Textile Notes related to fiber, yarn, fabric knowledge, spinning, weaving, processing, projects, knitting, Indian Traditional Textiles and denim manufacturing
In a paper entitled "Study of property and structural variants of mulberry and Tussar silk filaments" by professor Mohan Gulrajani, one can get several hints which may lead to the answer to the question.
"A glance at the typical tensile behaviour reveals that the stress-strain curve of these two varieties is distinctly different, in that tasar shows a clear yield point and very high elongation compared to the mulberry filament."
Conclusion 1: Tussar silk can undergo significant stretching before permanently deforming.
The tusar silk stress-strain curve exhibits a clear yield point. A yield point is a point on the stress-strain curve where the material transitions from elastic deformation (where it returns to its original shape after the force is removed) to plastic deformation (where it retains some deformation even after the force is removed). This suggests that Tussar silk can undergo significant stretching before permanently deforming.
Conclusion 2: Tussar can stretch a lot before reaching its breaking point compared to mulberry silk.
The stress-strain curve of tussar silk also shows very high elongation compared to mulberry silk. Elongation refers to how much a material stretches before breaking. The fact that tussar silk exhibits high elongation means it can stretch a lot before reaching its breaking point compared to mulberry silk.
In contrast, mulberry silk does not show as pronounced a yield point and has lower elongation compared to tussar silk. This implies that mulberry silk is less flexible and may have a more limited ability to stretch before breaking compared to tasar silk.
Why there is a difference in their properties
One answer can be density. The density of mulberry is higher ( 1.35 g/cc) as compared to tussar ( 1.30 g/cc). This suggests a relatively poor degree of orientation and less order in Tussar, which gives to lower modulus and elongation behavior of tussar.
These values have their commercial and functional implications.
A paper titled "Study of property and structural variants of mulberry and Tussar silk filaments" by professor Mohan Gulrajani has suggested this idea.
Earlier research suggested that the wet strength of silk specially Mulberry reduces considerably when subjected to water during laundering. This happens because in an aqueous environment, the hydrogen bonds between the molecules break. These bonds are crucial for maintaining the structure and strength of the fibers.
However the paper suggests that " silks can be machine washed at 40-60ºC provided one uses appropriate washing procedures, such as the use of neutral detergents".
The results for both Tussar and Mulberry found that " the tenacity and elongation at break are not
significantly different in dry or wet state ". However there is slight decrease in modulus. The figure given below talks about the result.
A reduction in modulus would make the fiber less stiff.
Modulus, specifically in the context of materials science, refers to the measure of a material's stiffness or rigidity. It indicates the ability of a material to resist deformation under an applied force. Modulus is typically expressed in terms of stress divided by strain, where stress is the force applied per unit area, and strain is the resulting deformation.
When the modulus of a material decreases, it means that the material becomes less resistant to deformation for a given stress. In other words, it becomes more flexible or less stiff. Conversely, an increase in modulus would indicate that the material becomes stiffer or more resistant to deformation.
Then why it is not advised not to launder Pure silk sarees ?
The answer lies in the properties of commercially available silk fabrics or sarees. The above study was done after fully degumming the yarn. However, in commercially available silk fabric, the yarn is not fully degummed, there is always a residual gum or sericin. In the study about 20% sericin was found in mulberry and 5% in tussar. On wetting, the sericin weakens, and allows inter filament slippage, which in turn leads to a drastic reduction in mechanical properties. Hence the strength of the wet silk gets reduced.
What is sericin, what is silk fiber composed of ?
Silk fiber is primarily composed of two main proteins: fibroin and sericin. These proteins are produced by specialized glands in the silk-producing organisms, such as silkworms (Bombyx mori). The composition of silk fiber can vary depending on factors such as the species of the silk-producing organism and the conditions under which the silk is produced.
Fibroin: Fibroin is the structural protein that forms the core of silk fibers. It constitutes the majority of the silk fiber's mass and is responsible for its strength and resilience. Fibroin is a fibrous protein composed mainly of amino acids such as glycine, alanine, and serine. The exact composition and arrangement of amino acids within fibroin contribute to its unique mechanical properties, including its tensile strength and elasticity.
Sericin: Sericin is a glue-like protein that surrounds and binds the fibroin filaments together within the silk cocoon. It serves to protect the fibroin and provide cohesion to the silk fiber structure. Sericin is composed of various proteins and amino acids, with its composition varying depending on factors such as the silk-producing species. Sericin is typically removed from silk fibers during processing to improve their texture and appearance, leaving behind only the fibroin core.
In addition to proteins, silk fiber may also contain small amounts of other substances such as lipids, sugars, and minerals. These minor components can influence the properties of silk fibers but are present in much smaller quantities compared to fibroin and sericin.
As per BIS (Bureau of Indian Standard) the following definitions will apply. Please note that composition of only ground fabric or base fabric will be considered.
1. Pure Silk
If the content of silk in the fabric is more than or equal to 95% then it is termed as pure silk.
2. Blended Silk
If the content of silk in the fabric is more than or equal to 50% then it is termed as blended silk. A tolerance of +-3% is allowed on the declared content.
3. Part Silk
If the content of silk in the fabric is more than or equal to 20% then it is termed as part silk. A tolerance of +- 3% is permitted.
As per BIS, a silk fabric to be marked with the following information among others:
a. Name of the fabric eg. chiffon, crepe etc.
b. Blend composition e.g. pure silk, blended silk or part silk
c. variety of silk eg. mulberry, eri, muga or tussar
Scroop is a term used commonly as a finish with synthetic fibers and silk.
In case of silk scroop is the crunchy feel as well as rustly sound that is produced in the fiber on use. Scroop is like the feeling of squeezing a big bag of corn starch or stepping down into a very powdery snow.
Scroop is not an inherent property of silk.
Scroop can be induced in silk in two ways:
One way is to leave the gum of the silk (sericin) behind and not remove it. Sericin has a high coefficient of friction and hence resists the easy sliding of fibers one over the other. Vibrations created by friction produce the sound.
The other way is by treating silk with organic acid such as formic, lactic, citric or acetic acid in a concentration of 2-4 ml/l and drying without washing.
In case of synthetic fibers, cohesive agents are used to increase the fiber-to-fiber friction. However, it will increase a property called scroop. The attribute is so named, because of the sound that the staple bundle makes when it is squeezed. It is caused by resistance to the fiber movement that results from the increase in friction between the fibers. If a fabric is made from a yarn having high scroop level- a harsh handle is produced.
Reference: This is an amazing reading on silk by MIT
* By the way - Unrelated to the post- Cashmilon is made of acrylic and not nylon.
Railly, Lariya and Barf cocoons are found naturally in the forest collected by the forest dwellers mainly the tribals.
The threads which come from Rally cocoons are generally black in colour while others are yellowish or creamish.
Yarn
Ghicha: Ghicha yarn is produced out of those cocoons, out of which live worm has come out. In the process, the cocoon is damaged and one cannot get a continuous filament. In such cases the cocoons are boiled with soap solutions and several filaments are joined and reeled. This process creates a yarn called as Ghicha and is characterized by its very typical coarseness.
Katiya: After making the yarn from Gheecha process, some quantity of waste material remains in the cocoons. This waste material then cut together into finer pieces and then reeled into yarn. This yarn is called Katiya.
Nassi: Before making cocoon, the larva joins it with the help of a stem like structure. This structure also contains filaments. However, this is quite stiff. It has to be soaked and boiled in a soft solution and beaten with wooden hammer till it becomes soft. Then it is reeled on thigh in the form of yarn and out of which the fabric is made which is characterized by its typical softness. However, this yarn is costly as a large number of stems are needed to make the fabric.
Technique
The looms being used now are mostly fly shuttle pit looms though there are some throw shuttle looms in Raigarh
The three shuttle technique is to be found in most Kosa silk areas
Sizing is done by hand with the help of brushes, specially meant for this purpose.
The loss of Sericin during reeling can be off set by what is known as ‘weighting’ or loading, which adds to the volume and weight of raw silk, as also adds to the luster and rustle of silk. In Chhattisgarh, weighting is a compulsory process which is done during the process of sizing, especially for fabrics like ‘Korahs’, undegummed and unbleached fabrics. The weighting is done with starch normally cooked rice water. This is applied to wet the warp and weft yarn during weaving
In the cottages of the weavers a usual warp is of one piece length i.e. one sari, or one piece of malmal of 6 yards or safa of 9 yards.
Surface Ornamentation
The Phera indicates the meaning of ‘round’. Phera method of weaving the body of saree and its border weft threads has rounded each other. The body weft threads are not interlacing with border warp threads and vice versa. They are interlaced by rounding each other at the point of body and border following the phera method. The designs are made using the jhala, jacaurd and dobby.
Uniqueness
The designs are prepared with the dexterous process of Dobby system& there is also no use of jacquard.
This is as per a brochure from CSTRI ( Central Silk Board)
Receipe
M:L- 1:30
Dye- X% on the weight of the material
Glauber Salt- 10% on the weight of the material.
Acetic Acid- 4-6% ( 40% strength)
Temperature: 85-90 deg C, pH-4-6, Time- 15 minutes
Procedure
- Preparation of dye solution: Dissolve required dye powder in boiling water in a separate beaker/vessel.
- Set the dye bath with required quantity of water.
- Add Glauber Salt
- Add dye solution.
- Enter the presoaked material at 40 deg C. Work for 10 minutes.
- Take out the material.
- Add acetic acid and stir well.
- Enter the material.
- Gradually raise the temperature to 85-90 deg C.
- Work for 35-40 minutes
- Take out the material followed by cold wash.
- Removal of excess water by using hydro extractor.
- Dyeing under shade.
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This is as per a brochure from CSTRI ( Central Silk Board)
Bleaching Receipe
M:L- 1:30
Soda Ash- 0.5 GPL or 1% on the weight of the material.
Sodium Silicate- 1.5 GPL
Hydrogen Peroxide- 20 MI/Lit
Temperature- 80 deg C, Time- 60 to 90 Min, pH-9
Procedure
-Take required quantity of water.
-Dissolve soda ash and sodium silicate
- Enter the material at 40 deg C
- Work for 5 min.
- Take out the material and add Hydrogen Peroxide
- Raise the temperature to 80 deg C
-Work for 60-90 min followed by cold wash.
- Removal of excess water by using hydro extractor.
Optical Whitening Receipe
M:L- 1:30
Ranipal WHN-3% on the weight of the material
Hydrose- 2 GPL
Temperature- 60-70 Deg C, Time-15 min, pH-9
Procedure
- Take required quantity of water.
- Add Ranipal WHN and hydrose ( Dissolve Ranipal in hot water)
- Enter the material at 40 deg C.
- Raise the temperature to 60-70 deg C
- Work for 15 minutes followed by cold wash.
- Removal of excess water by using hydro extractor.
- Drying under shade.
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This is as per a brochure from CSTRI ( Central Silk Board)
Receipe
M:L- 1:30
Soap- 5 GPL or 15% on the weight of the material.
Soda Ash- 1 GPL or 3% on the weight of the material
Temperature- 90-95 deg C., Time- 30 to 45 minutes, pH- 9.5 to 10.5
Methods/Procedure
- Dissolve soap and soda in the required amount of water.
- Enter the material at 40 deg C
- Raise the temperature to 90-95 deg C
- Work for 30-45 minutes
- Take out the material and hot wash for 10 minutes for 60 to 70 deg C.
- Followed by cold wash.
- Removal of water by using hydroextractor.
- Drying under Shade.
Single Bath Degumming and Bleaching
Receipe
M:L- 1:30
Soap- 5 GPL or 15% on the weight of the material.
Soda Ash- 0.5 GPL or 1% on the weight of the material.
Sodium Silicate- 1.5 GPL
Hydrogen Peroxide- 20 MI/Lit
Temperature - 85-90 deg C, Time- 60 to90 min., pH- 10
Procedure
- Take required quantity of water.
- Dissolve Soap, Soda Ash and Sodium Silicate
- Enter the material at 40 Deg C
- Work for 5 minutes
- Take out the material and add hydrogen peroxide.
- Raise the temperature to 85-90 deg C
- Work for 60 to 90 minutes followed by hot wash and cold wash.
- Removal of excess water by using hydro extractor.
- Drying in Shade
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This is as per a brochure from CSTRI ( Central Silk Board Bangalore)
Receipe
M:L- 1:30
Dye: X% on the weight of material.
Glauber Salt- 20% of the weight of material ( 1st Stage)
Glauber Salt- 20% of the weight of material (2nd Stage)
Soda Ash- 5% of the weight of material ( 1st Stage)
Soda Ash- 5% on the weight of material (2nd Stage)
Temperature ( Cold Brand)- 50 deg C
Temperature ( Hot Brand) - 60 deg C
pH-9, Time: 65-75 minutes
Procedure
Preparation of dye solution:
Dissolve required dye powder in boiling water in a separate beaker/vessel.
Set the dye bath with required quantity of water.
Add dye solution and add 20% Glauber salt and 5% soda ash at 1st stage.
Enter the material and work for 10 minutes.
Add 20% glauber salt and 5% sold ash at 2nd stage and work for 20 minutes.
For Cold brand reactive dyes, work for 45 minutes at 50 deg.
For hot brand reactive dyes, work for 45 minutes at 60 deg.
Take out the material followed by cold wash.
Remove excess water by using hydro extractor.
Dry under shade.
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When we talk about raw silk, we generally are talking about mulberry raw silk. It is the compact untwisted and undegummed silk thread that is formed by combining the required number of silk filaments drawn from as many separate cocoons by a special technique called Reeling.
What is Filature Silk
The building in which cocoons are reeled for the production of raw silk is called a filature.It is carried with
sophisticated automatic machines,to ensure production of raw silk of desired qualities. The filature concept is
seen in developed countries where the raw material (cocoons) are of superior quality.
What is the type of Silk used in Indian Villages
However, more than 50 per cent of silk is reeled by a villager using country charka which forms the cottage industry. In the group of natural fibres.
What is the percentage of Silk production of all Textile fibers in the world
Which comprises cotton, wool and silk, production of silk amounts for 0.3 per cent only.
What are the other uses of silk apart from garments and home furnishings
Silk yarn is used as A package material in pencil industry and for making talcum powder puffs. Silk is used as raw material for preparing sound-free gears for making precision machinery. In France 22-24 denier silk is used in tyre manufacturing to have a longer life span than rubber tyres. Parachutes are made from 13-15 denier silk fiber. The silk gut used in surgery for internal suturing is made from silk glands. The silk glands are dissected out and put in warm water and pulled at two ends to yield a fibre of uniform thickness. This protein is auto absorbable and need not be removed after wound healing. Silk grafts have been used successfully to replace cut arteries.
What type of production is more in India- Raw silk or Cotton waste
India is very poor producer of raw silk to meet international standards. In India raw silk production is overtaken by silk waste. India produces annually about 180 tonnes of spun silk yarn and 130 tonnes of noil yarn besides hand spun yarn.
Why Silk Reeling using Charkha is inferior
Silk reeling, using country charka is of low quality but it contributes more to the raw silk produce. The reasons
for low quality silk in country charka are as follows;
1. No sorting of cocoons. Defective cocoons are also reeled.
2. No cocoon mixing
3. Improper deflossing.
4. As there is no jettebout the dirt, gum spots etc., can be eliminated. However, the charka has Tharpatti but
cannot function like button or jettebout.
What are cocoons, what are they made up of
Cocoons
Cocoon is nothing but a protective shell made up of a continuos long protein silk filament spun by mature silkworm
Content Percentage
Fibroin 72.0-81.0
Sericin 19.0-28.0
Fat & Wax 0.5-1.0
Colouring matter & ash 1.0-1.4
What are important physical and commercial characteristics on which the production and quality of silk depends
Color
Indian races produce either white or yellow cocoons and white cocoons have a slight edge over the yellow cocoons in market price.
Shape
For easy relling spherical, oval and moderately constricted or printed cocoons are selected.
Size
The size is generally indicated by the number of cocoons per litre.Generally the number of cocoons per litre varies between 110 to 400. Uniform sized cocoons are required for reeling.
Hardness or Compactness
When a cocoon is lightly pressed between the fingers, it should not yield but should feel firm, compact and
elastic.
Grain or Wrinkle
After deflossing the cocoon surface should be granual or wrinkled with convolution.For better reeling fine granular cocoons are selected.
Weight of Cocoon
Weight of Cocoon Shell
Larger the weight of the shell, greater the silk yield.In Indian multivoltine hybrids the shell weights is 200 to
300 mg. , while it is 180 to 250 mg in multivoltine pure races. Indian univoltine cocoons have 200 and 300 mg of silk shell.
Commercial Chracteristics
1. Shell Ratio: It indicates the quality of raw silk that can be reeled from fresh cocoons. Shell ratio is the
weight of cocoon shell and weight of whole cocoon. . It varies from 12 to 19 per cent.
2. Length of filament
It denotes the length of silk in the cocoon. It varies from 300m to 1200 m.However non breakable filament length (NBFL) which is the average length of filament that can be unwound without breaks is very important.
3. Weight of reelable filament
The complete silk filament of the cocoon cannot be reeled. The outermost floss layer and innermost pelade layer cannot be reeled and therefore removed.
4. Denier
It determines the size of silk. The denier is high in outer floss layer than the middle or inner layer.The tolerance limits for the commercial raw silk are 13/15, 20/22 denier. Denier = ( Total weight of reeled silk in grams/Total length of reeled silk in meter) x 1000.
5. Raw Silk Percentage
This is the percentage of the quantity of raw silk reeled in relation to the quantity of fresh cocoons used for
reeling. This can vary from 40 to 85 per cent. Raw silk Weight = ( Wt of Reeled silk/wt of cocoon)x 100
6. Floss
It is the value outermost loose, fragmented unevenly thick silk layer of the cocoon. It is a waste silk.
7. Renditta
It is the value derived from liter of cocoons required to produce one unit (1 kg) of raw silk. It varies from 6 to
14. The lower the value, the better is the quality of Silk.
What are the various steps of Silk Manufacturing after the cocoon is ready and collected
The various steps are as follows
1. Cocoon Stifling and Conditioning
The process of killing the pupa and keeping the cocoon in good condition by storing in a proper conditions is
called stifling and conditioning of cocoons.
a. Stifling of Cocoons
It can be done by
- Sun Drying
- Steam Stifling
- Hot Air Drying
Sun Drying
It is a method of killing and drying the pupae by prolonged exposure of freshly harvested cocoons to hot sun. It is simple and cheap and drying is even/uniform. However, it is not suitable for modern reeling, can only be done on bright days, prolonged exposure can cause poor quality silk, increases wastages of silk reeling, involve space and labour and the cocoons can get dust and dirt in the process. Tussar in India uses sun drying method.
Steam Stifling
In this process, the fresh cocoons are exposed to hot wet steam, for a required period. Large quantity of cocoons can be stifled in a short time. However, it kills the pupa inside and doesnt dry it properly. There is also a problem of mould formation and leaking of body fluids of pupa onto silk. It also affect the sericin, increasing silk waste.
Hot Air Drying
In this the pupae are killed by exposure to hot air. It is the best method of stifling, giving good quality of silk
and dried pupae.
2. Cocoon Storage
After complete drying, the cocoons are to be stored in a store house which is protected from rats and is moisture proof.To protect the cocoons from fungal attack, the inside temperature and relative humidity of the store need to be maintained at 27 deg C to 30 deg C with 60-70 per cent relative humidity.
3. Cocoon Sorting
Sorting of Cocoon is done before reeling to give good quality cocoons.
4. Deflossing
Generally deflossing is done by fingers but now simple hand operated machines are also available.
5. Riddling
It is a process that separates the cocoons according to their sizes.
6. Cocoon Cooking and Brushing.
Silk thread spun by silkworms is technically called as ‘bave’. This is a composite structure which inturn has two filaments inside which are known as ‘brins’. Brins are the filaments which are produced by the two silk glands. Brins are made up of silk protein biborin synthesized in the silkglands. The brins are intrun bound by silk protein called sericin.
The cooking process is done for softening the sericin to facilitate easy unwinding of the silk filament at the same time.The sericin content of the silk filament ranges from 25 to 30 per cent, which varies in different races. In cooking process 7 to 8 per cent of sericin is dissolved.
In order to cook the cocoons properly there are different types of systems of cooking.
1. Top reeling or floating system
2. Sunken system
In top reeling the cocoon shell becomes wet and impervious to water and float in water when the cooked cocoons are put in to the reeling basin. In sunken system the shell is cooked and the process fills the cocoon with water (97- 98 per cent) and makes the cocoon heavy and which sink in the reeling water. The top reeling is a old method while sunken reeling is a latest method.
Traditionally tassar cocoons are cooked in an earthen pot at or near boiling sodium carbonate (washer man’s soda) solution for 4-6 hours. Cocoons are then reeled in semi moist condition on Natwa/Thigh, where the productivity per day per reeler comes to about 60-80 g of 60 D silk yarn.
Brushing
The cocoons have to be brushed to remove the surface floss before reeling. Floss is a lossely knit, broken, uneven thickness, water silk. Without removing the floss layer one cannot reel the proper silk. This waste layer obstructs the reeling process unless it is clearly removed. The process of removing floss layer is called “brushing”.Brushing can be done with the help of a stick, a brush or through mechanical means.
---to be continued---
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The following are the major differences between Silk Fabrics made from China and India.
1. The raw silk produced by Chinese producers is qualitatively better because they employ dried cocoon reeling method as compared to the Indian silk producers who employ fresh cocoon reeling method to obtain raw silk.
2. Majority of Indian silkworms are multi-voltine variety, whereas Chinese silkworms are of the bi-voltine variety, which has high productivity of cocoon per acre, and the cocoon has higher silk output per kg, and the silk has higher tensile strength on the loom.
3. The machinery used by the Indian producers are obsolete, simple and inefficient which is the primary cause for the higher per unit value of Indian silk as compared to Chinese silk.
4. The twisting machines used by Indian producers to produce silk yarn can reach 800 twists per minute at the most. However, the twisting machines used by Chinese producers are advanced and can reach a number of twists of more than 2600 twists per minute the resultant product being of high quality.
China and India together account for more than 90% of the total production of the 20-100 grams of silk fabric variety in the world; China producing approximately 78% and India approximately 15% being the two major producers of silk in the world.
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Silk is a continuous protein filament secreted by specific types of caterpillars commonly known as silkworms. It is the most loved fiber the world over. Natural sheen, inherent affinity for rich colors, high absorbency, lightweight (yet stronger than a comparable filament of steel), poor heat conduction ( warm in winter, cool in summer), low static current generation, resilience, and excellent drape are some of its irresistibly endearing qualities.
Varieties of Silk
Mulberry
This is the most commonly known and understood form of natural silk.
Mulberry silk is light weight, has a natural sheen and smooth feel. Majority of finished silk products available in the market are made from mulberry silk.
The mulberry silk worm feeds on mulberry leaves and forms a smooth cocoon, from which yarn is taken out through a process called reeling.
Mulberry silk is a rich absorbent of colors and is a printer's delight.
India's Wild Silks or Vanya Silks reflect the exotic and untamed spirit of wild silk worm...in texture, feel, sheen and color. It has inspired designers to create distinct fashion statements in clothing and home textiles.
Vanya Silks have baffling thermal properties, keeping warm in winter and cool in summer.
Vanya Silk portray the rich crafts culture and folklore of the North Eastern and Tribal zones of Central and Eastern India. They are of three different types, each distinct in its characterisics, Tasar, Eri and Muga.
The tropical or Indian Tasar Silks are highly textured and have a wide range of natural colors from off-white to beige and gold brown. It has a dull, uneven sheen and can also be dyed in a number or colors and easily blended with cotton, wool, linen or other silks.
Well known Bafta fabric is a blend of India Tasar with cotton. Tasar is used in both spun and filament form. Tasar silkworms feed mainly on Asan and Arjun leaves. India is the second largest producer of Tasar silk in the world.
Desi or Indian Tropical Tasar is produced by the species of worms known as Antharaea Mylitta. There is another variety of Tasar which is called Oak Tasar. It is produced by another species of worms called Antharaea Proyeli (produced in India ) and Antharaea pernyi (produced in China). It is a finer variety of Tasar.
Eri
Also known as Endi or Errandi Eri silk is produced by Eri silkworm, which mainly feeds on Castor and Kesseru leaves.
Eri can be spun in coarse to very fine yarns and is home washable. It can also blend with cotton, wool, jute and mulberry silk.
Eri silk gains better sheen with every wash. Its high warmth retention makes it very comfortable in cooler climes. It is popularly used for making Shawls, Stoles, Fashion accessories and Home Furnishings.
Muga
The shimmering golden color, distinct look and smooth feel of muga is an instant inspiration to the interior, home and fashion designers all over the world. Muga commands highest premium amongst all silks.
Reared in Assam, the Northeastern region and Cooch Behar in West Bengal, Muga silkworms feed on Som and Sualu Leaves.
Muga yarn is generally used in the Assamese homes for home furnishings. The famous Sualkuchi sarees too are a product of Muga silk.
Silk Care
Precautions during washing ( Source : Silkmark Brochure- Please try separately before following instructions)
1. Always wash silks in soft water. Add a pinch of Borax or ammonia, if the water is hard.
2. Use a good neutral soap in the forms of either flakes or solutions.
3. Light detergent may also be used in the case of hard water.
4. Wash in lukewarm water by kneading and squeezing or suction.
5. Rinse in warm water 2-3 times to remove traces of soap.
6. Add a few drops of citric acid or acetic acid to the final rinse in cold water.
7. Silk with doubtful color fastness may be steeped in cold water with a small amount of citric or acetic acid for 1-2 minutes before washing. Squeeze lightly by hand to remove water.
8. Always dry flat, in shade.
Precautions during Ironing
1. Use Low to medium heat
2. Never spray water to dampen silk before ironing. This will cause water spots in the fabric.
3. Silk should always be ironed on the reverse side if still damp.
Storage of Silk Products
1. Store in cool and dry place in brown craft paper covers.
2. In case of sarees avoid stacking more than three, frequently reverse and change the folds. A small sandal wood piece instead of naphthalene balls would provide dry, cool and fresh air. Sweat should never be allowed to settle and should be removed by rinsing in cold water.
3. Hang the silk products in good ventilated wardrobe or cupboard.
4. Use anti-mildew compound spray.
5. Warp in muslin cloth to avoid discoloring of zari.
6. Use natural perfume like Sandalwood swatch for refreshning.
7. Plastic bags given as package material after laundering or purchase should not be used for storage.
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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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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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Silk is sold by weight. By means of weighting the manufacturer can increase the weight of silk by 3 to 4 times. The weighting substances in the silk includes tannins such as salts or iron, tin (mostly used), chromium, sodium, magnesium and barium. Also sugar (mostly used), glucose, gelatin, glycerin and paraffins are used.
How weighting is done
Silk has great absorptive power. It can take upto 50% of tannin. Once that is applied the tannin itself can attract salts of iron and tin by another 50% without any visible indication of being changed in character. For dark colored silks, iron salts are used, for light-colored silks, tin salts are used.
For applying weighting, the silk is first degummed. During degumming process, silk loses approximately one-fifth of the weight. This is done prior to weaving. Then it is immersed in a solution of catechu or some other substance rich in tannin. Then it is tranferred from tannin vat to iron or tin baths. After this cloth is taken out and washed in pure water.
Effects of Weighting
Weighting causes the fabric to lose its strength as soon as the weighting is applied. Heavily weighted silk must be made into garments as soon as it is made. Spots develop in the dyes. Saltswater, perspiration and tears cause spots to be formed which seems as if the silk is eaten by acids. Sunlight also attacks weighted silk and can cause silk to fall to pieces.
How to Detected Weighting in Silk :
Weighting of silk can usually be detected by the burning test. Separate threads from the warp and the weft are set on fire with a burning match. Pure silk burns very badly and stops burning as soon as the burning match has been removed. Practically no ash is formed (less than one per cent), and the end of the fiber left unburned takes the shape of a little bulb.
Weighted fibers, when burned, leave a considerable amount of ash, and the entire thread may keep its shape after being burned. When only the filling or the warp is weighted, applying the flame to a sample of the cloth seems to consume only one set of threads, the unweighted ones, the others keeping their form because of the heavy ash content.
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When cotton is brought near the flame it scorches and ignites readily. In the flame it burns quickly with yellow flame. Upon removing from flame it continues to burn rapidly and shows afterglow. It emits a smell of burning paper. The Ash is light, feathery and grayish. If the ash is black it denotes mercerized cotton.
Linen
Linen like cotton when brought near the flame scorches and ignites easily. In the flame it burns slower than cotton with yellow flame. Upon removing from flame it continues to burn with a smell of burning paper. The ash residue is feathery and gray.
Wool
Wool when brought near the flame smolders. In flame it burns with small and slow flickering flame. Also in flame it sizzles and curls. When removed from flame it ceases to burn. The Odor is like that of burning feather or hair. It gives crisp, dark and irregular shaped ash that can be crushed easily.
Pure Silk
Pure silk smolders when brought near the flame. In the flame it burns slowly with sputtering. When removed away from flame it continues to burn but with difficulty and ultimately extinguishes. The smell that is emitted is like that of burning feathers or hair but it is less pronounced than wool. It gives out a round, crisp, shiny black beads that can be crushed easily.
Weighted Silk
Weighted Silk smolders when brought near the flame. In the flame it burns with a glow. When removed from flame the burned part becomes briefly incandescent then it slowly chars. The smell is like that of pure silk i.e. burning feather or hair. The ash brings a screen like skeleton of original sample.
The following guide is very handy in identifying the fibers by burning test:
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Silk should be dry-cleaned, in most of the cases. Whenever in doubt, dryclean it.
It should not be machine washed at all.
Silk Shrinks when washed in water. It doesn’t itself shrink. It is the way the individual fibers are twisted together than causes the silk to shrink. Highly twisted yarns and loose weave cause shrinking when water releases twisting energy in the fibers.
Water also affects the texture and sheen of the fabric. Thus the firmness and color of the fabric is also affected by water.
When hand washing do it in this way:
Always wash silk in soft water. Add a pinch of Borax or ammonia, if the water is hard.
1. Put the silk in a tub full of lukewarm water and mild soap like Ezee.
2. Rub the silk fabric for a few minutes in the solution and drain.
3. Rinse in clear cool water until all the soap is gone.
4. Fill the tub again and put about a quarter cup of white vinegar.
Vinegar neutralizes any remaining soap and allows it to rinse out completely restoring the fabric’s natural sheen. It also helps preventing any damage from the alkali present in the soap.
5. Give the fabric a final rinse in clear, cool water to restore the vinegar smell.
6. Roll up in a towel to remove moisture then dry flat on a towel. Never wring it.
7. Avoid soaking silk as this may fade the dye.
Silk with doubtful color fastness may be steeped in cold water with a small amount of citric or acetic acid for 1-2 minutes before washing.
Please test this method on a small part of the garment before commencing the full-fledged washing.
Treating Stains
1. Use a capful of hydrogen peroxide and a few drops of ammonia added to the wash.
2. For recent perspiration stain dab a tablespoon of ammonia dissolved in half cup of water. Older perspiration can be removed with a vinegar solution. Unfortunately, perspiration stains on silk may not be completely removable.
Pressing
1. Silk should be pressed when damp never when completely dry.
2. Turn the item inside out and iron on the reverse side of the fabric.
3. Use a low setting and don’t use steam as it will leave watermarks.
Storage
1. Keep silk in a cotton pillowcase or other material that can breathe.
2. Avoid plastic which traps moisture and can cause yellowing and mildew
3. Use naphthalene balls to keep the bugs away from silk.
4. Avoid direct contact with wood
5. Wrap zari sarees in cotton cloth to avoid discoloring of zari.
General Care Instructions
1. Keep it away from heat or direct sunlight, it will yellow the fiber.
Some Online Resources in Silk: A Practical Guide to Silk Types and Market Terms
Silk is one of those fibres where the same word can mean different things to different people. A weaver may speak in terms of Korea silk, China silk, Desi silk, Katiya, Matka or Ghicha, while a textbook may classify silk into Mulberry, Tasar, Eri and Muga. A merchandiser, therefore, needs both languages: the scientific classification and the market vocabulary.
This note began as a search for useful online resources on silk, especially for terms that are frequently heard in Indian textile markets but are not always clearly explained in standard textile books. The most important lesson is simple: when somebody says “silk”, we must immediately ask: which silk, which yarn route, which cocoon source, and which fabric construction?
India is especially important in this discussion because it produces all four commercially known natural silks: Mulberry, Tasar, Eri and Muga. Tasar, Eri and Muga are generally grouped as Vanya silks, or non-mulberry silks. For a buyer or student, this classification is only the beginning. The real understanding comes when we connect the fibre source with yarn preparation, weaving practice, finishing and market terminology.
Visual 1: Silk understanding map showing fibre source, yarn route, fabric character and market terminology.
Why Silk Terms Are Confusing
Silk terminology is confusing because it comes from several worlds at the same time. Some terms come from biology, such as Mulberry, Tasar, Eri and Muga. Some come from yarn preparation, such as reeled silk, spun silk, noil silk and filature silk. Some come from market usage, such as Korea silk, China silk and Desi silk. Some come from Indian craft practice, such as Matka, Ghicha, Katiya, Balkal, Gajji and Mashru.
The problem starts when we treat all these terms as if they belong to the same classification system. They do not. For example, Mulberry is a silk type based on the silkworm and feed source. Matka is better understood as a spun silk yarn or fabric character. Dupion is related to double cocoons and slubbed yarn. Gajji is a fabric construction and market term, not a biological silk category.
A useful way to reduce confusion is to ask four questions. First, what is the fibre source? Second, is the yarn reeled, spun, drawn or waste-based? Third, what is the fabric construction? Fourth, how is the term used in the market? Once these questions are asked, silk becomes much easier to understand.
The Four Major Natural Silks
The four important natural silks in the Indian context are Mulberry, Tasar, Eri and Muga. Mulberry silk is generally associated with smoothness, fineness and lustre. Tasar silk is associated with natural texture, subdued lustre and earthy character. Eri silk is associated with softness, warmth and spun yarn character. Muga silk is associated with Assam, natural golden colour and cultural value.
Silk Type
General Source
Typical Character
Common Practical Use
Mulberry Silk
Bombyx mori silkworm feeding mainly on mulberry leaves
Smooth, lustrous, fine and regular
Sarees, scarves, dress materials, luxury fabrics
Tasar or Tussar Silk
Wild or semi-wild silkworms, often from the Antheraea group
Textured, earthy, slightly coarse and naturally rich
Mulberry silk is the best-known and most widely used type of silk. It is produced by the silkworm Bombyx mori, which feeds mainly on mulberry leaves. In general trade language, when people simply say “silk”, they often mean mulberry silk unless specified otherwise.
Mulberry silk is valued for its smooth handle, lustre, softness and drape. It is used in sarees, dress materials, scarves, furnishing fabrics, carpets and many traditional Indian textiles. From a merchandiser’s point of view, mulberry silk is usually associated with finer and more regular yarns compared to many wild silks.
However, final fabric quality depends not only on the fibre. It also depends on yarn denier, twist, degumming, weaving, finishing, dyeing and the skill of production. In simple terms, a fabric can be made from mulberry silk and still vary greatly in handle, lustre, strength, transparency and price.
Tasar or Tussar Silk
Tasar silk, also written as Tussar or Tussah, is a non-mulberry silk. In India, tasar is strongly associated with traditional and craft-based fabrics. It is often described as having a slightly coarse, textured, natural and earthy character.
Tasar does not try to imitate the smooth perfection of fine mulberry silk. Its beauty lies in its natural irregularity, subdued lustre and organic texture. Many tasar fabrics have beige, honey, coppery or dull-gold tones depending on source, processing and dyeing.
For merchandisers, Tasar is important because it frequently appears in sarees, dupattas, stoles and dress materials. The buyer should check whether the fabric uses reeled tasar, spun tasar, Ghicha, Katiya or other waste-based yarns, because each of these gives a different fabric character.
Eri Silk
Eri silk is another non-mulberry silk. The name is linked with the castor plant, as castor leaves are one of the important food sources of the Eri silkworm. Eri silk is often called a “peace silk” in popular language because, traditionally, the moth may emerge from the cocoon before the fibre is spun.
Unlike mulberry silk, Eri is generally spun rather than reeled. This is because the cocoon structure does not easily provide one long continuous filament in the same way as mulberry silk. The resulting yarn has a warm, soft, woolly and cottony handle rather than the slick smoothness of filament silk.
This makes Eri particularly interesting for shawls, stoles, winter textiles and fabrics where comfort and softness are more important than high lustre. A buyer should not reject Eri because it lacks the shine of filament silk. Its value lies in a different kind of silk experience.
Muga Silk
Muga silk is one of India’s most distinctive silks. It is associated with Assam and is famous for its natural golden colour, lustre and durability. Muga is not just another silk variety. It carries geographical, cultural and heritage value.
Among Indian silks, Muga has a special identity because it is closely tied to Assam’s textile culture. Its golden tone is natural, and the fabric is often prized for ceremonial and traditional garments. Because genuine Muga is rare and expensive, authenticity becomes very important.
In the market, one may hear expressions such as “Muga look”, “Muga finish” or “Muga colour”. These should not be confused with genuine Muga silk. A merchandiser must check whether the term refers to actual Muga fibre or merely to a colour and surface effect inspired by Muga.
Visual 2: Comparison of Mulberry, Tasar, Eri and Muga silk by source, handle, lustre and typical product use.
Important Indian Market Terms in Silk
Indian silk markets use many words that are extremely useful but not always standardized. Terms such as Katiya, Balkal, Matka, Ghicha, Dupion, Gajji, Mashru, Korea silk, China silk and Desi silk should be understood carefully. Some terms indicate yarn origin, some indicate cocoon condition, some indicate waste utilization, and some indicate fabric construction.
Katiya Silk
Katiya is an important trade term, especially in the tasar silk chain. It may be understood as yarn made from the portion of tasar cocoons left after the reelable silk has been removed. In many tasar production systems, the cocoon does not yield one continuous high-grade filament throughout.
The better reelable portion is taken first. The remaining portion, waste or partially reelable material may then be processed into spun or irregular yarn. Katiya usually implies more irregularity, more texture and a different price-quality position compared to fine reeled silk.
Balkal Silk
Balkal is another term connected with tasar. It is generally associated with the peduncle or anchoring portion of the cocoon. This portion is weaker and less suitable for fine reeling, but it can still be converted into useful yarn.
Balkal belongs to the family of yarns where silk waste or lower-grade cocoon portions are converted into fabric value. Such yarns may show unevenness, slubs, thickness variation and rustic appearance. These are not necessarily defects if the fabric is designed for that look.
Spun Silk
Spun silk is made from short lengths of silk fibre obtained from silk waste, pierced cocoons, floss or other non-reelable material. This distinction is important because not all silk yarn is filament yarn. Some silk yarn is produced in a spinning system, somewhat comparable in principle to cotton or wool spinning.
Spun silk may have less brilliance than continuous filament silk, but it can have a beautiful soft handle. It is useful where a slightly textured, less slippery and more fabric-like surface is desired.
Noil Silk
Noil silk is made from the shorter fibres removed during combing in the spun silk process. It is usually more matte, less lustrous and more textured than regular spun silk. It may resemble cotton or wool in surface character while still retaining the identity of silk fibre.
Silk Form
General Character
Reeled filament silk
Smooth, lustrous and made from continuous filament
Spun silk
Made from shorter silk fibres, softer and more textured
Noil silk
Made from very short fibres, more matte and irregular
Dupion Silk
Dupion silk is reeled from double cocoons, where two silkworms spin together and their filaments become interlocked. Because the filaments cannot be reeled as smoothly as regular cocoons, the yarn develops irregularities, slubs and thick-thin effects.
Dupion is an excellent example of a textile principle: what is technically irregular can become aesthetically valuable. The slubs and cross-lines in Dupion are often the very reason designers like it. It is used in sarees, lehengas, jackets, home textiles and occasion wear.
Filature Silk
Filature silk refers to raw silk reeled by machine, as distinct from silk prepared by hand in cottage or traditional settings. In practical buying, filature silk suggests more controlled reeling, better regularity and more standardized yarn quality.
However, the word “filature” should not be treated as a complete quality guarantee. One must still examine denier, evenness, cleanliness, twist, strength, gum content, dyeing behaviour and fabric performance.
Matka Silk
Matka silk is one of the most important trade terms in Indian silk fabrics. It is generally associated with textured silk yarn made from pierced or waste cocoons. Matka fabrics are usually thicker, textured and somewhat linen-like in appearance.
Matka is not meant to look perfectly smooth. Its charm is in the unevenness. It often carries a handspun quality and rustic elegance. In current trade, however, the term may be used broadly, and the exact production method should be verified with the supplier.
Mashru
Mashru is not always a pure silk fabric, but it is very important in the study of Indian traditional textiles. It is usually understood as a satin weave fabric with a glossy surface, traditionally involving silk or rayon in the warp and cotton in the weft.
Historically, Mashru is associated with a fascinating cultural logic: the fabric gives a silk-like appearance on the outside while keeping cotton in contact with the body. In modern markets, Mashru may be made with rayon, viscose, cotton, silk or blends depending on price and production context.
Gajji Silk
Gajji is commonly associated with a heavy satin weave silk fabric, especially used in Bandhani and tie-dye sarees and dupattas from Gujarat and Rajasthan. Gajji has a dense, smooth and lustrous surface.
It accepts tie-dye effects beautifully because the satin surface reflects colour strongly. In the market, “Gajji silk” may sometimes be loosely used, so the buyer must confirm whether the fabric is pure silk, art silk, viscose or a blend.
Korea Silk, China Silk and Desi Silk
Korea silk, China silk and Desi silk are useful market terms, but they must be handled carefully. They are not the same as the scientific classification of silk into Mulberry, Tasar, Eri and Muga. They may refer to yarn origin, denier range, texture, evenness or local trade convention.
For example, when a supplier says Korea × China, it may mean one type of yarn in the warp and another in the weft. But this should always be confirmed because trade language can vary by region and supplier. A merchandiser should convert such expressions into a technical specification before approving production.
Reeled, Spun and Waste-Based Silk
Many confusions in silk can be reduced if we separate silk into three broad routes: reeled silk, spun silk and waste-based silk. This classification is very useful because it explains why two fabrics can both be called silk but behave very differently.
One fabric may be smooth, lustrous and slippery. Another may be matte, thick, textured and almost linen-like. Both can be silk, but their yarn route and fabric construction are different.
Route
Meaning
Examples
Reeled silk
Continuous filament unwound from cocoon
Mulberry filament, filature silk, some tasar
Spun silk
Short fibres spun into yarn
Eri, spun silk, Matka
Waste-based or leftover silk
Made from pierced cocoons, peduncles, noil or cocoon waste
Katiya, Balkal, noil, some Matka and Ghicha-type yarns
This equation is not a mathematical formula in the strict scientific sense. It is a practical reminder that fabric character is never decided by the fibre name alone. A silk fabric becomes what it is because of the entire chain from cocoon to yarn to fabric to finishing.
Visual 3: Flow chart showing how cocoon quality and processing route lead to reeled silk, spun silk, noil, Matka, Katiya and Balkal.
Buyer’s Checklist Before Approving Silk Fabric
Before approving any silk fabric, a buyer should not rely only on the name given by the supplier. The name may be useful, but it is only the starting point. The buyer must convert the name into fibre content, yarn route, construction and performance expectations.
Is it pure silk, blended silk, art silk, viscose or polyester?
Is the yarn reeled, spun, handspun, drawn or waste-based?
Is the silk type Mulberry, Tasar, Eri, Muga or a trade-quality term?
What is the yarn count or denier?
What is the warp yarn and what is the weft yarn?
Is the fabric degummed, semi-degummed or gum-retaining?
What weave is used: plain, twill, satin, crepe or jacquard?
Is the irregularity intentional, as in Dupion or Matka, or is it a defect?
Is the colour natural, dyed, printed or finished?
What care method is recommended?
These questions help prevent one of the most common buying mistakes: comparing two silk fabrics only by price without understanding fibre source, yarn route, construction and finishing. In silk, a lower price may mean a different raw material, different yarn route, different fabric density or different authenticity level.
Care of Silk Fabric
Silk care depends on the type of silk, dyeing, finishing, embellishment and fabric construction. However, some general precautions are useful. Silk should usually be protected from harsh sunlight, strong alkalis, chlorine bleach, aggressive rubbing and high heat.
Many silk fabrics are best dry-cleaned, especially if they are expensive, heavily dyed, embroidered, printed or embellished. Washing should be done only when the care label or supplier confirms that the fabric is washable.
Risk
Why It Matters
Sunlight
Can weaken silk and fade colours
Alkali
Silk is a protein fibre and may be damaged by strong alkalis
Perspiration
Can affect colour and handle if not cleaned properly
Perfume
May stain or affect dyes and finishes
Rough rubbing
Can cause abrasion, fibrillation or surface damage
High heat
Can affect lustre, handle and dimensional stability
Quick Glossary for Merchandisers
Term
Simple Explanation
Mulberry silk
Silk from Bombyx mori fed mainly on mulberry leaves
Tasar or Tussar
Wild or non-mulberry silk, often textured and earthy
Eri
Spun non-mulberry silk, soft and warm
Muga
Golden silk associated with Assam
Katiya
Yarn from leftover tasar cocoon material after reelable portion
Balkal
Yarn from peduncle or anchoring portion of tasar cocoon
Matka
Textured silk yarn or fabric often made from pierced or waste cocoons
Noil
Short fibres removed during spun silk processing
Dupion
Slubbed silk associated with double cocoons
Filature silk
Machine-reeled raw silk
Gajji
Heavy satin silk fabric often used in tie-dye traditions
Mashru
Satin fabric traditionally with silk or rayon face and cotton back
A Small Note on Authenticity
Silk terminology in the market is not always standardized. Some names are scientific, some are regional, some are trade terms and some are marketing expressions. Therefore, a merchandiser should avoid accepting a fabric name at face value.
A better approach is to combine three forms of knowledge. First, understand the scientific classification: Mulberry, Tasar, Eri and Muga. Second, understand the production route: reeled, spun, handspun, waste-based, filature or cottage-made. Third, understand the market vocabulary: Korea, China, Desi, Matka, Gajji, Katiya, Balkal and Dupion.
When these three layers are combined, silk becomes much easier to understand. The buyer is then able to ask better questions, compare fabrics more fairly and avoid being misled by attractive but vague market names.
Related Reading on Silk Fabrics and Indian Textile Terms
This article is intended for textile education, merchandising awareness and general understanding of silk terminology. Silk trade terms may vary by region, supplier and market practice. For commercial buying, quality approval, labelling, export documentation or legal claims, the fibre content, yarn route, construction, processing and care instructions should be verified through supplier declarations, laboratory testing and relevant standards wherever required.
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