Silk Fabric Terms Explained — Part 4: Understanding the Crepe Family

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

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

In Part 3, we understood twist-based sheer fabrics such as chiffon and georgette.

Now we come to one of the most important and most confusing families of fabrics:

The crepe family.

Crepe is not one fabric.

Crepe is a surface idea.

It refers to fabrics having a crinkled, puckered, grainy or pebbly surface. This effect may come from highly twisted yarns, special weave, chemical treatment, embossing or finishing.

This is why terms such as crepe, crepe fabric, crepe yarn, crepe-de-Chine, flat crepe and crepe-backed satin need to be understood together.

Central idea: Crepe is not only a fabric name. It is a fabric effect.

Crepe family map: yarn twist, weave, finishing and surface texture. Click image to view full size.

Why Crepe Is Confusing

Crepe becomes confusing because the word is used in many ways.

Sometimes crepe means the fabric surface.

Sometimes it means the yarn.

Sometimes it means a family of fabrics.

Sometimes it means a specific fabric, such as crepe-de-Chine.

For example:

Term	What It Refers To
Crepe	General crinkled or pebbly fabric effect
Crepe yarn	Highly twisted yarn used to create crepe effect
Crepe fabric	Fabric with crinkled, puckered or pebbly surface
Crepe-de-Chine	A specific lightweight silk crepe fabric
Flat crepe	A silk crepe with soft, almost imperceptible crinkle
Crepe-backed satin	A two-faced fabric: satin on one side, crepe on the other

So we should not ask only:

What is crepe?

We should ask:

Is the word crepe referring to yarn, surface, weave, finish or fabric type?

Once we ask this question, the family becomes much clearer.

1. Crepe

Crepe is a lightweight fabric made of silk, rayon, cotton, wool, man-made fibres or blends, characterized by a crinkled surface.

This crinkled surface can be produced in several ways:

• using crepe yarns,
• using high twist yarns,
• using special crepe weave,
• chemical treatment,
• embossing,
• or finishing.

Traditionally, crepe was mostly understood as a woven fabric. But crepe yarns are now also used to make knitted crepes.

Practical Understanding

Crepe is best understood by touching the fabric.

It does not feel completely smooth.

It may feel:

• crinkled,
• slightly rough,
• pebbly,
• springy,
• grainy,
• or softly puckered.

This surface gives the fabric a special appearance and handle.

Crepe fabrics often have better body than very smooth lightweight fabrics. They also hide minor wrinkles better because the surface is already textured.

Crepe in simple words: Crepe is a fabric with a deliberately crinkled, puckered or pebbly surface.

The word “deliberately” is important.

Crepe effect is not a defect. It is a planned fabric character.

2. Crepe Fabric

Crepe fabric is a fabric characterized by a crinkled, puckered or pebbly surface, usually made with highly twisted yarns in the weft and sometimes in the warp, or both.

A similar effect may also be obtained by using normal twisted yarn and crepe weave.

This definition tells us something very important:

Crepe effect may come from yarn or from weave.

That is why all crepe fabrics are not made in exactly the same way.

Crepe Effect from Yarn

When highly twisted yarns are used, the yarns try to contract or kink. During finishing, this creates unevenness and texture on the fabric surface.

This is the classic way of producing crepe effect.

Crepe Effect from Weave

Sometimes a crepe-like surface is produced by using a special crepe weave. In this case, the texture is not only due to highly twisted yarn but also due to interlacement pattern.

The weave scatters light and creates a broken, irregular appearance.

Practical Understanding

When you see a crepe fabric, ask:

Is the crepe effect coming from yarn twist, weave structure, finishing, or a combination?

This question is very useful for students, buyers and merchandisers.

Two fabrics may both be called crepe, but their construction may be very different.

3. Crepe Yarn

Crepe yarn is a highly twisted yarn, generally having about 1,200 TPM to 4,000 TPM, used for producing crepe effect in woven or knitted fabrics.

This is the foundation of many crepe fabrics.

A normal yarn lies relatively stable.

A highly twisted yarn stores energy.

When it is woven and later relaxed, the stored twist tries to express itself. This creates crinkle, grain and surface texture.

Practical Understanding

Crepe yarn is not a fabric. It is the yarn that helps create the crepe effect.

This distinction is important.

Term	Meaning
Crepe yarn	Highly twisted yarn
Crepe fabric	Fabric made with crepe effect
Crepe surface	Crinkled or pebbly appearance

Why High Twist Creates Crepe

When twist is inserted into yarn, the fibres or filaments are turned around the yarn axis.

At very high twist levels, the yarn becomes lively. It tries to twist back, curl or contract.

When such yarn is used in fabric, the yarn movement creates small irregularities on the fabric surface.

That is the beginning of the crepe effect.

Crepe yarn carries hidden energy. The fabric surface reveals that energy.

How crepe effect is produced: high twist yarn, crepe weave, chemical treatment and finishing. Click image to view full size.

4. Crepe/Georgette Yarn

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

This yarn is used for georgette and crepe-like fabrics.

We discussed this briefly in Part 3, but it is also relevant here because georgette belongs close to the crepe family.

Practical Understanding

Crepe/georgette yarn gives the fabric:

• grain,
• liveliness,
• drape,
• subtle crinkle,
• and a textured surface.

In georgette, this yarn is often arranged in S and Z twist directions to balance torque and create a uniform grainy surface.

So georgette can be understood as a sheer member of the crepe family.

5. Crepe-de-Chine Yarn

Crepe-de-Chine yarn, also called French yarn, is a hard twisted yarn, usually having about 1,600 TPM to 2,500 TPM. It is generally made from 3 to 5 raw silk threads.

It is used as weft in crepe-de-Chine.

This is a very specific yarn term.

The important points are:

• it is hard twisted,
• it is made from multiple raw silk threads,
• it is used mainly as weft,
• and it helps create the crepe-de-Chine fabric effect.

Practical Understanding

Crepe-de-Chine yarn is not the same as ordinary silk yarn.

Its twist level and multi-thread construction help create the soft crepe character of crepe-de-Chine fabric.

It does not usually produce a very harsh or rough crepe. Instead, it gives a refined and subtle crepe effect.

6. Crepe-de-Chine Fabric

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

This definition is very important.

It tells us that crepe-de-Chine gets its character mainly from the weft yarn arrangement.

Breaking the Definition

Feature	Meaning
Lightweight fabric	It is not heavy or coarse
S and Z yarns	Yarns twisted in opposite directions
Alternating in weft	S and Z yarns are arranged alternately across the fabric
Normally twisted warp	Warp remains comparatively stable
Crepe effect	Comes mainly from high twist weft yarns

Why S and Z Twists Are Alternated

If only one direction of high twist is used, the fabric may become distorted.

By alternating S and Z twisted yarns, the twist forces are partly balanced.

This gives crepe-de-Chine a controlled crepe effect.

Practical Understanding

Crepe-de-Chine is usually smoother and softer than many rough crepes. It has a gentle crepe surface rather than a very strong crinkle.

It is suitable for:

• dresses,
• blouses,
• scarves,
• sarees,
• and flowing garments.

Crepe-de-Chine is a good example of controlled texture.

The fabric is not flat like plain silk, but it is not extremely rough either.

7. Flat Crepe

Flat crepe is a firm, mediumweight silk crepe with a soft, almost imperceptible crinkle.

It has crepe fillings alternating with two S and two Z twists. The surface is fairly flat.

Flat crepe may also be made of man-made fibres. It is used for dresses, negligees and blouses.

Practical Understanding

The name itself gives a clue:

Flat crepe is crepe, but with a flatter surface.

It does not have a very strong crinkled surface. The crepe effect is mild, controlled and subtle.

It gives a soft texture without making the surface too rough.

Why It Is Called Flat Crepe

In stronger crepes, the crinkling or grain may be clearly visible.

In flat crepe, the crinkle is almost imperceptible. The fabric surface remains fairly flat, but not completely plain.

So flat crepe can be understood as a refined crepe fabric with mild surface character.

8. Crepe-backed Satin

Crepe-backed satin is a two-faced fabric that can be used on either side.

One side is satin.

The reverse side, made of twisted yarns, is crepe.

This is a very interesting fabric because it combines two different surface characters in one cloth.

Practical Understanding

Satin side:

• smooth,
• lustrous,
• dressy,
• reflective.

Crepe side:

• textured,
• duller,
• grainy,
• less reflective.

This makes the fabric versatile.

A designer may use the satin side outside for shine, or the crepe side outside for a more matte and textured appearance.

Why Crepe-backed Satin Is Important

This fabric teaches us that fabric identity can be two-sided.

The same fabric can have two different faces because of yarn, weave and surface arrangement.

So when studying fabrics, we should examine both sides, not only the face side.

Crepe family comparison: crepe yarn, crepe-de-Chine, flat crepe and crepe-backed satin. Click image to view full size.

Crepe Family Comparison Table

Term	Type of Term	Main Character	Technical Basis
Crepe	General fabric family	Crinkled or pebbly surface	Yarn, weave or finish
Crepe fabric	Fabric type	Puckered or crinkled surface	High twist yarn and/or crepe weave
Crepe yarn	Yarn term	Highly twisted yarn	1,200–4,000 TPM
Crepe/georgette yarn	Yarn term	High twist silk yarn	2,000–3,600 TPM, often two raw silk threads
Crepe-de-Chine yarn	Yarn term	Hard twisted French yarn	1,600–2,500 TPM, 3–5 raw silk threads
Crepe-de-Chine fabric	Fabric type	Lightweight, soft crepe surface	S/Z high twist weft, normal warp
Flat crepe	Fabric type	Fairly flat, mild crinkle	Two S and two Z crepe fillings
Crepe-backed satin	Two-faced fabric	Satin face, crepe back	Satin weave plus twisted yarn reverse

Technical Note: Crepe Effect Can Be Produced in Four Ways

Crepe effect is not produced by only one method.

It can be created through:

1. High Twist Yarn

This is the most common method in silk crepes. Highly twisted yarn creates torque and surface crinkle.

2. Crepe Weave

A crepe weave uses an irregular interlacement arrangement to produce a broken, pebbly surface.

3. Chemical Treatment

Some crepe effects may be produced by chemical treatment, such as shrinkage effects.

4. Embossing or Finishing

A crepe-like surface can also be created mechanically through finishing.

This is why the buyer should ask how the crepe effect has been produced.

A true yarn-based crepe may behave differently from an embossed or finished crepe.

Practical Note for Buyers and Merchandisers

When buying crepe fabrics, do not rely only on the word “crepe”.

Ask the supplier:

Question	Why It Matters
Is the crepe effect yarn-based, weave-based or finish-based?	Explains durability of effect
What fibre is used?	Silk, rayon, polyester and blends behave differently
What is the twist level?	Helps identify true crepe yarn character
Is S/Z twist used?	Helps understand balance and surface texture
Is the crepe yarn in warp, weft or both?	Explains strength, texture and drape
Is it crepe-de-Chine, flat crepe or general crepe?	Helps identify exact product type
What is the fabric weight?	Affects fall, end use and transparency
Which side is intended as face?	Important in crepe-backed satin

The word “crepe” is only the beginning of the specification.

It is not the full specification.

Common Confusions

Confusion 1: Crepe Is One Fabric

No. Crepe is a family of fabrics and effects.

There are many types of crepe, including crepe-de-Chine, flat crepe, crepe georgette and crepe-backed satin.

Confusion 2: Crepe Yarn and Crepe Fabric Are the Same

They are not the same.

Crepe yarn is the highly twisted yarn.

Crepe fabric is the fabric showing crepe effect.

Confusion 3: All Crepe Effects Come Only from Yarn Twist

Not always.

Crepe effect can come from yarn twist, weave, chemical treatment, embossing or finishing.

Confusion 4: Crepe-de-Chine Is a Heavy Crepe

No. Crepe-de-Chine is generally lightweight and has a soft, refined crepe effect.

Confusion 5: Crepe-backed Satin Has Only One Usable Side

No. Crepe-backed satin is a two-faced fabric and may be used from either side.

Knowledge Nugget

Crepe is a wonderful example of how textile beauty can come from controlled irregularity.

A perfectly smooth yarn gives smoothness.

A highly twisted lively yarn gives movement.

A carefully balanced S and Z arrangement gives controlled texture.

A special weave gives broken reflection.

A finish can create surface character.

So crepe is not a defect.

It is planned disturbance.

It is controlled unevenness.

It is texture created by design.

Quick Recap

Term	One-line Meaning
Crepe	Fabric family with crinkled or pebbly surface
Crepe fabric	Fabric with crinkled, puckered or pebbly appearance
Crepe yarn	Highly twisted yarn used to create crepe effect
Crepe/georgette yarn	High twist yarn used for georgette and crepe-like fabrics
Crepe-de-Chine yarn	Hard twisted yarn used as weft in crepe-de-Chine
Crepe-de-Chine fabric	Lightweight fabric with alternating S and Z high twist weft
Flat crepe	Mediumweight crepe with mild, almost imperceptible crinkle
Crepe-backed satin	Two-faced fabric with satin face and crepe reverse

Reflection Questions

1. Why should crepe be understood as a family rather than one fabric?
2. What is the difference between crepe yarn and crepe fabric?
3. Why do S and Z twist yarns help in crepe-de-Chine?
4. How is flat crepe different from stronger crepe fabrics?
5. Why is crepe-backed satin considered a two-faced fabric?

Final Words

Crepe fabrics are beautiful because they are not flat.

They have life on the surface.

Their character comes from twist, weave, finishing and controlled irregularity.

Crepe yarn brings hidden energy into the fabric.

Crepe-de-Chine refines this energy into softness.

Flat crepe reduces the crinkle into a subtle surface.

Crepe-backed satin combines shine and texture in one fabric.

So the next time we touch a crepe fabric, we should not only say:

This fabric is crinkled.

We should ask:

What has created this crinkle?

That question takes us from market name to textile understanding.

And that is the real purpose of this silk terminology series.

General Disclaimer

This article is intended for general textile education and practical understanding. Textile terms, fabric names and trade usages may vary across regions, mills, suppliers and markets. The technical descriptions given here should be used as a learning guide and not as a substitute for laboratory testing, formal specifications, buyer-approved standards or supplier technical data sheets. For commercial buying, quality control or legal compliance, fabric composition, construction, twist, finish and performance should be verified through appropriate testing and documentation.

Buy my books at Amazon.com

Procion Reactive Dyes in Textile Printing -Part 3: Fixation Methods for Procion Printed Fabrics

Procion Reactive Dyes in Textile Printing

Part 3: Fixation Methods for Procion Printed Fabrics

In Part 1, we understood what Procion reactive dyes are, their types, and how printing paste is prepared. In Part 2, we discussed one-stage and two-stage printing processes, alkali timing, paste stability, resist salt, and discharge control.

Now we come to the final and most practical part:

How is the printed colour fixed on the fabric?

In textile printing, applying the colour on the fabric is only one part of the process. The real success of reactive dye printing depends on proper development or fixation.

If the dye is not properly fixed, the printed colour may look good initially but may wash out later.

What Is Fixation in Procion Dye Printing?

Fixation means making the dye react with the fibre so that it becomes permanently attached.

In the case of Procion reactive dyes, fixation happens when the dye reacts chemically with cellulose fibre under suitable conditions of:

• Alkali
• Moisture
• Heat
• Time

This is why printed fabric is not simply dried and finished. After printing, it has to be passed through a suitable development process.

In simple words:
Printing places the colour on the fabric. Fixation attaches the colour to the fibre.

Visual 1: Six fixation methods used for Procion printed fabrics.

Main Methods of Developing Procion Prints

After printing and drying, Procion printed fabrics may be developed by any one of the following methods:

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

Each method has a different way of providing the required conditions for dye-fibre reaction.

1. Steaming Process

Steaming is one of the most important methods for developing Procion printed fabrics.

In this process, after printing, the fabric is first dried. It is then exposed to steam for a specific time. The steam provides moisture and heat, which help the reactive dye bond with the cellulose fibre.

Steaming Conditions

For fabrics printed with Procion-H and Procion-Supra dyes, the fabric is kept in steam for:

5 to 15 minutes

For fabrics printed with Procion-M dyes, the fabric is kept in steam for:

15 seconds

After steaming, the printed fabric is washed to remove unfixed dye and other chemicals. For viscose fabrics, moist steam is necessary.

Why Steaming Works

Reactive dye fixation needs moisture. Steam supplies moisture and heat together. This helps the dye move into the fibre and react with cellulose.

Steaming is especially useful for Procion-H dyes because they are less reactive and need proper fixation conditions.

2. Baking Process

Baking is another method used for developing Procion printed fabrics.

In baking, heat is supplied in dry form. Because moisture is less available compared to steaming, the recipe usually contains a higher amount of urea.

Urea helps retain moisture and supports dye fixation during heating.

Urea in Baking

When baking is used, the amount of urea is generally kept higher.

Usually, 200 parts of urea are added to 1000 parts of printing paste.

Alkali Used in Baking

For printing with Procion-H, the paste may contain:

15 parts anhydrous sodium carbonate per 1000 parts printing paste

For printing with Procion-M, the paste may contain:

15 parts sodium bicarbonate per 1000 parts printing paste

After printing, the fabric is dried and then baked under suitable conditions.

Baking Conditions for Procion Printed Fabrics

Dye Used	Cotton Temperature	Cotton Time	Viscose Temperature	Viscose Time
Procion-Supra	140°C	5 minutes	150°C	5 minutes
Procion-H	140°C	5 minutes	150°C	5 minutes
Procion-M	110°C	3 minutes	140°C	3 minutes

Visual 2: Steaming uses moist heat, while baking uses dry heat.

3. Flash Ageing Process

Flash ageing is a rapid development process. It is completed in two stages and is used for quickly fixing selected Procion dyes on cotton and viscose fabrics.

This process is based on the pad-steam method.

How Flash Ageing Works

1. The fabric is printed with a paste containing Procion dye and thickener, but without alkali.
2. The printed fabric is dried.
3. The fabric is padded with a cold alkaline solution containing salt.
4. Immediately after padding, the fabric is passed through a steamer.
5. The dye is rapidly fixed.

The key point is that alkali is not present in the original printing paste. It is applied later. This improves paste stability and printing quality.

Advantages of Flash Ageing

1. Since there is no alkali in the printing paste, printing quality is improved.
2. Fixation is completed in a very short time, about 40 seconds.
3. Printed fabric can be stored before development because alkali has not yet been applied.

Flash Ageing Printing Paste Recipe

Ingredient	Quantity
Urea	50 parts
Water	580–510 parts
Procion dye	10–80 parts
Sodium alginate	350 parts
Resist salt	10 parts
Total	1000 parts

In this recipe, urea is warmed with water. For Procion-H dye, it is heated up to about 90°C. For Procion-M dye, it is heated up to about 70°C. The dye is then added and dissolved with continuous stirring. After this, sodium alginate containing resist salt is added and mixed thoroughly.

Padding Solution for Flash Ageing

Ingredient	Quantity
Magnesium metasilicate	100 parts
Anhydrous sodium carbonate	150 parts
Anhydrous potassium carbonate	50 parts
Sodium chloride	100 parts
Water	500 parts
Gum	100 parts
Total	1000 parts

4. Air-Hanging Process

The air-hanging process is a simple method of developing Procion printed fabrics. It does not require large equipment, which makes it attractive in situations where steaming or baking facilities are not available.

However, it has one important limitation:

Procion-H dyes do not develop well by this method.

Air-Hanging Method

1. Pad the unprinted fabric with 2% soda ash and dry it.
2. Prepare Procion dye paste without adding alkali.
3. Print the soda-ash-treated fabric with this alkali-free paste.
4. Keep the printed fabric in air for several hours.

If the atmosphere is warm and humid, the results are better because reactive dye fixation needs moisture.

5. Vat Development

In vat development, the printing paste is prepared without alkali. After printing, the fabric is dried and then passed through a warm alkaline solution.

This method also follows the principle of keeping alkali separate from the printing paste.

Alkaline Solution for Vat Development

Ingredient	Quantity
Caustic soda, 38°Bé or 70°Tw	60 parts
Sodium carbonate, anhydrous	150 parts
Potassium carbonate, anhydrous	50 parts
Sodium chloride	100 parts

Water is added to make the total 1000 parts. This solution is warmed to 95–98°C.

6. Pad Alkali–Batch Process

The pad alkali–batch process is useful where steaming and baking facilities are not available.

In this method also, the fabric is printed with a paste that does not contain alkali. After printing, the fabric is padded with sodium silicate solution. Then the fabric is batched without drying.

Sodium Silicate Solution

Property	Value
Ratio by weight, SiO2 : Na2O	2.0
Specific gravity at 20°C	1.5
Viscosity at 20°C	200 centipoise

Batching Time

Dye Type	Batching Time
Procion-M	10 minutes
Procion-Supra or Procion-H	Up to 3 hours

To prevent the fabric from drying, it is covered properly with a polythene sheet. After batching, the fabric is washed thoroughly and dried.

Visual 3: Two-stage fixation routes where alkali is applied separately.

Comparison of Fixation Methods

Method	Main Principle	Alkali Position	Suitable Situation
Steaming	Moist heat fixation	Usually in paste	When steaming equipment is available
Baking	Dry heat fixation	Usually in paste	When baking equipment is used
Flash ageing	Alkali padding followed by rapid steaming	Applied after printing	Fast fixation and better paste stability
Air-hanging	Alkali on fabric, development in air	Applied before printing	Simple method, warm humid air helpful
Vat development	Warm alkaline treatment after printing	Applied after printing	Alkali-free paste and later development
Pad alkali–batch	Sodium silicate padding and batching	Applied after printing	Useful when steaming/baking is unavailable

Washing After Fixation

After fixation, washing is essential. The purpose of washing is to remove:

• Unfixed dye
• Thickener
• Alkali
• Salts
• Other auxiliaries

If washing is not done properly, the fabric may show poor washing fastness, staining, harsh handle, or shade dullness.

Important point:
In reactive dye printing, washing is not a minor finishing step. It is part of the quality of the final print.

Practical Notes for Textile Students

The six fixation methods may look different, but they all aim to achieve the same final result: the dye must react with cellulose fibre.

The difference lies in how each method provides alkali, moisture, heat and time.

• Steaming provides moist heat.
• Baking provides dry heat, supported by higher urea.
• Flash ageing applies alkali later and fixes quickly.
• Air-hanging uses alkali-treated fabric and atmospheric moisture.
• Vat development uses a hot alkaline bath.
• Pad alkali–batch uses sodium silicate padding and controlled batching.

Once this logic is understood, the methods become easier to remember.

Common Mistake

A common mistake is to think that once fabric is printed and dried, the process is complete.

It is not. In Procion reactive dye printing, drying only removes water. It does not necessarily fix the dye completely.

Fixation requires the correct combination of alkali, moisture, temperature and time.

Knowledge Nugget

All fixation methods are different ways of answering the same question:

How do we create the right conditions for the Procion dye to chemically bond with cellulose?

That is the heart of reactive dye printing.

Reflection Question

Why can pad alkali–batch processing be useful where steaming and baking facilities are not available?

Because the fabric can be printed without alkali, padded later with sodium silicate, batched under covered conditions, and then washed and dried after fixation.

Final Summary

Procion reactive dye printing is successful only when the dye is properly fixed on the fibre. The main fixation methods include steaming, baking, flash ageing, air-hanging, vat development and pad alkali–batch processing.

Each method has its own logic, equipment requirement and suitability. The printer must choose the method based on dye type, fabric type, available machinery, paste stability and production conditions.

For students, the most important understanding is this:
Printing gives the design, but fixation gives durability.

Without proper fixation, even a beautiful print may fail during washing.

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

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