, rayon, or other fibres. However, silk chiffon is especially valued for its delicate appearance, lightness, and fluid fall.

Texture and Appearance of Chiffon

Chiffon is very light and diaphanous. It is sheer, delicate in appearance, and slightly rough to the touch because of the crepe yarns. Although it looks delicate, it can be a relatively strong and balanced fabric when properly woven.

The characteristic fine wrinkles in chiffon are created by the highly twisted yarns. In chiffon, the weft yarn may be either S twist or Z twist. This twist gives the fabric its soft crepe-like surface.

Common Uses of Chiffon

Chiffon is used for dresses, blouses, dupattas, scarves, millinery, lampshades, bridal gowns, evening wear, formal wear, nightgowns, and linings. In Indian garments, chiffon is very popular for sarees and dupattas because it falls softly around the body and gives a light, elegant appearance.

Practical Note:
Chiffon is difficult to cut and sew because it is light, slippery, and delicate. It may shift while cutting and may fray during stitching. Gentle handling and careful finishing are necessary.

3. Crepe Fabric

Crepe is a fabric characterized by a crinkled, puckered, pebbly, or rough surface. This surface effect is usually produced by using highly twisted yarns, especially in the weft, and sometimes in the warp or in both directions.

Crepe is usually made with a plain weave, although crepe effects can also be produced in other structures. The fabric may be soft and pliable, and its surface may range from fine and flat to rough, pebbled, mossy, or even bark-like.

Crepe fabrics can be made from natural fibres such as silk, cotton, and wool, as well as man-made fibres such as rayon, polyester, and nylon.

Why Does Crepe Have a Crinkled Surface?

The crinkled texture of crepe is mainly due to the use of high-twist yarns. When these yarns are woven and later finished, the twist tends to contract and create an irregular surface. This gives crepe its characteristic grainy or pebbled appearance.

Common Confusion:
Crepe is not one single fabric. It is a family of fabrics with a creped or crinkled surface. Crepe may be made from silk, polyester, rayon, cotton, or other fibres. Therefore, the word “crepe” describes the surface character more than the fibre itself.

4. Crepe Silk

Silk crepe is a luxurious silk fabric with a good sheen and a pebbly texture. This texture is obtained by using high-twist yarns.

Silk crepe has a beautiful drape and is widely used for dresses, slacks, skirts, lightweight suits, bridal gowns, and evening wear. It combines elegance with movement, making it useful for garments that need both fall and refinement.

In sarees, crepe silk gives a fluid drape and a slightly textured surface. It is often preferred where a graceful fall and subtle surface interest are desired.

5. Crepe de Chine

Crepe de Chine, pronounced “krape dee sheen,” is a French term meaning “crepe from China.” It is similar to silk crepe, but it is usually lighter in weight and less heavily textured.

Crepe de Chine is made with highly twisted S and Z filament yarns alternating in the weft, along with a normally twisted filament warp. This construction gives it a matte surface and a fine pebbled texture.

The surface of crepe de Chine reflects tiny points of light, giving the fabric visual depth and a refined appearance. It is known for its pleasing drape, durability, and good wrinkle resistance.

Common Uses of Crepe de Chine

Designers use crepe de Chine for elegant slacks, skirts, dresses, suits, blouses, scarves, and evening wear. It is lighter and smoother than many heavier crepes, making it suitable for garments where softness and elegance are important.

6. Crepe and Georgette Yarn

Crepe and georgette effects depend strongly on yarn twist. A crepe or georgette yarn is usually a highly twisted yarn, often with around 2000 to 3600 twists per meter. It may be made of two threads of raw silk.

A crepe yarn may generally have around 1200 to 4000 twists per meter. Such highly twisted yarns are used to produce crepe effects in woven or knitted fabrics.

Technical Note:
Twist direction is often described as S twist or Z twist. The controlled use of S and Z twist yarns helps create balance, texture, and the characteristic crepe or georgette surface.

7. Georgette Silk

Silk georgette is a fine, lightweight, plain-weave crepe fabric. It usually contains two highly twisted S yarns and two highly twisted Z yarns arranged alternately in both warp and weft.

Georgette is made from crepe yarn and has a grainy texture, sheer appearance, and a thin, dry hand. It is heavier than chiffon and is similar to silk crepe, but it is usually not as soft or lustrous as crepe.

Georgette is durable, but it can snag easily. It drapes very fluidly and falls into soft ripples, making it suitable for garments that need movement and flow.

Common Uses of Georgette Silk

Silk georgette is used for blouses, bias-cut flared skirts, dresses, evening wear, scarves, and sarees. It is also useful where a fabric must be sheer but slightly stronger and heavier than chiffon.

Georgette does not show pin marks easily and does not hold a sharp crease. However, it is relatively difficult to sew because of its light, creped, and fluid nature.

8. Kashmere Silk

Kashmere silk is a silk fabric made with a 2/1 right-hand twill weave. This weave structure gives the fabric a soft finish.

The twill weave creates a subtle diagonal effect and a smoother surface than plain weave fabrics. Such fabrics may be valued for softness, drape, and comfort.

Needs source verification: The term “Kashmere silk” may be used differently in different trade contexts. It is useful to verify whether the term refers strictly to a particular weave, a trade name, or a regional naming practice.

9. Momme Weight in Silk

Momme, often written as mm, is a traditional unit used to describe the weight of silk fabric. One momme is approximately equal to 3.62 grams per square yard or about 4.33 grams per square meter.

In simple terms, a higher momme value means a heavier silk fabric, while a lower momme value means a lighter silk fabric.

Approximate Momme Weight of Common Silk Fabrics

Silk Fabric	Approximate Momme Weight	General Character
Organza	4 to 6 mm	Very light, crisp, sheer, stiff
Chiffon	6 to 8 mm	Light, sheer, soft, flowing
Georgette	8 to 12 mm	Sheer, grainy, heavier than chiffon
Crepe de Chine	12 to 18 mm	Smooth, fine crepe texture, elegant drape

In increasing order of weight, these fabrics may be broadly arranged as:

Organza < Chiffon < Georgette < Crepe de Chine < Crepe

Practical Note:
Momme weight is especially useful when comparing silk fabrics for sarees, scarves, bridal wear, linings, and luxury garments. A lighter momme gives transparency and delicacy, while a heavier momme gives better body, durability, and fall.

10. Comparison of Organza, Chiffon, Georgette and Crepe de Chine

Fabric	Transparency	Handle	Drape	Surface Texture	Typical Uses
Organza	Very sheer	Crisp and stiff	Structured	Smooth and flat	Veils, overlays, undergowns, embellished sarees, bridal wear
Chiffon	Very sheer	Soft and delicate	Flowing and limp	Slightly crepe-like	Sarees, dupattas, scarves, blouses, evening dresses
Georgette	Sheer	Dry and grainy	Fluid with soft ripples	Grainy crepe surface	Sarees, blouses, dresses, scarves, flared skirts
Crepe de Chine	Less sheer than chiffon	Smooth and refined	Soft and graceful	Fine pebbled texture	Dresses, suits, scarves, blouses, evening wear

11. Common Confusion: Chiffon vs Georgette

Chiffon and georgette are often confused because both are sheer, lightweight fabrics with a crepe-like effect. However, they are not the same.

Point of Difference	Chiffon	Georgette
Weight	Lighter	Heavier than chiffon
Feel	Softer and thinner	Drier and grainier
Drape	Limp and flowing	Fluid but with more body
Texture	Fine crepe-like texture	More pronounced grainy texture
Sewing	Difficult due to slippery lightness	Difficult, but generally more stable than chiffon

12. Relevance in Indian Textiles and Sarees

In Indian fashion and sarees, these fabrics are widely used because each fabric gives a different visual and draping effect.

A chiffon saree gives a soft, floating, graceful fall. A georgette saree gives a slightly heavier and more textured fall. An organza saree gives a crisp, transparent, and structured look. Crepe silk and crepe de Chine give a more refined, elegant drape with a subtle surface texture.

For merchandisers and buyers, understanding these differences is important because the fabric name alone does not explain the full product. Weight, twist, finish, transparency, embellishment, and end use must also be considered.

13. Frequently Asked Questions

Q1. Is organza softer than chiffon?

No. Organza is usually crisper and stiffer, while chiffon is softer, lighter, and more flowing.

Q2. Which is heavier: chiffon or georgette?

Georgette is generally heavier than chiffon. It also has a more grainy texture and slightly more body.

Q3. What gives crepe fabric its texture?

The crepe texture is mainly produced by highly twisted yarns. These yarns create a crinkled, pebbled, or puckered effect after weaving and finishing.

Q4. What is momme weight?

Momme is a traditional unit used to describe the weight of silk fabric. A higher momme value generally means a heavier silk fabric.

Q5. Which silk fabric is best for sarees?

There is no single best fabric. Chiffon is good for a light, flowing drape. Georgette gives more body. Organza gives a crisp and structured look. Crepe silk gives a graceful and elegant fall.

Conclusion

Organza, chiffon, georgette, crepe, and crepe de Chine are all important silk fabrics, but each has a distinct identity. Their differences come from weave, yarn twist, weight, texture, transparency, and finishing.

For students, designers, merchandisers, and textile professionals, these distinctions are important. A fabric is not understood only by its name, but by how it is made, how it feels, how it drapes, how it behaves during stitching, and how it performs in the final garment or saree.

Understanding these fabrics helps in better fabric selection, product development, garment construction, saree merchandising, and textile appreciation.

Via http://www.texeresilk.com/cms-silk_information_dictionary.html

What is 8 kg Georgette

This represents the weight of 100 meters of Georgette. Thus technically it is an 80 gram georgette.