250 Holland, Switzerland, and the UK. 100 Percent American Supima cotton: with 300 stakeholders. The UK Sustainable
The Irish Linen Centre and Lisburn Museum: www.supimacotton.org Clothing action plan can be seen here:
Information on American http://www.gov.uk/government/
www.lisburncity.gov.uk Pima cotton. publications/sustainable-clothing-action-
Information and artifacts relating to the Irish plan.
linen industry. Lisburn, Northern Ireland. Naturally colored cottons Environmental Justice Foundation:
The Irish Linen Guild: producers www.ejfoundation.org
www.irishlinen.co.uk Information on empowering those affected
Founded in 1928, promotes and monitors Peru Naturtex Partners: by environmental abuse.
quality Irish linen. Gives www.perunaturtex.com Ethical Fashion Forum:
a seal of quality to fabrics or Organic production with sustainable www.ethicalfashionforum.com
yarns that are made and finished in Ireland. processing for textile products. The site has Network of designers, businesses, and
The Linen Dream Lab: Showcasing textile good information on the origins of cotton, organizations focusing on environmental and
innovations, trend publications, yarn, and organic, and naturally colored cotton. It also social sustainability in the fashion industry.
fabric sourcing—sponsored by CELC 15, rue has several links to fashion companies using Ethical Trading Initiative:
du Louvre, Paris, France 75001 and organic cotton. www.ethicaltrade.org
Via Orti 2, 20122 Milano, Italy. Information on the promotion of
Maison du Lin: www.lin.asso.fr Facts and figures on the ethical trade.
Organization promoting cotton trade The Fairtrade Foundation:
French linen. www.fairtrade.org.uk;
Masters of Linen: www.pbs.org/now/shows/310/cotton-trade.html www.fairtrade.net
www.mastersoflinen.com www.cottonorg/econ/cropintfo/cropdata/rankings. Registered charity that licenses the
Paris-based subsidiary of CELC. Provides FAIRTRADE mark to products that meet
information and promotes European linen. cfm internationally recognized ethical standards.
Saneco: www.saneco.com Fair Wear Foundation:
Statistics and information on Sustainability; ethical and www.fairwear.org
the flax industry. fair-trade issues International verification initiative dedicated
to enhancing workers’ lives all over the world.
Cotton Ecological, fair-trade, and Fiber 2 Fashion:
organic organizations www.fiber2fashion.com
Cotton Australia: A US organization covering sustainable
www.cottonaustralia.com.au ASTM International issues through the entire value chain from
Organization servicing Australian cotton www.astm.org/Standard/interests/textile- fiber to fashion products.
growers, dealing with environmentally standards.html FTC (Federal Trade Commission):
conducive and sustainable production issues. Textile standards organization. http://ftc.gov
US consumer protection agency.
Cotton Foundation: BCI (Better Cotton Initiative): Helen Storey Foundation:
www.cotton.org www.bettercotton.org www.helenstoreyfoundation.org
US cotton export and research foundation. Since 2005 the BCI has worked across A London-based, project-funded, not-for-
the supply chain and aims to improve profit arts organization. It aims to inspire new
Cotton Incorporated: the economic, environmental, and social ways of thinking across art, science, design,
www.cotton.inc sustainability of cotton cultivation worldwide. and technology, incorporating ethical and
A company with offices worldwide that offers The first Better Cotton products became sustainable thinking.
extensive information on all aspects of cotton available in 2011. International Fairtrade:
from farming and green issues to design and www.ifat.org
manufacturing. It also offers extensive fabric The Centre for Sustainable Fashion: Information on members practicing fair
resources. www.sustainable-fashion.com trade in business.
London College of Fashion’s sustainable Labour Behind the Label:
International Cotton Advisory Committee: research, education, and business www.labourbehindthelabel.org
www.icac.org consultancy center. Resources and information on clothing labels.
Association of governments of cotton No Sweat: www.nosweat.org.uk
producing and consuming countries. C.L.A.S.S. (Creative Lifestyle and Information on the global campaign
Sustainable Strategies): against sweatshops and child labour.
International Cotton Association: www.ica-ltd.org www.c.l.a.s.s.org OCIA (Organic Crop Improvement
International trade association and arbitral An international organization with its own Association): www.ocia.org
body. dedicated materials library. C.L.A.S.S. Organic certifications.
works to promote eco-textiles, materials, Organic Trade Association:
National Cotton Council News and and services. www.ota.com
Current Events: Organization listing members using
www.cotton.org/news The Clean Clothes Campaign: organic cotton.
Global news and information site. www.cleanclothes.org Pesticide Action Network UK:
Aims to improve working conditions and www.pan-uk.org
Plains Cotton Cooperative Association: to empower workers of the global clothing Working to eliminate pesticides and to
www.pcca.com industry. promote fair-trade and organic alternatives.
Largest producers and suppliers of Website has many related links.
Texan-style cotton. A Deeper Luxury: Positive Luxury:
www.wwf.org.uk/deeperluxury www.positiveluxury.org
The Seam: www.theseam.com A report on the findings of WWF-UK’s An organization offering the first consumer
Online trading and interactive market place for analysis of the environmental and social guide to positive living. It licenses and
cotton agriculture. performance of the luxury goods sector. awards the “blue butterfly,” a global
interactive trust mark, providing information
Spinning the Web: DEFRA (Department for Environment,
www.spinningtheweb.org.uk Food and Rural Affairs):
Comprehensive information on the history www.gov.uk/defra
of the cotton industry. DEFRA invests in supporting farming,
protecting biodiversity, and encouraging
United States Cotton Board: sustainable food production. It launched
www.CottonBoard.org the Sustainable Clothing Action Plan in 2009
Information for producers,
buyers and importers.
Useful information
about recommended brands’ social and regenerated CO2-neutral wool fabrics The Chemistry of Textile Fibres,
environmental status at the point of sale produced in the Prato region of Italy. R.H. Wardman and R.R. Mather
and on its website. Eco Circle: www.ecocircle.jp/en/ (RSC Publishing, 2010)
Rite Group: www.ritegroup.org.uk Polyester fiber producer Teijin has
Founded by UK retailer Marks & Spencer, developed an innovative eco-recycling Eco Chic: The Fashion Paradox, Sandy Black
University of Leeds, and Ecotextile News, it system, Eco Circle, to reuse post-consumer (Black Dog, 2008)
provides advice and information to drive garments to make new fibers.
forward sustainable and ethical production Ragtex, Textile Recycling Association: An Economic History of the Silk Industry
of textiles and fashion products. www.textile-recycling.org.uk Giovanni Federico (Cambridge University Press,
SCP (Sustainable Cotton Project): The Recylatax Bonded scheme helps 1997)
www.sustainablecotton.org local authorities, charities, and other
Founded in 1996, the SCP encourages organizations set up recycling services for Fair Trade
information-sharing among farmers, reuse of clothing and shoes. A. Nicolls and C. Opal
about biological farming techniques, and TRA (Textile Recycling Association): (Sage Publications, 2005)
educates manufacturers and the consumer www.textile-recycling.org.uk
about the importance of supporting local The association has members Fashion and Sustainability: Design for Change,
industry in order to develop a Cleaner internationally, and facilitates the work of Kate Fletcher and Lynda Grose
Cotton™ industry. secondhand shoe and clothing collectors, (Laurence King, 2012)
The Sustainable Angle: graders, and reprocessors.
www.thesustainableangle.org TRAID: www.traid.org.uk Fashion and Textiles
A not-for-profit organization dedicated Charity recycling organization. Colin Gale and Jasbir Kaur
to education and the promotion of Waste Online: (Berg, 2004)
sustainability in the fashion industry. The www.wasteonline.org.uk
Sustainable Angle presents exhibitions, An overview of recycling with facts, figures, Fashion Zeitgeist
manages an extensive fabric library, and details of what happens to the clothes Barbara Vinken (Berg, 2005)
and liaises with the fashion industry on we recycle. Run by Waste Watch.
responsible sourcing strategies. Fashioning the Future
Sustainable Apparel Coalition: Man-made fibers Suzanne Lees
www.apparelcoalition.org (Thames & Hudson, 2005)
An international trade federation founded in AFMA (American Fiber Manufacturers
2011 that aims to reduce the environmental Association): Global Silk Industry: A Complete Source Book
and social impact of the fashion industry. http://fibersource.com/afma/afma.htm R. Datta and M. Nanavaty (Universal Publishers,
Sustainable Cotton Initiative: 2005)
www.wwfpak.org BISFA (Bureau International pour la
The initiative focuses on some of the Standardisation des Fibres Artificielles): Green Chemistry: Theory and Practice
most important, and poorest, cotton- www.bisfa.org Paul T. Anastas and
producing areas (e.g. Australia, Pakistan, International association of man-made fiber John D. Warner
India, and Central Asia). The Sustainable producers. (Oxford University Press, 2000)
Cotton Initiative is aimed at reducing
water use for the irrigation of cotton, while CIRFS (Comité International de la Rayonne et The Green Imperative
safeguarding the livelihood of the local des Fibres Synthétiques): www.cirfs.org Victor Papanek
farmers. As such, the project will contribute European Man-made Fibers Association (Thames & Hudson, 1995)
to the biological, economic, and social
sustainability of these focal regions. Further reading Green is the New Black
Textile Environmental Design (TED): and exhibitions Tamsin Blanchard
www.tedresearch.net (Hodder & Stoughton, 2007)
Chelsea College of Art and Design’s The Book of Silk
collaborative projects looking at creating Phillipa Scott Hemp for Victory: History and Qualities of the
textiles with a reduced impact on the (Thames & Hudson, 1993) World’s Most Useful Plant
environment. Kenyon Gibson (Whitaker Publishing, 2006)
Textile Exchange: Chinese Silk: A Cultural History
www.textileexchange.org Shelagh Vainker An Insider’s Guide to Cotton and Sustainability,
A charitable organization committed to (The British Museum Press, 2004) Simon Ferrigno (MCL Global, 2012)
expanding organic agriculture, with a
specific focus on organically grown fibers, Colour Mantero 100 anni di storia e di seta
such as cotton. Edith Anderson Feisner Guido Vergani (Fos Editoria e
Vote Hemp: (Laurence King, 2006) Communicazione, 2002)
www.votehemp.com
US advocacy group that holds Colour Seven Deadly Colors
comprehensive information on all aspects Helen Varley, ed. Andrew Parker (Free Press, 2005)
of hemp, from legislative and sustainable (Marshall Editions, 1998)
issues to production and retail information. Silk
World Fair Trade Organization: Colour: A Workshop for Artists Jaques Anquetil
www.wfto.com and Designers (Flammarion, 1995)
Global authority on fair trade. David Hornung
(Laurence King, 2005) Silk
Recycling organizations Mary Schoeser
The Colour Eye (Yale University Press, 2007)
Cardato: www.cardato.it Robert Cumming and Tom Porter
Italian organization for recycled and (BBC Books, 1990) Small is Beautiful: Economics
as if People Mattered
Cradle to Cradle: Remaking the Way We E. F. Schumacher (Vintage,1973)
Make Things, William McDonough and
Michael Braungart (Vintage, 2009) Sustainable Fashion and Textiles
Kate Fletcher (Earthscan Publications, 2008)
Cotton, Beverly Lemire (Berg, 2011)
Cotton: The Biography of a Revolutionary Fibre, The Sustainable Fashion Handbook, Sandy
Black (Thames & Hudson, 2012)
Stephen Yafa (Penguin, 2006)
Techno Textiles 2
Sarah E. Braddock Clarke
and Marie O’Mahony
(Thames & Hudson, 2005)
251
Useful organizations and publications
Glossary
252 A Aramid fiber: A man-made, high-performance Benzene ring: A six-carbon-atom closed ring,
fiber. The word “aramid” is a portmanteau with a single hydrogen atom attached to
Abacá: The leaves of the abacá plant (Musa of aromatic polyamide. each to carbon atom.
textilis) which produce Manila hemp fibers.
Aran: A style of Gaelic fishermen’s knitwear Bergello: A form of canvas-work embroidery.
Acetate: An artificial fiber derived from originating from the Aran Islands off the west
cellulose. coast of Ireland. Typically features raised Bias: Fabric cut at 45 degrees to warp and
cable-stitch patterns and uses Aran wool. weft. This cut exploits the natural stretch of
Acetic acid: A colorless liquid, classified as the fabric so that it drapes well over the
a weak acid, used to process acetate. Aran wool: Undyed wool that still contains its curves of the body.
natural lanolin.
Acetone: Colorless, flammable organic Biella: An important textile-producing town—
compound. A common building block Argyle (also Argyll): A Scottish knitwear pattern primarily woolens—near Milan, Italy.
in organic chemistry, acetone is used to made up of diamond blocks of color.
dissolve cellulose resin in order to process Bimli: See Kenaf.
acetate fibers. Aromatic polyamide: A synthetic polymer Bimlipatum jute: See Kenaf.
related to nylon, capable of being spun Biodegradable: The process by which organic
Acrylic: The generic name for a synthetic into aramid fibers.
polymer fiber. substances are broken down by enzymes
Artificial fibers: Made from cellulose and not produced by living organisms.
Acrylic monomers: Methacrylic amide is to be confused with synthetic fibers, which Biopolymers: Naturally occurring polymers
commonly used as part of the weighting are man-made. produced by living organisms such as
process of silk production, and facilitates starch and sugar.
the absorption of dye. Art silk: A textile term originally coined to Biotechnology: The term used for any
describe artificial silk. See also Rayon. technology that uses biological systems,
Added value crop: A crop grown under a living organisms, and derivatives to
written contract with the intent of receiving Audemars, Georges: Swiss chemist who, in make, modify, or process products for
a premium because of its particular 1855, was awarded the first patent for specialist use.
attributes. artificial silk. Biosynthesis: The formation of complex
molecules within the cells of living
Additive color: The process of mixing colored Australian cashmere goat: A hybrid, and organisms.
light, as in theatrical or retail applications. a different breed from the “standard” Bleeding: A loss or transfer of color in
Himalayan mountain goat, that produces printed fabric.
After-image: The reaction seen on a blank cashmere. Blend: A yarn mixed from two or more
surface when the viewer’s brain supplies the different fibers.
opposite color after staring at a particular Azo or azoic dye: Petroleum-based dye Block printing: Wooden blocks carved with
hue for a few seconds. typically used on cellulose fibers. a design in relief are used as a means
of transferring dye onto fabric. Originated
Agent: A representative showcasing and selling B in China.
a brand or company’s products either Blowing: A treatment that uses steam to
domestically or abroad. Bacteriostatic: Inhibits growth or multiplication remove creases from fabric.
of bacteria Blue collar: Manual work.
Ahimsa peace silk: Made from the cocoons Bobbin lace: A textile made by braiding and
of several species of wild and semi-wild silk Bactrian: Camelus bactrianus, a species twisting threads, wound on bobbins and
moths and promoted in parts of southern of camel from which camel-hair fiber is held in place by pins on a pillow.
India as ethical silk. produced. Boll: The “fruit” capsule of the cotton plant,
containing the seeds covered in white
Ahimsa philosophy: A rule of conduct not to Bamboo kun: Natural cellulose contained hairs—the cotton fibers.
harm any living thing. Ahimsa is a Sanskrit within bamboo that is used in fiber Bollgard®: A registered trademark for a quality
term meaning nonviolence, and the processing. It also protects the plant from of GM cotton.
philosophy—part of the 3,000-year-old pests and biological pathogens, which can Bolt: A complete piece of fabric folded over a
Indian Jain philosophy, and important to create disease in the host plant. card. Cotton is rolled, so a bolt will usually
Buddhism and Hinduism—supports the be woolen/worsted fabric.
philosophy of karmic consequence. Bamboo linen: Mechanically processed Bombay hemp: See Sunn.
bamboo fiber, made without chemical Bombyx mandarina moore: Believed to
Alpaca: Vicugna pacos, a domesticated intervention. be the wild ancestor of the cultivated
species of the Camelidae family. It is Bombyx mori.
the principal South American fiber- Bamboo rayon: Term used in the United States Bombyx mori: The cultivated silk moth, which
producing animal. for bamboo fiber produced with chemical feeds on the leaves of the mulberry tree.
intervention. It is both blind and flightless.
Alpaca fleece: The term for marketing Bonding: Attaching two or more layers of
fiber from huacaya alpacas Bamboo viscose: Term used in Europe for fabric together, often by an adhesive
(see also alpaca suri). bamboo fiber produced with chemical heat treatment.
intervention. Botany wool: Merino wool originating from
Alpaca suri: The term for marketing fiber from Botany Bay, where the first merino sheep
suri alpacas (see also alpaca fleece). Barong Tagalog: A traditional embroidered in Australia landed.
shirt from the Philippines, made from piña Bouclé: Yarn or fabric with a curled, looped
Ambari hemp: See Kenaf. cloth and worn for formal occasions and surface.
Ambary: See Kenaf. ceremonies.
Ammonia: A colorless gas compound used as
Bast fibers: These are obtained from the
a building block to process acrylic. phloem or inner skin of a plant, and are
Analogous hues: Colors that are adjacent to separated from the xylem or woody core.
each other on the color wheel. Bat: A flat, orderly mass of fibers formed by
Angora: A specific breed of goats, rabbits, and machine carding.
cats that share a similar type of hair fiber. Batik: Wax is applied to fabric prior to dyeing
The name is derived from the city of Angora to produce a pattern that resists the
(Ankara) in Turkey. The fiber of the angora dyeing process.
goat is called mohair.
Appliqué: Decorative technique using pieces Batt: A large bundle of multiple strands of fibers
of fabric or other materials stitched or partway through the spinning process, also
embroidered onto a base cloth to known as a web.
create designs.
Batting: Usually nonwoven padded fabric used
to create added insulation.
Useful information
Breaking: (1) The process of adding a Changeant: Different colors in the warp and Color-way: One of several alternative color 253
soft hand and brilliance to the surface weft threads produce a fabric that appears combinations.
of silk fabric. to change color depending on the angle it
(2) One of several processes in flax is viewed at. Also referred to as two-tone or Color wheels: The color spectrum organized
production, which converts the raw material shot fabric. into wheels to help rationalize and predict
into linen yarn. color interactions.
Chardonnet silk: An early cellulose-based
Brightening agent: Increases whiteness or artificial silk, which was highly flammable. Combing: Process of making fibers smooth
brightness of fabric. prior to spinning.
Charkha (or churka): An Indian precursor to the
British Color Group (BCG): British color cotton gin, used for long-staple cotton but Comfort stretch: Implies approximately a
consultancy. not adequate for short-staple varieties. two or three percent stretch in a fabric,
provided by the knit or weave structure,
Broadcloth: A term for fabric over 5 feet Chenille: Yarn or fabric with a furry, velvety or by the inclusion of a spandex yarn.
(1.5 m) wide, cotton or woolen. “caterpillar” appearance.
Commision Internationale de L’Eclairage
Brocade: Rich fabric with woven raised pattern. Chemical finishes: Treatments applied to fabric (CIE): Founded in 1931 following
Brushed: Fabric with a brushed, raised surface. to give a specialty finish. the exploration of the need for a
Brushing: Process that removes loose fibers standardization of color.
Chrome dye: Type of dye typically used on wool.
and can raise the surface of the fabric China grass: One of two types of ramie, a bast Como: Italian city and region famous for
for warmth. manufacturing silk, and still the center of
Bt cotton: Naturally occurring soil bacterium vegetable fiber of the nettle family, also the Italian silk industry.
Bacillus thuringiensis. known as white ramie.
Burlap: American-English term for jute or hessian. Chinoiserie: Eighteenth- and nineteenth-century Complementary hues: Opposite colors on
trend influenced by orientalism. a color wheel.
C Chintz: A finishing process on cotton fabric that
produces a glazed surface. Composite materials: Engineered materials
Cable knitting: Knitted three-dimensional Chitin: A natural polymer that can be found in made from two or more constituent
twisting effects that mimic ropes. crab shells, among other places. materials with significantly different physical
Chitosan: A fiber substance produced from or chemical properties, that remain
Calendering: The process of adding sheen to chitin. separate and distinct on a macroscopic
fabric using heated steel rotary cylinders. Chroma: The saturation or brightness of a level within the finished structure.
color. The term also defines the purity and
Canvas work: Form of embroidery that strength of a color. Concession (retail): A dedicated retail space
completely covers the under-fabric. Chromatic: Having a hue. within a large department store that is
Chromatics: The science of color. Chromatics rented or allocated to a specific brand. This
Carding: Process of brushing raw or washed considers the human perception of color, gives the brand a retail presence it may not
fibers to ensure that they are thinned out color theory, and the eyes’ and brain’s normally be able to obtain.
and evenly distributed to facilitate spinning. perception of color.
Carding can also be used to create mixes Chrysalis: Pupa case, the third of four life Condensers: Machines that separate the web
of different fibers or of different colors. stages (embryo/larva/pupa/imago) of the or batt into predetermined weight strands
silk moth. as part of the spinning process.
Carding machine: A device featuring a series Circular knitting: Knitted on a circular machine
of rollers that straighten and align fibers into resulting in tubular fabric. Contrast: The visual difference between colors.
an orderly mass. See also Carding. Clip: A generic term applied when clipping For example black and white are high-
or shearing a herd of angora goats. Also contrast colors.
Cash crop: Crops grown for money as refers to the amount of wool cut from a
opposed to domestic subsistence. flock of sheep at one shearing. Converter: A company that buys greige fabric
Closed-loop processing: In textiles, usually then dyes, prints, or finishes it.
Cashgora: A blend between cashmere refers to methods of capturing and
and mohair, one of three types of fiber reprocessing the solvents used in the Cooking: A term in silk processing that refers
produced by nigora goats. manufacturing of man-made fibers. to the cocoons being immersed in boiling
CMYK system: The four-color screen system water to soften the sericin, also referred to
Cashmere: The fine, downy undercoat used to reproduce color photographs: as maceration.
produced primarily, but not exclusively, cyan, magenta, yellow, black.
from the Himalayan mountain goat Cocoon: Pupa casing made by the silk-moth Cotton belt: Term used to describe the cotton-
(Capra hircus laniger), popularly known larvae. growing regions of the US.
as the cashmere goat for its fine, downy Color Association of the United States
undercoat. (CAUS): Color standards and forecasting Cotton count: Numerical expression for size
organization, established in 1915. Its current of yarn, denoting a certain length of yarn
Ccara: One of two “light wool” types of llama. title dates to 1955. for a fixed weight, in this case the number
See also Curaca. Colorant: Dye or pigment coloring substance. of 840-yard lengths or hanks per pound
Colored angoras: Hybrid angora goats. weight.
Cebu hemp: See Manila hemp. Color fade: Loss of color due to light, washing,
Celanese Corporation: The producer of the or other agencies. Cotton gin: An abbreviation of cotton engine,
Colorfast: Fabrics dyed in colors that resist this machine separates the cotton fibers
first commercial acetate yarn, originally fading. from the seedpods. The American inventor
called American Cellulose & Chemical Color harmony: Color relationships in Eli Whitney (1765–1825) is credited with
Manufacturing Company; today a global proportion to each other. inventing the modern gin in 1792, patented
chemical company. Color Marketing Group (CMG): A color in 1794.
Cellulose: This organic compound is the forecasting service.
primary structure to all green plants, forming Color migration: Color moves from one part Cottonizing: Method of processing linen
the primary cell wall and also part of the of the fabric to another. or hemp fibers using cotton processing
secondary wall. Color value: See Value (color). machinery.
Cellulose fibers: Natural and man-made fibers
regenerated from plants, such as viscose Cottonopolis: A term used to describe
and modal. Manchester, England, as the most
Cellulose I and II: The correct designation for important city for cotton manufacturing in
natural and regenerated cellulose. the world in the nineteenth century.
Chacu: An Inca ritual involving the communal
rounding up of vicuña, once every three to Cotton picker: A machine used to remove
four years, for shearing and releasing back the cotton from the boll without damaging
into the wild. This practice continues today the plant.
as part of the Peruvian government’s vicuña
conservation policy. Cotton stripper: A machine that strips the
entire boll from the cotton plant.
Glossary
254 Counted-thread embroidery: The warp and Denim: A cotton twill-weave fabric where Dye: Pigment dissolved in a fluid for dyeing.
weft threads of the base fabric are counted the wefts pass under two or more warps Dyeing: The process of transferring colorant
and bear a relation to how the surface is producing a diagonal rib effect. The fabric
embroidered. was originally called serge de Nîmes from to fibers, yarns, fabrics, or ready-made
the French town where it was made. garments.
Course: In knitting, the row of loops that runs Dye lot: A batch of yarn that has been dyed
across the width of the fabric, equivalent Design repeat: A complete unit of a textile together in the same vat.
to the weft in a woven fabric. design, which may be repeated in one of
several ways. E
Covalent bond: A chemical bond
characterized by the sharing of pairs of Devoré: A partially sheer fabric containing Egyptian cotton: Gossypium hirsutum and
electrons between atoms forming a polymer. two or more fiber types. One of the fibers Gossypium barbadense. All cotton grown
is “eaten” away to produce a pattern by in Egypt is called Egyptian cotton, however
Crease-resistant: Fabric that has been treated screen printing with an acid that “burns out” it is these two cotton species, with an extra-
to improve its recovery. or “devours” the natural fiber to reveal the long staple, that produce the luxury fabric
sheer synthetic base filaments. synonymous with the name.
Creole cotton: Gossypium barbadense,
a luxurious long-staple cotton. Dhoti: Traditional unstitched cloth garment Elastane: The generic term for stretchy fabrics
worn wrapped around the lower body. and yarns.
Crêpe: Yarn or fabric with a high twist that has Considered authentic formal attire for men
a granular texture. in the Indian subcontinent. Elastic modulus (modulus of elasticity): The
mathematical description of a substance’s
Crewel-work: A form of freehand embroidery. Direct printing: Commonly used industrial tendency to be deformed elastically (non-
Crimp: A natural or artificial wave to the fiber printing method. Dyes, thickeners, and permanently) when a force is applied.
mordants are printed directly onto the
or yarn. fabric. Elastomer: A rubbery material composed of
Crocheting: Decorative technique that creates polymers, capable of recovering its original
Discharge printing: Color is chemically shape after being stretched.
fabric by using a hooked needle to pull removed from parts of the fabric to reveal
loops of yarn through other loops. the base color. Alternatively, adding an Ells: English measuring system from the Tudor
Crocking: A rubbing test for colorfastness. additional color that is unaffected by the period, whereby 30 to 40 ells was equal to
Cross-dyeing: The dyeing of a component discharging agent. 35 to 50 yards (32 to 46 m).
in a mixture of fibers where at least one
is colored separately to produce a Disperse dyes: Mainly used for polyester, Embossing: A relief pattern is embossed onto
mélange effect. disperse dyes contain particles that scatter the fabric, usually by a heated press.
Cross-stitch: Style of counted-thread on the fiber to produce the color.
embroidery. Embroidery: Handicraft surface decoration.
Cuprammonium: A compound composed Distributor: A person or organization involved Designs are stitched onto fabrics using
of copper sulfate and ammonia used to in making a product or service available for threads and yarns. Beads, sequins, and
produce cellulose fibers such as cupro. use by a consumer or other retailer. other applied decorative trimmings can
Cupro: A fiber derived from the discarded be embroidered onto the fabric.
linters that are a by-product of processing Double-cloth weaving: Weaving technique
cotton, frequently used for linings. that creates a fabric with two face or right Ends: Warp threads.
Curaca: One of two “light wool” types of llama. sides and no wrong or reverse side. Enzymes: Proteins that catalyse/accelerate
See also Ccara.
Cured: In the printing process, a term for a Double face: Any fabric that has two face chemical reactions.
color that has been fixed. sides and no reverse side. Eri silk: A type of wild silk gleaned from the
Cut-and-sewn knitwear: Knitted garments
made by stitching together preknitted Double jersey: All needle rib-knitted fabric eri silk moth.
fabric, in much the same way as woven where both the face and reverse side are Eri silk moth: Philosamia ricini, a type of wild
garments are made. the same. See also Jersey.
silk moth found only in India, it feeds on the
D Drape: The behavior of the fabric, how it castor plant and producing silk yarn from
handles, falls, and hangs. its cocoon is considered to be ethical and
Damask: Figured fabric, with the figure (design) equivalent to organic rearing.
of a contrasting weave. Usually constructed Drawing and finisher drawing: Two processes Ester: Any of a class of organic compounds
with satin-weave warps and wefts in sateen that further improve the evenness and that react with water to produce alcohols
weave. Named after Damascus in modern- regularity of yarn, prior to final spinning. and organic or inorganic acids.
day Syria. Each technique gives a uniquely different Extrusion (extruded): Forcing a viscous liquid
character, in both appearance and feel, to through a device to form filament fibers.
Daveo: See Manila hemp. the fabric and end product.
Deccan hemp: See Kenaf. F
De-cortication: The removal of the hard outer Dreyfus, Camille and Henri: Swiss industrialists;
early producers of cellulose acetate yarn. Fabric dyeing: Dyeing process that occurs
bark from plants such as ramie. after weaving the fabric. Also known as
De-gumming: The removal of sericin as part of Dromedary: Camelus dromedarius, the single- piece dyeing.
humped Arabian camel, not used in the
silk production. In the production of ramie production of camel-hair fiber. See also Face: The correct side of the fabric.
it is the process of extracting the fibers prior Bactrian. Fair Isle: A traditional, complex hand-knitting
to spinning.
De-hairing: The removal of coarse outer guard Dry prints: Pigment-printed fabric with colors technique featuring horizontal patterns
hairs from the soft under-down of animal that have been heat-set. using five to seven different colors, and
fibers in preparation for spinning. originating in Fair Isle, north of Scotland.
Denier: A unit of measurement used to Ductile: Easily molded or shaped. Fairtrade: An independent labeling scheme,
measure the linear mass density of fibers. Ductile strength: The mechanical property initiated in the Netherlands for food
Several filaments together are referred to as production, it has now been extended
“total denier.” The system is used in the US describing how much deformation a to textiles; particularly cotton. The label
and Britain for hosiery. material can sustain before fracturing. assures the consumer that the product has
DuPont: American chemical company met the international Fairtrade standard
founded in 1802. In the twentieth century it for production and is eligible to carry the
led the polymer revolution by developing FAIRTRADE mark, which guarantees that the
successful materials such neoprene, nylon, farmer has been paid a premium above
LYCRA®, and Teflon. the market value of their commodity.
Useful information
Fashioned: In knitting, increasing or Gauge: Describes the fineness or chunkiness of Hollow fiber: A tube-like man-made fiber that 255
decreasing stitches forms the garment a knitted garment achieved by needle size provides good insulation.
shape. and spacing.
Homespun: Cloth woven on a small domestic
Fast (color and light): Does not lose color with Geo textiles: Permeable fabrics that, when scale. The term can also suggest a
exposure to light or after washing. used in association with soil, have the ability desirable rustic craft appearance that
to separate, filter, reinforce, protect, or implies a handmade authenticity.
Felt: A nonwoven fabric made by matting and drain; usually made from polypropylene or
condensing fibers together. polyester. Horsehair: Originally tail and mane hair, now
a generic term for canvas interlining
Felted: A matted appearance. Gin: The building where cotton is processed. generally used in tailoring.
Felting: Process of making felt. See also Cotton gin.
Fiber: A long, thin, flexible structure. Plant and Huacaya: Pronounced wua’ki’ya, one of two
Ginning: Generically implies the complete types of alpaca, producing a dense, soft,
animal fibers are spun to create yarn. process of preparing cotton. sheep-like fiber with a uniform crimp. See
Fibrillation: A natural defect to which silk is also Suri.
Glazed: Smooth, glossy surface on fabric.
prone, and which occurs if the outermost GM cotton: Genetically modified or transgenic Huarizo: An alpaca-llama crossbreed.
layer is roughened up off the filaments by Hue: Color. Pure hue has no other color mixed
harsh washing or abrasion. The resulting cotton.
fibrils reflect light, giving a “peach- Grease-wool: The term used to describe wool in with it.
bloom” effect. This effect is also purposely Hydrocarbon: Any chemical compound that
reproduced over the whole surface of before it has been cleaned and scoured,
the fabric by “scuffing” with an enzyme also known as wool-in-the-grease. consists of only hydrogen and carbon.
treatment or mechanical abrasion. The Green chemistry: Twelve principles that aim
result is a desirable, tactile, “sueded” or to help define the true ecological, ethical, I
“sand-washed” silk. and sustainable credentials of a raw
Fibrils: Nanometer fibers. material or product. Icelandic wool (sheep): Wool from the fleece
Figure/figured: A motif or raised part of the Green ramie: One of two types of ramie, a of Icelandic sheep, which is double layered,
design that contrasts with the ground fabric. bast vegetable fiber of the nettle family. made up of fine cashmere-like inner fibers
Filament: A single, continuous strand of fiber. Greige: Fabric in its raw state, before it has and coarser, medium outer fibers.
Any man-made yarn of one or more strands been bleached, dyed, or finished.
running the entire length of the yarn. Ground color: Usually a print term indicating Ikat: A weaving technique where the wefts
Fire-retardant: Able to delay or prevent the background or main color of the fabric. and/or warps are dyed different colors
combustion. Guanaco: Lama guanicoe, a member of the at predetermined intervals. The designs
Fixing: Method of making a dye colorfast on South American Camelidae family. produced when using this technique
a fabric by use of a mordant. Guard hairs: Coarser outer hairs that protect appear to have a blurred effect.
Flax: Linum usitatissimum, an annual herb of the finer under-hairs or down on many
the Linaceae family used to make linen. animals. Indigo: A naturally derived plant dye still in
Float: A portion of yarn that extends under or popular use for denim products to provide
over adjacent warps or wefts. The term is H the distinctive shade of blue that fades
also used in knitting when the yarn “floats” desirably.
across several stitches. Hackling: Process by which the short, broken
Fluoropolymer: An organic polymer with large, linen fibers, or tows, are combed out, Industrial hemp: The term given to the variety
multiple-unit molecules that consist of a leaving only the desirable long fibers, ready of hemp (Cannabis sativa L. subsp. sativa)
chain of carbon atoms to which fluorine for spinning. grown for fiber and other non-narcotic
atoms are appended. purposes.
FTC (Federal Trade Commission): The US Hair sheep: A type of sheep that does not
regulatory body for consumer protection, produce wool. Inert gas: A gas that does not chemically
which monitors accurate labeling in react under a set of given conditions.
that country. Halo effect: The effect created by the fine
Fulling: A finishing process that compresses downy surface of angora yarn that, in pale Ingeo™: A high-performance trademarked
fabric by means of heat, steam, and colors, appears slightly luminous in the light. biopolymer fiber made from corn.
pressure.
Fully fashioned: A term applied to knitwear Hand: The touch or feeling of the fabric. Inkjet printing: Droplets of ink are transferred
when each piece is knitted to the exact Hank: Unsupported coil of yarn. The ends are or propelled onto almost any medium.
shape required by increasing and Common means of printing on home
decreasing stitches. tied together to maintain the shape. Also computer printers.
called a skein.
G Hank dyed: Dyed as yarn. Inlaid yarn: Yarn that is held in place by the
Header cards: Also known as a fabric loops of the knitting rather than being
Gandhi, Mohandas Karamchand: (1869– “hanger,” the header card is a large fabric knitted in.
1948) A major political and spiritual leader swatch, or “feeler,” used for displaying
of India and its independence movement, and demonstrating the quality of a fabric. Intarsia: A knitted fabric with several solid
commonly known as Mahatma (Great Soul). Information regarding fiber types, yarn colors in one row of knitting. The pattern is
He exhorted Indians, both rich and poor, count, width, weight, and finish appear on formed by stopping one color and twisting
to spin khadi (homemade cloth) in support the card that supports the swatch. in a new color over the needles each time
of the independence movement, which Hemp: The generic name for the entire there is a color change.
resulted in a boycott of British textiles. Cannabis family of plants.
Henduan: A breed of yak from the alpine Interlining: A firmer fabric that is applied to
Gang-slit: One of several slitting processes in regions of Tibet, producing the best fiber parts of the outer fabric of a garment
the production of metallic yarn, producing yield. See also Jiulong. to give a stronger hand or firmer shape,
micro-width yarns. High-tenacity rayon (HTR): An extremely strong usually on collars and cuffs and chest
rayon developed in the 1940s for industrial panels in tailoring.
Garment dyeing: Dyeing ready-made purposes.
garments. High-wet-modulus rayon (HWM): A strong International Color Authority (ICA): Color
rayon that retains its strength when wet, prediction organization.
developed in the 1950s.
Himalayan mountain goat: Capra hircus Isan: Northeastern area of Thailand where ikat
laniger, popularly known as the cashmere weaving is traditionally a specialty.
goat.
Itten wheel: Color wheel devised by Johannes
Itten (1888–1967) to document a logical
format for working with color.
Glossary
256 J L Loop-back fabric: Type of pile-woven fabric,
with the loops left intact.
Jacquard: A type of weaving or knitting Lab dips: Small pieces of yarn windings or
process and a type of fabric. In woven fabric swatches sample dyed for approval Luminosity: Refers to color value. The lighter
fabric the process allows for an unlimited prior to larger dye lots and bulk production a color the greater is the reflection of light
variety of designs, in knitwear it implies that dyeing. back to the eye. Lighter colors are therefore
every color of yarn used is knitted into the more luminous than darker colors.
back of the fabric when not in use on the Lace: Fabric or trim made up of intertwined or
face side. embroidered threads. LUREX™: The brand name of a type of metallic
yarn, usually a synthetic fiber, with a vaporized
Jacquard loom: Developed by French inventor Lamé: Fabric woven with metal laminate, often layer of aluminum. The term may also refer to
Joseph Jacquard (1752–1834), the loom gold in color. fabric that contains metallic yarn.
features a string of punch cards that can
be processed mechanically in the correct Lamination (1): Part of a manufacturing LYCRA®: A trade name for a spandex fabric
sequence. process to produce metallic yarn; the made by DuPont and now produced by
process seals a metal layer between two INVISTA.
Jamewar weave: An intricate Kashmir weaving layers of a selected fiber.
technique producing expensive shawl Lyon: French city and region famous for
fabrics worn, originally, by nobles. Lamination fabrics (2): Bonding or sealing two manufacturing silk, and still the center of the
or more fabrics together. French silk industry.
Japonisme: Eighteenth- and nineteenth-
century trend influenced by orientalism. Lanolin: Produced from wool grease. Medical- M
grade lanolin is hypoallergenic and
Jersey: Generically used to describe many bacteriostatic. Maceration: See Cooking.
types of knitted fabric. Single jersey is plain Machine embroidery: Automated
knit on one side and purl on the reverse Lanuda: One of two “heavy wool” types of
and is used for tops. Double jersey is plain llama. See also tapada. embroidery.
on both sides and can be double in weight. Macramé: Fabric created by the interlinking
It does not unravel when cut so is fine for Layout: The placement of garment pattern
cutting and sewing more complicated styles. pieces onto the laid fabric in the most of knots.
economical format prior to cutting. In mass Manila hemp: Also known as daveo and cebu
Jiulong: A breed of yak from the plateau production, this process is usually executed
regions of Tibet, producing the best fiber. by computer. hemp and produced from the leaves of the
See also Henduan. abacá plant.
LEA: A US measuring system for grading the Manufacturing hub: Describes an important
Johnstons of Elgin: The oldest cashmere mill fineness of linen— center of manufacturing, and is often used
still in operation, located in Elgin, Scotland. 1 LEA = 1 x 300 yards (yarn) in reference to the developing world.
to the pound weight. Margin: A gross margin implies the difference
JIT (just-in-time): A production strategy aimed between buying and selling a product
at reducing stock by manufacturing only Lead time: The amount of time it takes to before overheads have been deducted.
when necessary. manufacture fabric and or garments and Net margin is the profit after overheads
the delivery transport time. have been deducted.
Jute: A coarse, strong, bast vegetable fiber. Marl yarns: Two different-colored yarns twisted
Lehnga: Long skirt and top traditionally worn by together.
K Muslim women in India and Pakistan. Mashru: Meaning “permitted,” a fabric
development using silk warps and cotton
Kapok: Vegetable seed fiber from the Light wheel: Based on the additive color wefts, which allowed Muslim men to wear silk.
kapok tree. system, this wheel shows information Mauvine: First synthetic dye, discovered
concerning light rays and transparent color. in1856 by William Perkins.
Karakul: Also known as Persian lamb, this sheep Used for lighting and as the basis for video Medulated fibers: Intermediate fibers on an
has a tight glossy curl, often in black or gray. and computer graphics. angora goat, less coarse than the kemp
fibers but coarser than the true mohair fibers.
Kasuri: Japanese type of ikat weave. Lignin: A chemical compound commonly Mélange: A mix of colors worked together in
Kemps: Short, thick, coarse, stiff, hollow fibers derived from wood and an integral part of yarn or fabric form.
the cell walls of plants. Mercerized cotton: See Mercerizing.
on coarser wools, such as those of angora Mercerizing: A caustic soda solution is applied
goats, usually unaffected by dye. Linear polymer: A polymer in which the to cotton yarn and/or fabric to give it a
Kenaf: A species of hibiscus with visual molecules form long chains without more lustrous and smoother appearance.
similarities to jute. branches or cross-linking; all fiber-forming Named after John Mercer who invented the
Keratin: Animal protein found in wool, hair, polymers are linear in structure. technique in the mid-nineteenth century.
nails, feathers, and horn. Merino: A distinctive breed of sheep originating
Khadi: Indian hand-spun, hand-woven cloth Linen Board: Established in 1711, The Board in Spain but now the source of the bulk of
made from cotton, silk or wool, traditionally of Trustees of the Linen Manufacturers of Australian wool production. A luxury wool.
spun on a domestic spinning wheel called Ireland was set up to develop the Irish linen Meta-aramid: One of two aromatic
a charkha. industry. polyamide fibers (the other is para-aramid),
Khadi hand-loom: Indian hand-spun, hand- primarily used for fire-protective clothing.
woven cloth of either cotton, silk, or wool. Linenopolis: A term used to describe Belfast in Metallic yarns: Yarns containing metal threads
Kimono: Traditional Japanese costume made the nineteenth century. or metallic elements.
from silk. Microfiber: Fine man-made fiber or filament
King Cotton: A term used to describe the Linen union: Fabric with a linen weft and a that is under 1 denier.
financial importance of cotton production to cotton warp. Micronaire: A system for assessing cotton fiber
the US economy in the nineteenth century. fineness and maturity. A poor count affects
Knitting: Method of constructing fabric from Lint: Cleaned cotton. Also describes a fuzzy the value of the cotton.
yarn by a series of interlinked loops. Refers surface. Linen is lint-free. Microns: Unit of measurement, one micron is
to hand and machine techniques. one-millionth of a meter.
Kolbe, Adolph Wilhelm Hermann (1818– Linters: Fuzzy down removed from cotton as Mill: The place where yarn and fabric are
1884): German chemist credited with the part of the ginning process. manufactured.
understanding of synthesis in the context
of a chemically developed substance. Living Linen Project: Records first-hand
information about the linen industry in
Northern Ireland in the twentieth century.
Llama fiber (or llama wool): Referred to as
fiber because, technically, llama hair is not
wool due to its particular structure.
Lofty (or loft): Descriptive of the appearance
of woolen fiber or fabric, meaning
voluminous, supple, soft, and springy.
Long-line fibers: One of two categories of flax
fiber, the short fibers are called tow fibers.
Useful information
Milled: Fabric that has been treated to age or Needle lace: Handmade lace using a needle Over-dye: To apply the same or different dye 257
soften its appearance, or to blend colors where all the stitch work is based on color as a second process over the initial
together. buttonhole or blanket stitch. dyeing. Can be used to produce a deeper
intensity of color, to correct or darken an
Milling: A treatment that ages and softens Needlepoint: A form of canvas-work unwanted color instead of stripping, or be
the appearance of fabric by blending the embroidery. applied over an existing printed fabric.
colors, obscuring the weave, and making
the fabric more compact. Neoprene: A synthetic rubber. Over-print: An additional design or motif
Neps: Entangled fibers or knots. printed over an existing all-over print.
Modal: Generic name for regenerated natural Nettle: A bast fiber.
polymer cellulose fiber. New Zealand cotton: Fiber from the bast of P
Module builder: Machine that compresses the New Zealand ribbon tree. It has a strong Paco vicuña: A vicuña–alpaca crossbreed.
cotton into large modular blocks. fiber that resembles flax. Pantone Professional System: An international
New Zealand flax: Phormium tenax, or
Mohair: The fleece of the angora goat and harakeke in Maori, native of New Zealand color matching and referencing system.
fabric produced from it. and not related to linen flax, Linum Para-aramid: One of two aromatic polyamide
usitatissimum.
Moiré fabric: Fabric with a watery, wavy, or Nieuwland, Julius (1878–1936): Belgian-born fibers (the other is meta-aramid). Weight-
rippled appearance. Usually silk or rayon. American chemist whose research led to for-weight, para-aramid fibers are stronger
the invention of neoprene. than steel.
Molecule: The smallest identifiable unit into Nigora: A cross between an angora goat and Partitive color: The process of placing colors
which a material can be divided and cashmere-producing Nigerian dwarf goat. next to each other in order to produce
still retain the composition and chemical The fiber it produces is known as cashgora. different reactions.
properties of that material. A molecule must Nitinol: A nickel–titanium alloy distinguished by Pashmina: A Kashmiri word for shawls made
contain two or more atoms held together its shape memory: if deformed while below of cashmere. The term is derived from the
by a chemical bond. a particular temperature, an object made Persian word pasham, meaning “goat wool.”
of Nitinol will return to its original shape Pattern cutting: The art or science of
Mommes: System of weight measurement when heated. interpreting a drawing or design into a two-
for silk, quantifying the density of silk as Nm: Metric measuring system used for linen/ dimensional pattern, which when translated
opposed to the thread count. flax—the number of 1,000-meter lengths into fabric and sewn together becomes
per kilogram. a three-dimensional representation of the
Monochromatic: Of one hue or color. One Noils: Short fibers left over from combing wool original design drawing.
hue harmony combines colors derived or spinning silk. These fibers are weaker than Payen, Anselme (1795–1878): French chemist
from a single hue, graduated shades of the normal fibers and considered inferior. who discovered cellulose in the 1830s.
same base color. Nylon: The first synthetic fiber from the Peace silk: Refers to silk that has been
DuPont chemical company, used as a produced without harming the moth that
Monomer: A molecule that can bind replacement for silk for stockings during has produced the silk cocoon. The moth
chemically to other molecules to form a the Second World War. It is also a generic is allowed to emerge naturally, before the
polymer. The word comes from the Greek term for synthetic polymers also known as cocoons are harvested. Also known as
mono for one and meros for part. polyamides. vegetarian silk.
Pectin: Light substance derived from the cell
Mordant: Chemical compound used as O walls of plants (the nonwoody parts). Pectin
a dye fixative. helps to bind cells together.
Off-grain: The garment pattern pieces are not Percale: Denotes a close weave, high thread
Mordant printing: A design pattern is printed correctly placed on the straight grain of the count, irrespective of yarn type.
using a mordant that resists color when fabric (unless bias cut). Perlon: Trade name for a German polyamide
dyed, thus forming the pattern. developed as a competitor to the
Offshore: A term used to describe American nylon in the build-up to World
Moso bamboo: Phyllostachys, the species of manufacturing in a foreign country; it War II. Because Perlon’s monomer unit has
bamboo cultivated for textile production. usually implies production in the developing six carbon atoms, Perlon is also referred to
world. as nylon 6, as opposed to nylon 6,6 for the
Muga silk: A variety of wild silk gleaned from original version.
the muga silk moth. Oiled wool: Undyed, unscoured wool Peruvian alpaca: Alpaca marketed with its
containing natural lanolin. own distinctive branding.
Muga silk moth: Antheraea assamensis, a wild Petit point: A form of canvas-work embroidery.
and semi-wild species of silk moth living in a Oiling (cloth): Water-repelling treatment
restricted area in Assam, India. applied to fabric. Phloem: Living plant tissue that carries nutrients.
See also Bast fibers.
Mulberry silkworm: See Silkworm. Olefin fiber: A man-made fiber known for
Multivoltine: Term applied to silk moths that strength and resistance to staining, mildew, Photosynthesis: The process by which green
abrasion, and sunlight. plants use carbon dioxide, water, and
produce at least ten batches of eggs sunlight to produce sugars.
per year. One-way fabric: Implies the fabric has a single
Munsell wheel: A partitive color system based direction and that all the pattern pieces Picker: A machine that beats, loosens, and
on five primary hues and after-image must be cut in the same direction to avoid mixes cotton fibers.
perceptions that are derived from hues noticeable shading.
we see in nature. Picks: Weft threads.
Muted color: A subdued version of a hue. Organic cotton: Cotton grown without Piece: A complete or full length of fabric,
pesticides from plants that are not
N genetically modified. which may be in the form of a bolt or a roll.
Piece dyeing: See Fabric dyeing.
Napa (or nappa): Sheep leather. Organzine: Twisted threads used as warps in Pigment: Insoluble color.
Narrow fabric: Fabric less than 18 inches (45 the silk weaving process. Pigment print: Printed with pigment and binder
cm)wide (UK) or 12 inches (30 cm) wide Orientalism: A generic term applied to trends rather than dyes.
(Europe/USA). and fashions inspired by oriental art and Pigment wheel: A 12-step color wheel for
Naturally colored cotton: Cotton that is culture.
naturally plant pigmented. Peruvian Pima working with subtractive color, showing how
and Tangüis cottons are naturally colored. Oshima: A Japanese type of ikat weave. colors react when used in combinations to
Natural polymer: See Polymer. create the other hues.
Natural protein fiber: See Protein fiber.
Natural resin: A viscous liquid substance,
formed by hydrocarbon-based plant
secretions, that hardens over time. Resins
are usually transparent or translucent, and
they are typically soluble but not in water.
Glossary
258 Pile fabric: Generic term for a raised surface Production run: The total number of garments Rippling: A process in the production of flax
fabric, such as velvet or corduroy. of a style that is manufactured at one time. fibers for making linen, entailing the removal
The number of pieces given as an order to of the seeds by a mechanical process.
Pile weaving: Weaving technique that uses a factory.
rods to make loops on the surface of the Röhm, Otto (1876–1939): German scientist
resulting fabric. The loops can be cut to Protein fiber: Animal hair/wool or silk. whose doctorial publication on the polymers
create pile fabric, or left intact to create Pupa: An insect between the usually passive of acrylic esters spurred understanding of
loop-back fabric. the practical potential of acrylics.
stage of larva and adulthood.
Pill or pilling: Entangled fibers after washing or Pure dye silk: Indicates that weighting was not Rolag: A loose roll of fibers produced by
wearing form little balls known as pills. carding.
added to silk at the dyeing stage.
Pima cotton: Indigenous American long-staple Pure new wool: See Virgin wool. Roller printing: Commercial printing using
cotton (Gossypium barbadense) named Purl knit: The reverse side of basic jersey, the engraved rollers to transfer color and design
after North American Pima Indians . onto fabric.
face side is known as plain.
Piña: Fibers obtained from the leaves of the Pygora: A cross between an angora goat and Roundup Ready®: A registered trademark for
pineapple plant. a quality of GM cotton.
a cashmere-producing pygmy goat.
Piña cloth: Fabric woven from piña fibers. Roves: Continuous lengths of fiber ready
Plain knit: The face side of basic jersey, the Q for spinning.
reverse side is known as purl. QC: Quality control of fabric and clothing Roving: A long narrow bundle of fibers with a
Plain weave: A basic weave construction of manufacturing. slight twist to hold it together.
warps and wefts crisscrossing each other Qiviut (or qivent): The under-wool of a musk Ruff: Item of clothing worn around the neck,
at right angles. ox, Ovibos moschatus, whose habitat is usually of linen. Prominent in Europe from the
Ply: Two or more single yarns twisted together. the Arctic regions of Canada, Alaska, and mid-sixteenth to mid-seventeenth centuries.
Polyamide: Any synthetic polymer that Greenland.
consists of amides (nitrogen-containing Run (print): A complete, continuous length of
compounds) joined by peptide bonds Quilting: A method of stitching a layer of fabric printed fabric.
(chemical bonds between groups of amino to a layer of insulative batting, commonly in
acids, which are the primary linkage of all diamond patterns, but often with decorative S
protein structures). stitch patterns. This produces a light and
Polyester: Generic name for synthetic warm material, often used for linings. Samite: A heavy silk fabric woven with gold and
polymers. silver threads, worn by individuals of high
Polyethylene: One of two polymers used to R status, that originated in early Byzantium and
make olefin fibers, polyethylene is the most has also been found in medieval Italy and
common plastic and is usually used to Raffia palms: Used to make raffia fabric. along the Silk Road in Persia.
make ropes and utility fabrics. Raker: A component design line in an
Polyethylene terephthalate: Synthetic polymer Sand-washed silk: Silk fabric washed with sand
used to make polyester and PET (the stiff, Argyle design. or other abrasive materials to “scuff” the
transparent plastic usually used Rambouillet or French merino: A cross surface and produce a tactile, suede-like
for containers). hand and “peach-bloom” appearance.
Polymer: A substance composed of molecules between a Spanish merino and an
with a large molecular mass linked by English long-wool sheep, originally bred Sari: Traditional Indian women’s costume.
repeated structural units or monomers. at Rambouillet, near Paris, France. Sassanid Persia: The last pre-Islamic Persian
It can be naturally occurring or have a Ramie: (Boehmeria nivea) a bast vegetable
synthetic substance. DNA and plastics are fiber of the nettle family. See also China Empire, which lasted from the third century
well-known examples. grass and Green ramie. CE to the seventh century CE.
Polymerization: Any chemical process in which Raw silk: The short fibers left over from Sateen: Satin-weave fabric with a polished
monomers are fused to create longer spinning silk. sheen to the face side.
polymer chains. Rayon: A manufactured, regenerated Sateen weave: A weave construction with the
Polypropylene: One of two polymers used to cellulose fiber. The name was first used in maximum amount of wefts on the face of
make olefin fibers, polypropylene is often the US in 1924, in Europe it was referred to the fabric, achieving a soft touch and a
used to make clothing and furnishing fabrics. as art silk, because it was an inexpensive smooth finish.
Polyurethane: A polymer used to make alternative to real silk. It cannot be dissolved Satin weave: A weave construction with the
spandex as well as many types of flexible naturally and therefore needs to be maximum amount of warps on the face
and rigid foam. chemically processed, then regenerated of the fabric, achieving a flat, smooth
Prato: An important center for the Italian wool by extrusion into a filament yarn. The first and lustrous finish. Satin weave is not to be
industry, near Florence in Italy. viscose yarn was produced from wood pulp confused with satin, which, while of a satin
Première Vision: A biannual fabric trade fair in in the early twentieth century. weave construction, refers to the fabric itself.
Paris, France, and also at other international Reactive dyes: Dyes used primarily on Saturation: The purity or intensity of a
venues. cellulose and protein fibers. specific color.
Pre-shrunk: Fabric that has been shrunk at the Reeling: Process of extracting the silk filament SCOTDIC (Standard Color of Textile
weaving mill and should not shrink further. from the silkworm’s cocoon. Dictionnaire Internationale de la Couleur):
Primary colors: Red, yellow, and blue, the Repeat: One complete unit of a design, either A worldwide color codification system for
three colors that cannot be made from printed or woven. fabric. The system is applicable to polyester,
other colors. Resist dyeing: Generic term for the different cotton, and wool. The coding defines hues,
Primary triad: The three primary colors. methods of patterning fabric by preventing value, and chroma for thousands of colors.
Print run: In textile printing, a term that usually dye reaching certain parts of it. Head office in Kyoto, Japan.
refers to the amount of fabric to be printed Retting: Process used on all bast vegetable Scouring: Removal of natural fats, oils, and dirt
but may also refer to the time frame. fibers to separate the fiber from the from a yarn, giving fullness to the fiber and
Process wheel: A 12-step process for the three plant’s stalk. bulking up the fabric.
basic primaries that when mixed result in Reversible: Fabric that can be used either Scutchers: See Scutching.
purer hues. side up, or a style of garment that can Scutching: Process of separating fibrous stalks
be turned inside out. from the woody stems of bast fibers using
Ribs: Usually on the waist and cuffs of a metal rollers.
sweater for better elasticity and closer fit. Sea Island cotton: Gossypium barbadense, a
May also be used as an all-over knit effect. luxurious long-staple cotton.
Useful information
Seam turnings: Seams, once sewn together Skein: Coiled yarn with tied ends to keep higher the figure the finer the yarn. Ideal for 259
and turned inward to face the inside of the shape. good tailoring.
the garment. Supply chain: All the separate disciplines,
Skirted: Angora fibers when clean, with all services, and people involved in processing
Secondary colors: The colors that result from stains removed. a product from concept to retail.
mixing two primary colors. The secondary Suri: Pronounced soo’ree, one of two types of
colors are green, orange, and violet. Slivers: (Pronounced sly-vers) untwisted ropes alpaca. They have silky, pencil-fine, mop-
of fibers. like locks. See also Huacaya.
Secondary triad: The three secondary colors. Synthetics: Man-made fibers derived from
Seed cotton: Precleaned cotton. i.e., before Smocking: Decorative stitch-work or petrochemicals (which may be produced
embroidery technique used to gather and in staple or filament yarns). Not to be
the harvested cotton has gone through the hold fabric together. See also Hank. confused with artificial fibers (part natural
ginning process. and part synthetic), which are chemically
Selvage: The firm side edges of the fabric Space dyeing: Dyeing technique. Colors treated cellulose derivatives.
running parallel to the warp. are applied at random or regular intervals Synthetic resin: Class of synthetic products
Sericin: A water-soluble protective gum along the yarn, creating a random developed to mimic some of the physical
produced from the glands of the silkworm. multicolor effect when woven or knitted. properties of natural resin.
Sericulture: The process of breeding and
cultivating silk moths. Spandex: Generic term for stretch fabrics and T
Shalwar kameez: Traditional dress worn, yarns, used in North America.
principally, by Muslim women in Taffeta: A fine, plain, tightly woven silk cloth,
Bangladesh, Sri Lanka, Pakistan, and Spinneret (1): Openings in the silkworm’s head with a dry hand and crispy “rustle.”
Afghanistan. Shalwars are loose pyjama-like that secrete the protective sericin gum.
trousers; a kameez is a long shirt or tunic. Tailoring: The art or craft of cutting and sewing
Sharara: Traditional Muslim women’s garment Spinneret (2): Multi-holed device used to together a garment to a high standard and
popularized in India since the time of the extrude viscous polymer filament fibers. incorporating a high level of labor content.
Mughal invasion.
Sharecropping: In agriculture, a landowner Spinning (1): The singular specific process of Tamponing: An even film of oil is applied to silk
gives a share of the profits to a tenant who applying twist to yarn. fabric to smooth out irregularities.
works the land. In particular applied to
black farmers (ex-slaves) in the US working Spinning (2): Manufacturing process used in Tangüis cotton: Variety of cotton grown
on white-owned cotton plantations after the producing polymer filament fibers, in which primarily in Peru, often organically. Some
American Civil War. they are extruded through a spinneret. species are naturally colored.
Shatoosh: A shawl made from the down of
the chiru or Tibetan antelope, Pantholopas Spinning frame: An eighteenth-century Tapada: One of two “heavy wool” types of
hodgsonii. invention often credited to Richard Arkwright llama. See also lanuda.
Shearing: The process of removing the fleece (1733–1792), however others developed
of a sheep or other fiber-producing animal the invention while under his employment. Tapestry weaving: Vertical loom-weaving
in one piece. It was later developed into the water technique, sometimes called weft-faced
Shetland sheep: Of Scandinavian origin, with a frame (patented 1769) increasing textile weaving because all the warps are hidden.
fleece featuring distinctive fine fibers. production and producing stronger threads
Shoddy: Recycled or re-manufactured wool than the earlier spinning jenny. Target consumer: Marketing term implying an
made by tearing apart existing wool fabric ideal profile customer.
and re-spinning it. Spinning jenny: A multiple yarn-spinning
Shot: Fabric that appears to change color machine invented by James Hargreaves Tassah moths (also tassar): Antheraea mylitta
when viewed from different directions. (1720–1778) in Lancashire, England, in and Antheraea proylei, wild and semi-wild
Shous: Woody stems prior to their separation 1764 (patented 1770). It enabled the silk moths respectively.
from the fibrous part of the stalk in spinning of eight and later up to 80 yarns
processing bast fibers. simultaneously. Considered a factor in Technical fabric: Manufactured to perform
Shuttle: A weaving tool designed to store and starting the British Industrial Revolution. It was certain functions.
pass weft yarns back and forth through the named after his daughter.
shed (space between two warps) in order to Technologist: An expert in all aspects of
weave in the wefts. Spinning process: A generic term for several either garment or fabric construction,
Silk moth: The cultivated silk moth, Bombyx separate processes, including carding, manufacturing, and quality issues.
mori, feeds on the leaves of the mulberry combing, drawing, and spinning.
tree and is blind and flightless. Silk is Tensile strength: Measures the stress required
harvested from the cocoon of the caterpillar. Spiraling: Knitted fabric distortion. to pull something to its breaking point.
Silk noil: See Raw silk. Staple: Quantifies textile fiber characteristics
Silk Road: Ancient trade routes connecting Tertiary colors: The colors that result when a
China with Asia Minor and the of length, quality, and grade. primary and an adjacent secondary color
Mediterranean. Staple fiber: Fiber of finite length. are mixed together.
Silk-screen printing: Technique using a screen Stitches: Individual linked loops that form
and ink to print a design, by hand or Terylene: A trade name for a polyester fiber.
mechanized. Synthetics are now used for the fabric. Tex: An international system of measurement
the screens. Stock houses: Wholesale companies that hold
Silkworm: The larva or caterpillar of Bombyx used to measure the linear mass density
mori, the cultivated silk moth that feeds stock fabrics from a variety of sources, of fibers.
exclusively on mulberry leaves. with the advantage of dealing in smaller Thorn proofs: Generic term for different types
Single coat: Implies there are no guard hairs quantities than placing an order directly of strong, durable fabrics traditionally used
in the coat of the animal. with a mill. for outdoor pursuits. Often produced from
Single jersey: Plain knit on the face side and Striation: One of a number of parallel grooves Cheviot wools or New Zealand crossbred
purl on the reverse. See also Jersey. or ridges. wools. A hard twisted yarn produces a firm-
Strike-off: Preliminary small-print sample for touch fabric that feels almost indestructible.
approval of color and print. Thread count: A measure that determines the
Stripping: Removal of unwanted color from coarseness or fineness of fabric, achieved
printed fabric. by counting the number of threads
Subtractive color: A method of creating colors contained in one square inch of fabric,
based on pigments or dyes from natural including warps and wefts.
or chemical sources. The colors mix by Threader: A machine-feeding device used
absorbing some wavelengths of light and in the production of silk filament.
reflecting others. Throwing: Applying a twist to silk filament.
Sunn: A variety of hemp produced in India and Thrown threads: The different types of thread
also known as Bombay hemp. produced by throwing silk.
Super 100s: An international system that
identifies a range of fine worsted fabrics
from Super 100s through to Super 210s, the
Glossary
Tie-dyeing: Process of tying, knotting, or stitching Leonardo da Vinci, whose understanding of Worsted count: Yarns are bought and sold by
a design on fabric prior to dyeing, then complementary colors greatly influenced weight rather than length. The relationship
releasing after dyeing to reveal a pattern. Renaissance painting. between the weight of yarn and its length
is expressed in terms of numbers or count,
Tone: Variously describes a color’s lightness, W which also indicates the diameter or
value, brilliance, grayness, and luminosity. thickness of the yarn.
Wales: (1) Columns of loops that run along the The count refers to the number of hanks
Top-stitching: Refers to the visible optional length of the fabric. (2) Raised ridges or ribs each measuring 560 yards (512 m) that
stitching on a garment as opposed to that run vertically down corduroy, parallel to weigh 1 pound (454 g). To convert worsted
the functional stitching that holds the the selvage. The wider the wales, the lower count to a metric count, multiply the length
garment together. the numerical expression, and vice versa. by 1.129. For example, a 1/15 worsted count
The number of wales that fit into one inch becomes a 1/17 metric (or Nm) count.
Tow: Mass of man-made filaments without (2.5 cm) is the wale count. Twenty-one-wale
twist. In the production of linen, tow also corduroy implies there are 21 wales per inch. Worsted spun yarn: Yarn that has been
describes one of two categories of flax carded, drawn and combed.
fiber. Tow fibers are short, whereas the long Warp: The yarns that run the length of the
fibers are called long-line fibers. fabric, top to bottom. X
Trade fairs: Where manufacturers of yarn, Waterproof: Completely resistant to water Xanthation: One of several processes used to
fabric, or clothing assemble together to penetration. make rayon fibers from cellulose.
showcase and sell new developments.
Water-repellent: Partially water-resistant. Y
Trade name: A specific brand. Water-resistant: Resists but does not entirely
Triadic hues: Any three equidistant colors on Yak: Bos grunniens, a generally domesticated
prevent the absorption of water. beast of burden living on the Tibetan
the color spectrum when configured as a Waxing: Impregnating fabric with wax to make plateaus that is also used for fiber.
circle of hues.
Tri-blended: Three different types of fiber it shower-proof Yamami silk moth: Believed to be an
blended together. Weaving: The process of interweaving warp indigenous species to Japan.
Trimmings: A generic term used to describe
any number of functional components and weft threads to make fabric. Yarn: A continuous length of interlocked fibers
used on a garment, such as buttons and Web: Single or multiple sheets of fibers partway with or without twist.
zippers, as well as decorative accessories
such as braids. through the spinning process, also known Yarn count: Numerical expression for size of
Tussah silk: The most common variety of wild as a batt. yarn, denoting a certain length of yarn for
silk, harvested from tassah moths. Weft: The yarns that run across the fabric, a fixed weight. The higher the count, the
Tuxing: The process of separating the outer selvage to selvage. finer the yarn.
and inner sheaths of leaves to reach the Weighting: The application of metallic salts to
fibers that run through them. silk fabric prior to dyeing and finishing. During Yarn dyeing: Yarn is dyed before being woven
Twill weave: A weave construction resulting in a silk processing the fibers are de-gummed of or knitted into a fabric.
visual diagonal line effect. their natural sericin gum that gives the fabric
Twist: A spiral formation applied to fibers during a stiff and papery feel. The loss of mass that Yolk: The grease on the fleece of an
the spinning proccess to give additional occurs during this process is restored by the angora goat.
strength and which allows for different application of metallic salts to add back
colors and fibers to be twisted together body, luster, and physical weight. Z
for visual and tactile effect. The term also Wet prints: Fabrics colored by dyes (which are
describes the direction in which the yarn is soluble), not pigments (which are not soluble). Zari (or Jari or Zardozi): Gold or silver
spun (“S” or “Z” twist). White collar: Office work. supplementary threadwork, used mainly
Two-way fabric: Fabric that can be cut with White ramie: See China grass. in India and Pakistan.
the pattern pieces in either direction without Wick: The process of evaporating away
compromising the end product moisture and perspiration. Zentai: Skintight clothing that covers the entire
Wild silks: These are characterized by a rough, body. The word is a portmanteau of zenshin
U slubby appearance that differs in color from taitsu, a Japanese term implying full body
farmed silk. The cocoons are “damaged” covering.
USP: Unique selling point, a marketing term. by the emerging moth eating its way out.
260 Winnowing: A method of separating the
V grain from the chaff sometimes used in
processing flax.
Value (color): A color’s luminosity and clarity. Wool blends: A mixture of different wools and/
Vat: A dyeing vessel. or other fibers.
Vat dyes: Common cotton dyes. Wool classes: Classifications that grade the
Vicuña: Vicugna vicugna, the smallest of the quality of wool fibers. Diameter of fiber,
finesse, crimp, fiber length, cleanliness,
South American camelid family. Garments color, breed of sheep, and end purpose of
and fabrics made from vicuña fibers should the wool are taken into consideration
be registered by the Peruvian government, Woolen or Wool count: Refers to yarns spun
which is the only international body on the woolen system—the number of 256-
recognized for the task, and assures the yard (512-m) strands to 1 pound (454 g).
conservation of the animal. Woolen spun yarn: Yarn that has been carded
Virgin Wool or pure new wool: The wool and drawn but not combed.
product has been produced from fibers Woolmark: A registered mark used for branding
that have not been previously processed. different types of Australian wool, used as a
Viscose bamboo: See Bamboo viscose. means of guaranteeing a standard of quality.
Viscous: Describes a thick or sticky liquid with Wool sheep: The type of sheep used for wool
resistance to flow. production
Visual wheel: A 16-step partitive and
subtractive color wheel created by
Useful information
261
Glossary
262 Index/Credits/Acknowledgments
Useful information
Index
Page numbers in italic refer to illustration bimli/bimlipatum jute 172 Chulalongkorn, king of Thailand 111 263
captions bio-engineered fibers see under artificial fibers CIE (Commission Internationale de L’Eclairage) 53
Bioceat® 214 ciré 164
abacá/abaká (Manila hemp) 171, 178, 178 biodegradable fabrics 10, 152, 172, 177, 208, cloqué 122, 162
acetate 183, 185, 214, 215–16 closed-loop-processing 176, 208, 222, 222, 226
Acrilan® 10, 199, 199 223, 224, 227, 229, 244 Club Masters of Linen 134
acrylic fibers 31, 64, 183, 186, 199–201 Biophyl™ 228 CMG (Colour Marketing Group) 52
adire technique 34 biotechnology 153, 227 coal 10, 182, 185, 186, 195, 200, 244
agents 237, 245, 246 bleget (Shetland wool color) 79 coffee grounds 193, 193
airtex 162, 209 blended yarns 14 Collins, Arnold 208
Alcantara® 188, 191 blowing 43 see also steaming Color Association of the United States (CAUS) 52
algae 167 bluesign® system 193, 240–1 Colour Group of Great Britain 52
alpacas/alpaca fiber 13, 19, 87, 88, 88–9, 89 Bollgard® 153 Colour Marketing Group see CMG
alternative plant fibers 166–83 Bombay hemp 172 color theory 45–8
alum 35 bonding 43, 146 color-ways 23, 238
ambary/ambari hemp 172 bouclé 14, 53, 74, 189, 190 colorfast fabrics 31, 33, 34, 35, 136, 203
angora goats 87, 94, 96, 98 Boyer, Robert 230 color(s) 45–59
brightening agents 43
see also cashmere; mohair brocade 19, 20, 109, 110, 111, 122, 122, 210 achromatic 54
angora rabbits/fiber 87, 102, 102–3, 103 Brummell, George Bryan (Beau) 131 additive system 46, 48
anti-soiling fabrics 43, 187, 227 brushed fabrics 43, 74, 165 analogous 46
anti-static fabrics 129, 152, 168, 174, 223 Burberry trench coats 16, 17 associations 45, 49, 51
antibacterial fabrics 43, 67, 77, 176, 222, burlap 168 blue color palette 59
burn out see devore chroma 54
223, 225, 233 chromatic 54
appliqué 42, 42, 179 calendering 43, 120 CMYK system 54
aramid fibers (aromatic polyamides) calico 165 co-primary triads 54
Calico Printers’ Association 189 color wheels 46, 47, 47–8, 48
183, 197–8 Calvert, Frank 230 combining 53
Ariaprene™ 208, 208, 209, 209 camelids 88–91 complementary 46, 47, 48
Arnel® 214, 216 camels/camel hair 87, 92, 92–3, 93 contrast 54
artificial fibers 10, 16, 183, 212–33 canvas 16, 165, 170, 171 cool colors 49
carding 13, 13 forecasting 52, 245
bio-engineered fibers 182, 183, 227–33 green color palette 57
cellulose fibers 14, 152, 182, 183, 213–27 cotton 148, 149 grey color palette 54
defined 182, 213 wool 63, 68, 69, 71, 85 ground color 38
ecological considerations 152, 214, 216, Carothers, Wallace 186, 189, 194 half tone 38
218, 221, 224, 227, 229, 231 casein 232 harmony 54
fiber properties 215, 216, 218, 222, 223, cashgora fiber 99 language of 51–4
224–5, 225, 228, 231, 232 cashmere 22, 87, 94, 94–6, 95, 99, 125 and light 45, 48, 52–3
history 214, 215–16, 217–18, 221, 228, 230 castor bean fiber 183, 233, 233 luminosity 46
production 215–16, 218, 221, 226, 227, ccara fiber (llama) 90 matching 52, 52–3
229, 231, 232 cebu hemp 171, 178 monochromatic 46, 54
sustainability considerations 152, 214, 216, Celanese Corporation 214, 215, 216 morphing 120
220, 221, 222, 224, 227, 229, 231 CELC see Conféderation of Européenne muted 54, 79
Audemars, Georges 217 du Lin et du Chanvre neutral 54
Australian cashmere goats 99 cellulose acetate see acetate palettes 54, 54, 56, 57, 58, 59
Azlon fibers 227, 230 cellulose fibers 14, 149, 152, 167, 168, 176, partitive system 46, 48
177 see also under artificial fibers pastels 54
bactrian camels 87, 92 chacu (vicuña conservation) 91 perception of 49
bamboo fiber 174, 174–7, 175, 176, 177 challis 74 pink color palette 58
bamboo kun/kuhn 174, 177 chambray 165, 165, 221 primary 46, 47, 48
bamboo linen 176 Chardonnet silk 217 primary triads 54
bamboo rayon/viscose 175, 176 charkhas/churkas 144, 145, 145 red color palette 58
banana fiber 173, 173, 178, 178 Charles V, Holy Roman Emperor 96 samples 238
barathea 72 charmeuse 125 saturation 46, 51
bashofu (banana fiber) 173 cheesecloth 165 secondary 46, 47, 48
bast fibers 136, 140, 167, 168–73, 175, chemical finishes 43, 118, 146, 151, 162 secondary triads 54
chenille 14, 162 shades 54
176, 178 Cheviots fabric 72 simultaneous contrast 50, 51
batik 33, 33, 36 chiffon 16, 114, 117, 124, 124 subtractive system 46, 47, 48
batiste 163 China grass 169 tertiary 46, 47
batting 42, 143, 190 Chinon® 232 tints 54
Bayer, Otto 205 chintz 164 tones 51, 54
Beadle, Clayton 218 chitin 222, 222 trends 51
Bedford cord 18, 162 chitosan 222, 223 triadic 46
Bemberg™ 152, 217 chromatics 45 value 46
bergello 41 chromotherapy 54
Better Cotton Initiative 239, 240–1
Bevan, Edward 218
bias cutting 21, 75, 179
Index
264 visible spectrum 45, 45–6, 47 Courtelle™ 199 dye lots 31, 238
warm colors 49 Cradle to Cradle 240–1 ecological considerations 34, 52, 79, 137,
warm/cool 49 crease-resistant fabrics 43, 97, 118, 154, 155, 203, 222, 224
white color palette 56 fabric-dyeing (piece-dyeing) 31, 32, 32,
yellow color palette 57 195, 200 118, 119
see also hue Creora® 205 fugitive colors 35
combing 13 crêpe garment dyeing 33–4, 165
cashmere 96 hank-dyeing 35
cotton 148, 149 silk 117, 118, 125 lab dips 31, 32, 32
wool 68, 69, 71, 85 wool 74, 74 matches 35
Commision Internationale de L’Eclairage yarn 14, 117 off-shades 35
see CIE crêpe de Chine 117, 125, 125, 217 ombre effect 35
composite materials 168 crépon 162 over-dyeing 34, 115, 162
Conféderation of Européenne du Lin et Creslan® 199 piece-dyeing see fabric-dyeing
du Chanvre (CELC) 134, 135 crimp 14, 66, 67, 76, 187 reactive dyes 34, 35
converters 32, 113, 222, 224, 237, 245 crinkle fabric 156, 162 resist dyeing 21, 33, 33–4, 37, 38
CORDURA® 194, 196, 196 crocheting 16, 27, 27 shading 35
corduroy 18, 21, 53, 162 Crommelin, Louis 133 space dyeing 111
corn fiber 183, 228, 228–9 Cross, Charles 218 strike-offs 35
cost considerations 38, 65, 158, 189, 238, cuprammonium process 152, 217, 218 stripping 34
244, 246 cupro fiber 152, 153, 213, 218 tendering 35
cotton 63, 64, 142–65 curaca fiber (llama) 90 tie-dyeing 21, 34, 34
American cotton 144, 145, 146, 146, 148, cut pile fabrics 21 vat dyes 35
150, 151 Cyanamid 199 yarn-dyeing 31, 118, 119
bolls 143, 143, 147, 147, 149, 155, 213 see also batik; ikat technique; mordants
Bt cotton 153 DACRON® 10, 188, 189 Dynel 200
carding 148, 149 damask 122, 131
classification 148, 149 daveo hemp 171, 178 easy-care fabrics 43, 64, 113, 132, 188, 195,
combing 148, 149 Dawson, Joseph 96 199, 199
cotton lisle 152 de-gumming 117, 118, 119, 121, 169
Creole cotton 150 de-hairing 91, 93, 96, 100 Eco-fi fiber 192
cultivation 147, 147, 148 deccan hemp 172 Ecodear® 228
ecological considerations 152, 153–6, 155, Decitex 191 ecological considerations 10, 52, 238,
159, 160 denier 22, 191, 201
Egyptian cotton 145, 150, 151, 176 denim 16, 43, 132, 143, 143, 153, 160, 162, 240–3, 244
ethical considerations 153, 156, 157–8, alternative plant fibers 168, 169, 171, 172,
158, 159, 159, 160, 246 165, 172 173, 175, 177
fabrics 162–5 Denim by Première Vision fabric trade fair 247 artificial fibers 152, 214, 216, 218, 221, 224,
Fairtrade 156, 158, 158–60, 160 design process 6, 8, 237, 245, 246 227, 229, 231
Filo Di Scozia® cotton 152 design product management 245, 246 cotton 152, 153–6, 155, 159, 160
genetically-modified (GM) 153, 154, 160 Despeissis, Louis-Henri 217 dyeing 34, 52, 79, 137, 155, 203, 222, 224
harvesting 148, 149 devoré 38, 39, 39 linen 137, 140
history and geography 143–6 dhotis 145, 145 luxury animal fibers 89, 90
lint cotton 148, 149 Dickson, James Tennant 189 man-made fibers 182, 183
linters 148, 149, 152, 213, 213, 214, 216, 218 Dietrich, Marlene 152 silk 112, 121
luxury types 150–2 distributors 246 synthetic fibers 188, 192, 192, 197, 201,
Madras cotton 165 dogtooth designs see hound’s-tooth designs 203, 209
market 146, 182 Donegal tweed 72, 73 wool 77, 79, 84, 188
measuring 149 double face fabrics 19, 19 see also sustainability considerations
mercerized 151, 152 DPF (denier per filament) 22 eesit (Shetland wool color) 79
naturally-colored 149, 155, 155–6, 156 Dralon® 199, 201 elastomers/elastomeric yarns 164, 204, 204,
organic 153, 153, 154, 156, 158, 159, 160, drape of fabric 16, 21, 238 205, 209 see also spandex
160, 223 Dreyfus, Camille and Henri 215 elephant cord 18
Pakucho™ cotton 149, 156 drill 165 Elizabeth I, queen of England 108, 170
Pima cotton 150, 151, 155 dromedaries (camels) 92 embroidery 40–2, 130, 135
processing 149 duchesse 118, 122, 123, 123 canvas work 41
production 143, 144 duck 165 counted-thread 41
recycled 153 dupion 123 crewel-work 40
Sea Island cotton 150, 151 DuPont 170, 189, 192, 195, 197, 198, 199, 201, cross stitch 41
seed cotton 149, 149 drawn-thread work 28, 130, 135
spinning 148, 149 203, 205, 208, 216 freehand 40
sustainability considerations 152, 153, 154, dyeing 31–5, 245 jari embroidery 210
158, 158, 160 machine 42
Tangüis cotton 151, 155 acid dyes 35 smocking 41, 41
transitional 160 aniline dyes 35 Zari/Zardozi embroidery 210
see also cupro fiber; denim azo/azoic dyes 35, 52 see also appliqué; quilting
cotton gins 144, 148 basic dyes 35 emerized fabrics 43
Cotton Incorporated 153 batch dyeing 35 Empedocles 45
cotton system (spinning) 14 bleeding 35 emsket (Shetland wool color) 79
cottonizing 139, 171 changeant technique 35, 105 environmental considerations
chrome dyes 35 see ecological considerations
continuous dyeing 35
dip dyeing 31, 32, 33
direct dyes 35
disperse dyes 35, 216
Useful information
enzymes 43, 118, 132, 138, 140, 173, 176, goats/goat fiber 87, 94–9 jersey 15, 22, 22, 24, 32, 125, 150, 175, 190 265
227, 231 see also cashmere; mohair JIT (just-in-time) production 38
jiulong yaks 100
ESPA® 205 “golden fleeces” 87, 87 jobbers 237
ethical considerations 238, 244 GORE-TEX® 194, 195, 195 John Smedley Mill, Derbyshire 144
grain of fabric 21 Johnstons of Elgin 95, 96
alternative plant fibers 171, 175 green chemistry 239, 244 jumbo cord 18
cotton 153, 156, 157–8, 158, 159, 159, Greenfil® 233, 233 jute 168, 169
160, 246 greige (undyed) 32
silk 52, 121 guanacos/guanaco fiber 87, 91 kapok 114
wool 77, 84 Guanqi Li 230 karakul (Persian lamb) 66, 81
see also Fairtrade katazome 33
ethical trading 159, 160 habotai 117, 124, 124 kenaf 172
European Confederation of Linen and Hemp halo effect (angora) 102, 103, 103 Kevlar® 189, 197, 198
see Conféderation of Européenne du Lin handle of fabric 21, 70, 129, 238 khadi cloth 110, 145, 145
et du Chanvre Hanford, William 205 “King Cotton” 145, 170
Expofil trade fair 247 hanks 14, 69, 141 knitting/knitwear 16, 22–4, 245
Harris tweed 72, 72, 73
Fabric at Magic fabric trade fair 247 header cards 237, 239 Aran knitwear 23, 23, 66, 66, 103
fabric construction techniques 16–30, 245, 246 Hearst, William Randolph 170 Argyle (Argyll) knitwear 23, 23
fabric direction 16, 18, 35, 238 hemp 167, 168, 170, 170–2, 171, 223 cable knitting 24
face (of fabrics) 16, 18, 19, 19, 21, 22, 24 henduan yaks 100 circular knitting 24
Fairtrade standards 156, 158, 158–60, 160, Henry IV, king of England 108 course 24
Herodotus 144 cut-and-sew knitwear 24
239, 240–1 herringbone designs 16, 17, 72, 73 double jersey 24
fashion industry 236–47 hessian 168 Fair Isle knitwear 23, 23, 84
felt/felting 16, 25, 25–6, 26, 63 Hikota, Dr Toyohiko 191 fully-fashioned knitwear 20, 22, 23
fiber designation codes 228, 239 Himalayan mountain goat 94 gauge 22
fiberfill see batting Holmes, Donald 205 inlaid yarn 24
fibers 13 hopsack 73, 165 intarsia technique 23, 23
filaments 14, 116, 187, 187, 190 hound’s-tooth designs 16, 17, 73, 73 Jacquard technique 24, 24
finishing processes 43, 118, 120, 245 Hsi-Ling, Lady 105 jersey 24
fire-retardant fabrics 43, 67, 118, 154 huacaya fiber (alpaca) 88, 89 lace knitting 29
flame-resistant fabrics see fire retardant fabrics huarizo fiber (alpaca) 89 plain stitch 22, 24
flannel 16, 70, 74, 75 hue 46, 47, 48, 54 plated knitting 24
flannelette 162 Huguenots 108, 133 purl stitch 22, 24
flax 136, 136 hypoallergenic fabrics 89, 152, 209, 216, 223 single jersey 24
stiitches 22, 24
cottonizing 139 ICA (International Color Authority) 52 tuck stitch 24
cultivation 131, 132, 133, 134, 136, 137, Idea Como fabric trade fair 247 welt 24
138–9, 140 ikat technique 21, 21, 34, 111, 111 Kolbe, Adolph Wilhelm Hermann 185
drafting 138, 140 importers 237 Kwolek, Stephanie 197
hackling 138, 140 indigo 35, 165, 165
harvesting 138, 139 Indigo trade fair 247 lace-making 16, 28–9, 29, 130, 131, 135
retting 138, 140 industrial hemp 170, 172 bobbin lace 29, 29, 130
rippling 138, 139 Industrial Revolution 31, 64, 108, 131, 134, cutwork lace 29
scutching 138, 139 lace knitting 29
threshing 13, 138, 140 144, 155 machine-made lace 29
tow 138, 139 Ingeo™ yarns 228, 229 needle lace 29, 130
see also linen inlaid yarn 24 tatting 29
Flemish linen 130, 134 insulative fabrics 25, 42, 63, 66, 74, 95, 114,
Ford, Henry 230 Lactron® 228
fossil fuels 182, 183, 186, 229, 233 201, 202, 209 lamé 210
see also coal; oil; petroleum intarsia technique 23, 23 lamination 146, 195, 196, 209, 211
fulling 25 Intercot trade fair 247 Lanatil 232
Future Fabrics Expo textile fair 237 International Color Authority see ICA lanolin 23, 66, 67
International Wool Textile Organization see IWTO lanuda fiber (llama) 90
gabardine 16, 72, 165 internet 237 laser cutting and engraving 39, 39, 211
gamme 54 Interstoff fabric trade fairs 247 latex 204, 205, 208, 208, 233
Gandhi, Mahatma 121, 145, 145 Intertextile fabric trade fair 247 lawn 164
garment technology 245, 246 INVISTA 195, 196, 205 LEA (linen measurement) 141
gauze 117, 124, 163 Irish linen 133, 133–4 LEACRIL® 199
gazar 124, 125 Irish Linen Guild 133, 134 lead times 31, 38, 238
genetically-modified (GM) plant fibers 153, Italian linen 135 leaf fibers 178–9
Itten color wheel 47, 47 Lenpur® 232, 232
154, 160, 229, 240 IWTO (International Wool Textile Organization) Lenzing AG 176, 221, 222, 224, 224
geo textiles 168, 201 Leonardo da Vinci 48, 117
georgette 74, 124, 132 83, 84, 240–1 light and color 45, 48, 52–3
gingham 165 lignin 168, 218, 227
ginning 144, 148, 149 Jacquard, Joseph 20, 108 linear polyamides see nylon
Glen Urquhart check 72, 73 Jacquard technique 18, 20, 20, 24, 24, 40, Linel® 205
Global Organic Textile Standard (GOTS) linen 28, 128–41, 167
108, 122, 122, 133
225, 240–1 Jaeger, Dr Gustave 77
Global Recycle Standard 240–1 Japantex fabric trade fair 247
GM see genetically-modified plant fibers
Index
266 bleaching 129, 133, 136 moiré 123, 123, 215 Plastiloid® 214
ecological considerations 137, 140 moisture-absorbent fabric 67, 129, 143, 174, ply 14, 15
fabric properties 129 polyalkene 201
fiber properties 136 189, 193, 214, 216, 225, 231 polyamides 170, 183, 194–7, 207
finishing 136 moleskin 162
history and geography 129–35 mommes (silk measurement) 117 see also nylon
lace/lace-making 28, 28, 130, 131, 135 moodboards 53, 237 polyamides, aromatic see aramid fibers
market 135 mordants 34, 35, 118 polyester 64, 82, 154, 183, 186, 186, 188,
measuring 136 Moroccan fabric 74
production 138–41 moso bamboo 174, 175 188–93, 189, 200
spinning 134, 138, 141 mousseline 74 polyethylene 183, 201, 202, 203
staple 136 mungo 81 polymers/polymerization 183, 185, 186, 186–7,
synthetic 129 Munsell color wheel 48, 48
see also flax musk ox see qiviut 187, 189, 190, 197, 203
Linen Board, Ireland 134 muslin 163 polyolefin fibers see olefin fibers
linseed see flax polypropylene 183, 201, 202, 203
lisle (cotton) 152 nanofibers 188, 191, 193 polyurethane 183, 204–7, 205, 209
Litrax-1® bamboo 176 Nanofront® 188, 191 poplin 132, 163, 165
Living Linen Project, Ireland 134 nap of fabric 21 Prato Expo fabric trade fair 247
llamas/llama fiber 14, 87, 90, 90 napa/nappa (sheep leather) 67 pre-shrunk fabrics 43, 112, 147
Loden fabric 25, 74, 74 Natta, Giulio 201, 203 Première Vision fabric trade fair 52, 237, 247
loop-back fabrics 18, 22 NatureWorks® 228 pressing 120, 136
loop pile fabrics 21 needlepoint 41 Prince of Wales check 72, 73
Louis XI, king of France 108 neoprene 208, 208, 209, 209 printing techniques 36–9
LUREX™ 65, 69, 210, 211 nettle fiber 167, 169, 172, 172
luxury animal fibers 86–103 Newton, Sir Isaac 45 devore 38, 39, 39
LYCRA® 65, 164, 204, 205, 206, 207, 209 Nieuwland, Julius 208 digital 38, 39, 49
lyocell fibers 176, 177, 183, 218, 220–7 nigora goats 87, 99 discharge 38
LZR Racer® swimsuit 206, 206 noils 13, 115 dry prints 37
Nomex® 196, 197 flock 38
macramé 16, 30, 30 nylon 10, 112, 183, 185, 186, 189, 194, glitter 38
Made-By 240–1 hand-block 36, 36
“make do and mend” ethos 85 194–7, 206 heat-transfer 37
man-made fibers 182, 182–3 see also artificial nylons (stockings) 112, 112, 185, 186, 194, metallic 38
mordant 38
fibers; synthetic fibers 195, 197 over-printing 38
Manila hemp 171, 178 pigment 38
manufacturing 245, 246 OE standards 239, 242–3 placement 38, 38
marl yarns 14, 15 Oeko-Tex® Standards 175, 183, 242–3 print runs 37, 238
mashru cloth 110 oil 10, 182, 185, 186, 189, 200, 210, 214, 244 rollers 37, 38
mauvine dye 31 oiled finishes 43, 146 rotary-screen 37
Maxwell, James Clerk 46 Okamoto, Dr Miyoshi 191 silk-screen 36, 36, 37, 37
Mazzucchelli, Santino 214, 215 olefin fibers 183, 201–3 transfer 37, 38
mélange fabrics 13, 14, 15, 69, 190 organdie 151 wet prints 37
melton fabric 74, 75 Organic Content Standards (OCS) 242–3 Printsource trade fair 247
Mercer, John 151 Organic Exchange see OE standards process color wheel 47
mercerizing 43, 151, 152 organic fibers 84, 153, 153, 154, 156, 158, ProModal® 224
meta-aramid fibers 197, 198 PTFE (polytetrafluoroethylene) 195
metallic yarns 14, 70, 70, 89, 122, 122, 183, 159, 160, 160 puppy-tooth designs 73
organza 16, 117, 124, 200, 203 pygora goats 87, 99
210, 210–11, 211 organzine 117
metallizing 211 Orlon® 10, 199 qiviut 101, 101
Metlon metallic yarns 211 QMilch® 232
microfibers 10, 188, 191, 204 paco vicuñas 91 quality control (QC) 245, 246
micronaires (cotton measurement) 149 Panama fabric 73 quilting 42, 42, 114, 190
microns 65, 68, 76, 90, 97, 99, 136 Pantone Professional System 53
microsuede 190 para-aramid fibers 197, 198 rabbits see angora rabbits
milk fiber 183 pashmina shawls 94 raffia 178, 178, 179
milk fiber (casein) 232, 232, 233 pattern cutting 158, 229, 245, 246 Rama V, king of Thailand 111
Milkofil® 232 Payen, Anselm 214 ramie 169, 169
Milkotton 232 peau de soie 123 rayon 18, 112, 122, 132, 154, 162, 164, 167,
Milkwood 232 Perlon 185, 194
mill washing 43 Persian lamb 66, 81 170, 173, 175, 185, 206, 214, 217, 217 see
milling (fabric treatment) 43 Peru Moda trade fair 247 also lyocell fibers
mills 43, 237, 238, 245 PET (polyethylene terephthalate) 189, 192, 239 recycling
minimums (fabric orders) 238 petit point 41 natural fibers 81, 85, 85, 115, 153
Moda in Tessuto e Accesori fabric trade fair 247 petroleum 35, 185, 188, 189, 195, 209 synthetic fibers 191, 192, 192, 193, 195,
Modacrylic fibers 183, 200 piece of fabric 21 197, 203, 208, 208, 209
Modal® 183, 221, 224 pigment color wheel 47, 47 see also up-cycling
Modatisimo fabric trade fair 247 pigments 31, 45, 47 repeats 38
moget (Shetland wool color) 79 piña cloth 178 repp 165
mohair 75, 87, 96–8, 97, 98, 99, 99, 102, 103 piqué/piquette 156 retting 138, 140, 168, 173
Pitti Imagine Filati trade fair 247 reversible fabric 21, 122
plaids see tartans rice paste 33, 33
Useful information
ripstop nylon 194, 196, 196 maceration (cooking) 117, 119 steaming 120, 136, 201 267
Röhm, Otto 199 market 112, 113 stem fibers 174, 175
roketsuzome 33 measuring 117 stock houses 237
Roundup Ready® 153 mudmee 111 stockings 98, 112, 112, 152, 185, 186, 194,
roves 138, 140 muga silk 121
rovings 14, 68, 148, 149 noils 115 195, 197, 215
ruffs 130, 131 peace silk 119, 121 stretch fabrics 204, 205
runs of fabric 38 pressing 120 Suncoco metallic yarns 211
production 105–11, 116–20, 121 Sunn hemp 172
“S” twist 14, 15 pure dye silk 118 Supima® 151, 151, 176
sales process 245, 246 raw silk 106, 107, 108, 109, 112, 115, suppliers 32, 237, 245, 246
samite 210 115, 117 supply chains 159, 240, 245
sample lengths 238 recycled 115 surface decoration 36–42
samples/sampling 31, 237, 238, 245, 246 reeling 105, 117, 119 suri fiber (alpaca) 88, 89
saris 110, 110 sand-washing 113, 113 sustainability considerations 10, 237, 238, 244
sateen 18, 72, 164 spider silk 115
satin 16, 18, 20, 53, 123, 125, 164 spinning 117, 119 alternative plant fibers 167, 168, 169, 169,
S.Café® yarn 188, 193 sueding 112 172, 173, 174, 175, 175, 177
Schweizer, Eduard 217 synthetic 105, 109, 112 artificial fibers 152, 214, 216, 220, 221, 222,
SCOTDIC (Standard Color of Textile Dictionnaire tamponing 120 224, 227, 229, 231
throwing 117, 119 cotton 152, 153, 154, 158, 158, 160
Internationale de la Couleur) 53 tram 117 man-made fibers 182
Seacell® 183, 221, 225, 225 tussah silk 115, 121, 123, 168 synthetic fibers 188, 192, 197, 201, 203, 209
seasonal industrial process 245 weighting 118 swatches 238
seaweed 221, 225, 225 wild silk 106, 114, 121, 123 synthetic fibers 10, 13, 183, 184–211
seersucker 162 The Silk Road 106–8, 107, 109, 111, 210 defined 182, 185
SEF 200 silkworms/silk moths 105–6, 107, 111, 114, ecological considerations 188, 192, 192,
selvages 18, 21 116–17, 119, 121 197, 201, 203, 209
serge 16, 72 Bombyx mori 106, 114, 116, 116, 119 fiber properties 187, 189, 195, 198, 200,
sericulture 105, 106–7, 109, 111, 116–20, 121 eri silk moths 121 202, 205, 205, 209, 211
Setilithe® 214 muga silk moths 121 history 185–6, 189, 194, 197, 199, 201, 205,
shaela (Shetland wool color) 79 tassah/tassar silk moths 121 208, 210
Shanghai Tenbro® 174, 177 Thai silk moths 121 linen 129
shantung 111, 123 yamami silk moth 109 market 186
shatoosh shawls 102 Singtex® 193, 193 production 185, 187, 190, 197, 198, 201,
sheep Sirikit, queen of Thailand 111 203, 207, 209, 211
skeget (Shetland wool color) 79 recycling 191, 192, 192, 193, 195, 197,
ecological/ethical considerations 84 skeins 14 203, 208, 208, 209
French merino 79 skjuret (Shetland wool color) 79 silk 105, 109, 112
hair sheep 67 slivers 140, 140, 148, 149 spinning 185, 187, 187, 190, 198, 201, 207
Icelandic 81 smocking 41, 41 sustainability considerations 188, 192, 197,
Karakul 81 Soil Association 241, 242–3 201, 203, 209
merino 64, 76, 76, 77, 82 Sorona® 188, 192, 228 wool 64, 65, 67
Rambouillet sheep 79 sourcing fabrics 237–9 synthetic rubber 183, 208–9
shearing 68 soybean fiber 183, 230, 230–1, 231
Shetland 79 SOYSILK® 230 TACTEL® 194, 195, 197
Wensleydale 63 spandex 204 14, 29, 183, 189, 204, 205–7, 206, taffeta 16, 118, 123, 124
wool sheep 67 207 tailoring 246
see also wool spider silk 115 tapada fiber (llama) 90
shibori 105 spinnerets target customers 84, 150, 238
Shinawatra, Thaksin 111 artificial fiber production 216, 217, 218, tartans 16, 73, 73
Shivers, Joseph 205 227, 228, 232 Tattersall check 73, 73
shoddy (recycled wool) 85, 85 plant fiber production 152, 176 technology 10, 65, 138, 174, 191, 245, 246
shot fabrics 35, 105 in silkworms 116, 187
shower-proofing 43 synthetic fiber production 185, 187, 187, 190, see also biotechnology
silk 13, 104–25, 152 197, 198, 201, 203, 207 Technora® 197
Ahimsa peace silk 121 spinning 14, 245 Teijin 191, 191, 192, 192
art (artificial) silk 112, 152, 185, 217, 218 cotton 148, 149 Teijinconex® 197
bleaching 117, 118 linen 134, 138, 141 TENCEL® 176, 183, 221, 221, 222, 223, 224,
breaking 117, 120 synthetic fibers 185, 187, 187, 190, 198,
calendering 120 201, 207 224, 226
care 120 wool 63, 64, 68, 68, 69–70 Terylene 10, 64, 88, 189
de-gumming 117, 118, 119, 121 spinning frames 14, 144 testing 83, 175, 183, 206, 238
ecological considerations 112, 121 spinning Jenny 144 Tex 22
eri silk 52, 121 Sportswool™ 67 Texbridge fabric trade fair 247
ethical considerations 52, 121 Standard Color of Textile Dictionnaire textile certificates 240–3
fabrics 122–5 Internationale de la Couleur see SCOTDIC Texworld fabric trade fairs 247
fiber properties 114 standards 53, 82, 83, 121, 175, 183, 193, 225, thermo-regulating fabric 92, 137, 207, 233
fibrillated silk 112 239, 240–3 see also Fairtrade Thinsulate™ 201, 202
finishing 118, 120 Staudinger, Professor Dr Hermann 185 Thompson, Jim 111, 111
history and geography 105–13 Tibetan antelopes/antelope fiber 102
lustering 120, 122 ticking 165
toile 165
Toray Industries Japan 191
Index
tow 14, 190 wool 13, 62–85
trade fairs 72, 237, 237, 245, 246 Botany wool 78
Trevira PES fibers 186 carding 63, 68, 69, 71, 85
triacetate 183, 214, 216 classification 65, 68, 76
Tricel™ 214, 216 combing 68, 69, 71
Triexta fibers 192 crimp 66, 67, 76
tsutsugaki 33 drawing/finisher drawing 68, 68, 69
tulle 124, 124, 141, 188 ecological/ethical considerations 77, 79,
Turkish Fashion Fabrics fabric trade fair 247 84, 188
Twaron® 197 fabrics 72–5
tweed 17, 53, 69, 70, 70–1, 72, 72, 73, 75, 162 fiber properties 66–7, 67
twill 16, 16, 17, 72, 72, 73, 118, 165, 165 grease-wool 68
history 63–5
cavalry twill 16, 72 homespun 64
left-hand/right hand 21 Icelandic wool 81
twist 14, 15, 69, 70 karakul (Persian lamb) 66, 81
Tyvek® 201, 202, 202, 203 lambswool 68, 76
market/marketing 82–3, 182
Ultrasuede® 188, 191 measuring 65, 68, 76
union fabric 21, 134 merino 25, 64, 66, 67, 76–9, 78, 82, 82, 176
up-cycling 17, 28, 41, 161, 188, 203, 206 Mongolian wool 79
USPs (unique selling points) 84, 150 organic 84
UV-resistant fabrics 168, 176, 193, 228, 231 production 68–75
recycled 81, 85, 85
valenki 25 resilience 67
Vaucanson, Jacques de 108 scouring 68
velour 162 Shetland wool 23, 79, 80
velvet 18, 19, 21, 53, 113, 122, 162, 179 spinning 63, 64, 68, 68, 69–70
velveteen 162 staple 76
Venetian fabric 72 synthetic 64, 65, 67
Verel 200 terminology 81
vicuñas/vicuña fiber 87, 91 underwear 77, 77
viscose 217, 218 see also bamboo rayon/ woollen spun yarn 70
Woolmark 82, 83
viscose; viscose rayon worsted 71, 71
viscose rayon 217 see also rayon worsted spun yarn 71, 74
visual color wheel 48, 48 yarn count 69
voile 163 see also knitting; sheep
wales 16, 18 Woolmark 82, 83
warp threads 15, 16, 16, 18 wrinkle-free fabrics see crease-resistant fabrics
Washington, George 170
water-repellant/resistant fabrics 16, 43, 66, 67, yaks/yak hair 87, 100, 100
yarn count 15, 141
146, 195, 195 Yarn Expo trade fair 247
wax yarns 13
yuzen 33
as a finish 43, 146
in resist dyeing 33, 33, 38 “Z” twist 15
weaving/weaves 15, 16–21, 245 Zentai clothing 204, 204
basket weave 16, 179 zero-waste pattern-cutting 158, 229
double-cloth weaving 19, 19 Ziegler, Karl 201, 203
jamawar weave 110
268 kasuri weaving 21
oshima weaving 21
pile weaving 18
plain weave 16, 16, 20, 165
sateen weaves 18, 72
satin weaves 16, 18, 20, 164
taffeta weaves 16
tapestry weaving 20
weft-faced weaving 20
weft threads 15, 16, 16, 18
welt (knitwear) 24
Whinfield, John Rex 189
White, Jim 201
Whitney, Eli 144
wicking properties 67, 97, 174, 191, 200, 201,
206, 207, 214, 216
WINDSTOPPER® 195
WIO see IWTO
“Wonderland” exhibition, 2008 10
wood 167, 168, 213, 213, 214, 218, 220, 221,
224, 226
Useful information
Photo credits
Cover Courtesy Yiqing Yin, photo by Laurence courtesy Anne Wilson, Rhona Hoffman Gallery, (bottom right) handwoven silk scarf by Sallie 269
Laborie; p.8 ©Amanda Johnston & Myka Chicago and Paul Kotula Projects, Detroit, Temple, photograph by Paul Crossman; all
Baum; p.9 courtesy Somarta, Art Direction & design by Anne Wilson© 2008 Topologies, other photos ©Myka Baum; p.57 fashion shots
CG by SOMA Design, photo by Misuaki detail 2002-08, lace, threads, insect pins, wood clockwise from top left, courtesy Blow PR,
Koshizuka (MOREVISION), hair by Jun support; p.30 courtesy James Long, design by Bora Aksu, photograph by Ian Gillett;
Matsumoto (tsuji management), make-up by photograph by Chris Moore; p.31 courtesy “green nude” photograph by Fagner Bibiano©,
Mariko Tagayashi (M.A.C); p.11 courtesy Helen Ta-ste, fashion by www.ta-ste.com - Tanja www.fagnerbibiano.com; “canvas tent detail”
Storey, Wonderland: Disappearing Dresses, a Steuer, photo by www.franziskapruetz.com - photograph by Georgina McNamara©; all
work in progress by artist/designer Helen Storey, Franziska Prütz, make-up: www.juliaprimus.com other photos ©Myka Baum; p.58 fashion shots
London College of Fashion, scientist Tony Ryan, - Julia Primus, model: Jenny Feuerstein;p.32 clockwise from top left, courtesy Blow PR,
University of Sheffield and in association with (top) ©istockphoto/DesignGeek-1, (centre) design by Ashish, photograph by Ian Gillett;
Interface, University of Ulster, 29/01/08, ©Myka Baum, (bottom left) ©shutterstock/paul courtesy Blow PR, design by Manish Arora,
photograph ©Alex Maguire; p.12 ©Myka prescott, (bottom right) ©istockphoto/ photograph by Yannis Vlamos; courtesy Pavel
Baum; p.13 photos ©Myka Baum; p.14 (top) mandygodbehear; p.33 (top) courtesy Kamila Ivancic, www.muset.cz; cochineal color eri silk
©istockphoto/tankbmb, (centre) ©istockphoto/ Gawronska-Kasperska, www.kamilagawronska. scarves courtesy Sabahar Ethiopia, photograph
danishkhan, (bottom left and right) courtesy com, photo by Bartek Sejwa, http://sejwa.com, by Sabahar Addis Ababa; all other photos
Doris & Walter Van Buskirk, Lightfoot Farms LLC, model: Victoria Evseeva(bottom left) courtesy ©Myka Baum; p.59 fashion shots clockwise
Kennebunk, Maine, Alpaca Breeders; p.15 Isabella Whitworth, (bottom right) ©shutterstock/ from top left, courtesy Kostas Murkudis,
courtesy Julien David, photo © Yannis Vlamos; Imagemaker; p.34 courtesy Isabella Whitworth; photograph by Fergus Padel, styling by Jodie
p.16 all photos ©Myka Baum; p.17 (top left) p.35 catwalking.com; p.36 (top left and Barnes; courtesy Maurizio Galante, photograph
courtesy Blow PR, design by Ashish, photograph bottom left) Pete Loud, (top) courtesy by Jean-Louis Coulombel; courtesy Noir A/S©,
by Ian Gillett, (top right) courtesy Derek Lam, Undercover - Jun Takahashi©, (bottom) photograph by Marc Hom©; all others ©Myka
photograph by Dan Lecca, (centre left) courtesy Ioannis Dimitrousis, photograph by Baum; p.62 ©Myka Baum; p.63 courtesy
courtesy Linton Tweeds Ltd©, www.lintondirect. catwalking.com; p.37 (top) courtesy Angelika Werth; p.64 Advertising Archives; p.65
com, (centre right) ©Myka Baum, (bottom) Screencraft Speciality Printing, (centre and ©Myka Baum; p.66 (left top and bottom)
courtesy GARYHARVEYCREATIVE, photograph by bottom) courtesy Print House Inc. www. photos ©Myka Baum, (right) catwalking.com,
Robert Decelis, model: Tabitha Hall at Models1; printhouse.org, photograph by Aleta Reese; design by Natalie Jacobs; p.67 (left top and
p.18 all photos ©Myka Baum; p.19 (top) p.38 ©Myka Baum; p.39 (top) AFP/Getty bottom) courtesy Australian Wool Innovation
courtesy Ioannis Dimitrousis, photograph by Images, ( bottom left) courtesy Hayley Cheal, Limited, (right) ©Myka Baum; p.68 (top)
catwalking.com, (centre) photograph courtesy (bottom centre) catwalking.com, (bottom right) courtesy Doris & Walter Van Buskirk, Lightfoot
of Gloverall, (bottom) courtesy of Gloverall, courtesy Kamila Gawronska-Kasperska, www. Farms LLC, Kennebunk, Maine, Alpaca
photograph by L.A. Litchfield; p.20 courtesy kamilagawronska.com; p.40 (left) courtesy Blow Breeders, (bottom) ©Myka Baum; p.69 V&A
CELC Masters of Linen, Confédération PR, design by Ashish, photograph by Ian Gillett, images, Victoria and Albert Museum; p.70 (top)
Europénne du Lin et du Chanvre; (right) (right) courtesy Colette Vermeulen, photo by courtesy Michael Angel, photo by Christopher
courtesy Alexander McQueen, S/S 2007, Saty and Pratha, model: Brynja at Next, Styling: Katke, (centre) courtesy Kostas Murkudis ,
photograph by Chris Moore; p.21 courtesy Chad Burton, Hair byTomohiro, Muramtsu, photograph by Fergus Padel, styling by Jodie
Tamerlane’s Daughters, photograph by Philip make up by Masato Inoue; p.41(top) courtesy Barnes, (right) ©Rodin Banica; p.71 (top)
James; p.22 all photos ©Myka Baum; p.23 (top Josep Font, Couture A/W 08/09, (left) courtesy courtesy Nicholas K., (bottom left) courtesy Kris
left) courtesy SANS, photograph by Uli Holz Rachael Cassar, photograph by Jessica Van Assche, photograph by Gaetan Bernard,
www.ulihoz.com, makeup and hair by Kristin Cassar, (bottom) courtesy Carta e Costura, (bottom right) courtesy Blow PR, design by
Hilton www.kristin-hilton.com, model: Megi photo by Max Botticelli; p.42 (top) courtesy Edward Sexton, photograph by Ian Gillett; p.72
Xhidra at Fusion Models NYC, (bottom left) Vivienne Westwood, S/S 09 “Do It Yourself”, (top) Getty Images; (bottom left and right)
©Myka Baum, (top right) Paul Harness, design (bottom) courtesy Julien David, photo by Yannis ©Myka Baum; p.73 (top left) courtesy Mary
by Hildigunnur Sigurdardottir, (centre right) Vlamos, (right) courtesy Ichiro Suzuki, photo by Binding, (top right) Catwalking.com, (bottom
courtesy Blow PR, design by Ashish, photograph Kodai; p.44 courtesy Guerra de la Paz©, left) ©Myka Baum (bottom right) courtesy Linton
by Ian Gillett, (bottom right) courtesy James Tribute, 2002-2006, mix media sculpture with Tweeds Ltd©, www.lintondirect.com; p.74 (left)
Long, photograph by Chris Moore; p.24 assorted clothing, collection of Richard Harris; ©Rodin Banica, (right) courtesy Femme
courtesy Alexander McQueen, spring 2005, p.45 courtesy Blow PR, design by Basso & Maison, photo by Sia Kermani; p.75 (left)
photograph by Chris Moore; p.25 (top) Brooke, S/S 2006, photograph by Fernada courtesy Alexander McQueen, A/W 2008,
©istockphoto/AlexKhrom, (centre and bottom) Calfat; p.46 all ©Myka Baum; p.49 courtesy photograph by Chris Moore, (right) courtesy
©Myka Baum; p.26 (top and right) courtesy Ichiro Suzuki, photo by Kodai; p.50 ©Myka Haider Ackermann; p.76 courtesy John
Ravensbourne College of Design and Baum; p.52 courtesy Isabella Whitworth; p.53 Smedley; p.77 courtesy IVANAhelsinki,
Communication, design by Su Pei Ho, (bottom) ©Myka Baum; p.55 fashion shots clockwise photography by Ivo Corda; p.78 courtesy
courtesy Anne Kyyrö Quinn©, design: Block, from top left, courtesy Noir A/S©, photograph Michael Angel, photo by Christopher Katke;
material 100% felt; p.27 (top) courtesy Olek, by Marc Hom©; courtesy Timothy Everest p.79 courtesy Huwaida Ahmed, photograph by
performance by Olek for “Two Continents and Bespoke Fitting; courtesy Blow PR, design by Rui Stelianour; p.80 courtesy Colenimo,
Beyond: Waterways”, photograph by Olek and Leonardes; Georgina McNamara©; all other photograph by Mitsuaki Murata, hair by Asashi
Miranda Lloyd, www.agataolek.com, (bottom) photos ©Myka Baum; p.56 fashion shots (Caren), make-up by Natsumi Watanabe
courtesy Olek; p.28 (left) courtesy Marina clockwise from top left, courtesy Gudrun (Caren), (bottom) ©Myka Baum; p.81 courtesy
Shlosberg, photograph by Mike Figgis, hair and Sjödén, photograph by Johan Hellsröm, model: Haider Ackermann; p.82 courtesy The New
make-up by Ashliie Kuck, model: Holly Theresa; courtesy Noir A/S©, photograph by Zealand Merino Wool Company; p.83 (bottom
(Independent), Jewellery by Pebble, London, Marc Hom©; courtesy Kris Van Assche, right) courtesy International Wool Textile
(top right) courtesy Rachael Cassar, photograph by Etienne Tordoir; courtesy Kris Organisation©, (all others) courtesy Australian
photograph by Jessica Cassar, (bottom) Van Assche, photograph by Gaetan Bernard; Wool Innovation Limited, The Woolmark logos
©Myka Baum; p.29 (right) photograph by courtesy John Rocha S/S 2007, London Fashion are reproduced with the permission of
Georgina McNamara©, (left top and bottom) Week, photograph by catwalking.com; Australian Wool Innovation Limited, owner of
Photo credits
270 The Woolmark Company; p.84 ©Myka Baum; Fujii; p.128 ©Myka Baum; p.129 courtesy CELC Rebecca Thorpe Knitwear, Creative Director:
p.85 (left and right) ©Myka Baum, (centre) Masters of Linen, Confédération Europénne du Rob Phillips, Photo: Hill & Aubrey, assistant: John
©shutterstock/Christian McCarty; p.86 ©Myka Lin et du Chanvre; p.130 ©Myka Baum; p.131 Seyer, www.hillandaubrey.com, Beauty Director:
Baum; p.88 (left) courtesy Marsha Hobert at Suri (top) courtesy Marc Le Bihan and his team, Pace Chen, assistant: Melissa Wong, www.
Network, (top right) Mark Dodge, (bottom right) photographer: Tarek Chergui Wallace, Editor: pacechen.com; p.165 (top) courtesy Walter
©istockphoto/NNehring; p.89 (all) courtesy Julia Charlotte Rabiller, Model: Mrikoo Des, (bottom) Van Beirendonck, photo by Dan Lecca,
Neill (designer and creator), photograph by courtesy Blow PR, design by Rui Leonardes; p. (bottom) courtesy A Détacher, photo by
Chris Moore; p.90 ©istockphoto/aventurus; 132 courtesy Nicholas K.; p.133 (left and Elizabeth Lippman; p.166 ©Myka Baum; p.167
p.92 ©Myka Baum; p.93 (top) courtesy Timothy middle) courtesy John Rocha S/S 2007, London all ©Myka Baum; p.168 courtesy Rohit Khosla
Everest, photograph by David Goldman, styling Fashion Week, photograph by catwalking.com, Foundation, New Delhi, photograph by
by James Sleaford, model: Simon Blackford, (right) courtesy Irish Linen Guild; p.135 (left) Prabuddha Das Gupta; p.169 (left) ©Rodin
(bottom) ©Myka Baum; p.94 ©shutterstock/ courtesy CELC European Confederation of Flax Banica, (right) courtesy Saara Lepokorpi, photo
yansherman; p.95 (top) courtesy Johnstons of and Hemp, (right) courtesy Corneliani; p.136 by Ville Varumo; p.170 courtesy Elsien
Elgin, photograph by Chris Blott, styling by Linny courtesy CELC European Confederation of Flax Gringhuis, photo by David Joosten, hair and
Oliphant, (left) courtesy Armand Basi One, and Hemp; p.137 courtesy Icona Vera, Galaxy makeup by Maaike Beijer for M.A.C @
photograph by Ugo Camera, (bottom) Dress, Ultra-Strawberry Pink Linen Satin, Angelique Hoorn management, model Leyla
photograph by Georgina McNamara©; p.96 photograph by Christian Lartillot; p.139 courtesy @ Lindamodels; p.171 courtesy Sanyukta
©shutterstock/Kitch Bain; p.97 ©Myka Baum; CELC European Confederation of Flax and Shrestha, photo by Christopher Dadey; p.172
p.98 catwalking.com; p.99 courtesy Timothy Hemp; p.140 (top left) courtesy CELC European (left) courtesy G-Star RAW C.V. ©, (right) ©Myka
Everest Bespoke Fitting; p.100 ©istockphoto/ Confederation of Flax and Hemp, (top right) Baum; p.173 ©Myka Baum; p.174
Tomo75; p. 101(all) courtesy Large Animal ©istockphoto/dononeg, (bottom) ©Myka ©istockphoto/clu; p.175 courtesy Wear
Research Station, University of Alaska Fairbanks; Baum; p.141 courtesy Yiqing Yin, photo by Shoji Chemistry; p.176 ©Myka Baum; p.177
p.102 (left) ©Myka Baum, (right) ©shutterstock/ Fujii; p.142 ©Myka Baum; p.143 (left) photograph by Paul Morgan, design by Ada
Teresa Levite; p.103 (top) courtesy Elise Kim, ©istockphoto/AM29, (right) courtesy Kuyichi, Zanditon; p.178 (left) ©Myka Baum, (right) Getty
photo by Peter Stigter, (left) catwalking.com, photograph by petrovsky & ramone; p.144 (left) Images; p.179 (left) catwalking.com, design by
(bottom right) ©Myka Baum; p.104 courtesy ©istockphoto/KarenMassier, (right) courtesy Rachel Caulfield, (right) ©Rodin Banica; p.183
Karren K. Brito; p.105 courtesy Blow PR, design John Smedley; p.145 Time & Life Pictures/Getty courtesy Wear Chemistry; p.184
by Manish Arora, photograph by Yannis Images; p.147 ©istockphoto/tonda; p.148 ©istockphoto;p.186 (top) ©Myka Baum,
Vlamos; p.106 (left) courtesy Paul Smith, design courtesy of ars.usda.gov, United States (bottom) courtesy Trevira GmbH; p.187 (left)
Paul Smith for Gainsborough Silks, (right) Department of Agriculture, National Agricultural courtesy Ceram Tec International, (right) R.E.
Vivienne Westwood, S/S “Do It Yourself”; p.108 Library; p.149 (left) ©shutterstock, (right) Litchfield/Science Photo Library; p.188 (left)
Jordan Tan / Shutterstock.com; p.109 Getty photograph by and courtesy of Dr. James M. courtesy Walter Van Beirendonck, photo by
Images; p.110 courtesy Lakme India Fashion Vreeland, Jr. of Peru Naturtex Partners; p.150 Dan Lecca, (right) courtesy ehrensache; p.189
Week, design by Anand Kabra; p.111 (left) courtesy Ria Thomas, photograph by Matt courtesy London College of Fashion, Photo by:
courtesy Etro, (right) courtesy Jim Thompson, Easton; p.151 (left) courtesy Supima Design Christopher Agius Burke; MUA: Kayoko Kishi,
“Baphoun” £90 per metre, photograph by Hans Competition, (right) courtesy Haider Model: Leontine / First Model Management
Fonk; p.112 courtesy german-hosiery-museum. Ackermann; p.152 courtesy Kostas Murkudis, London; p.190 courtesy Corneliani; p.191 (top)
de, photograph by Michael Schoedel M.A.; photograph by Fergus Padel, styling by Jodie courtesy Henri Lloyd Ltd, (bottom) ©Myka
p.113 (left) courtesy Vivian Westwood, S/S 09 Barnes; p.153 courtesy G-Star RAW C.V. ©; Baum; p.192 courtesy Henri Lloyd Ltd; p.193 all
“Do It Yourself”, (right) courtesy Narciso p.154 (left) courtesy H&M, (right) graphic ©Myka Baum; p.194 all ©Myka Baum; p.195
Rodriguez; p.114 (left) courtesy ANTOINE PETERS ©Myka Baum; p.155 (top) courtesy Stella photo ©Myka Baum; p.196 (top) ©Myka Baum,
S/S 2009 “To make an elephant out of a James, (bottom) ©Kate Burrows; p.156 courtesy (centre left) courtesy Invista Textiles (UK) Ltd,
mosquito”, photograph by Peter Stigter, (right) Ecoyarns PTY Ltd, www.ecoyarns.com.au; p.157 (centre right) courtesy Invista Textiles (UK) Ltd,
courtesy Etro; p.115 (top) courtesy A Détacher, courtesy A Détacher, photo by Randy Brooke; (bottom) ©Amanda Johnston & Myka Baum;
photo by Elizabeth Lippman; (left and bottom) p.158 courtesy Elsien Gringhuis, photo by David p.198 ©Myka Baum; p.199 Advertising
©Myka Baum; p.116 (top left) Getty Images, Joosten, hair and makeup by Maaike Beijer for Archives; p.200 courtesy 1 Granary, design by
(top right) ©Myka Baum, (bottom left) M.A.C @ Angelique Hoorn management, Maia Bergman; p.202 courtesy Marian
©istockphoto/roset (bottom right) ©istockphoto/ model Leyla @ Lindamodels; p.159 courtesy Schoettle©; p.203 courtesy Hayley
VickieSichau; p.117 (left) courtesy Isabella Noir A/S©, photo by Marc Hom©; p.160 (top) Grundmann; p.204 (left) ©Corbis, (right) Eye Of
Whitworth, (right) courtesy The Gainsborough Silk courtesy Kuyichi, photograph by petrovsky & Science/Science Photo Library; p. 205 courtesy
Weaving Co. Ltd; p.120 (top) courtesy ANTOINE ramone, (bottom) courtesy COMO NO www. Terra New York, photo by Lionel Koretzky; p.206
PETERS A/W 2008-2009 “Fat people are harder como-no.fr, C&M Les Petits Bonheurs SARL, (left) courtesy Herve Leger, (right) courtesy
to kidnap.”, photograph by Peter Stigter, (left) Candice Augereau, Boschat Emmanuelle, London College of Fashion; p.207 (left)
©istockphoto/Fyletto; p.121 courtesy Noir A/S©, Arnaud Lafontaine; p.161 courtesy Blanq, Artist courtesy Sweaty Betty, (others) courtesy Invista
photograph by Marc Hom©; p.122 (top left) and creative director: Jeffrey WANG, Textiles (UK) Ltd; p.208 (top left) courtesy
courtesy Armand Basi One, photograph by Ugo Photographer: Liang SU, associate Creative Matmarket, (top right) courtesy HIKO-MIZUNO
Camera, (bottom left) courtesy Haider Director: Caroline YANG @ BLANQ, Art Director: college of jewelry, (bottom) ©Amanda
Ackermann, (bottom centre) courtesy Kostas Wawa HO & Eddie TENG @ BLANQ, Hair Stylist: Johnston & Myka Baum; p.209 (top left)
Murkudis, photograph by Fergus Padel, styling Ting SHIH @ FLUX, Make-up Artist: Shu-Ling catwalking.com, (top right) courtesy Eileen
by Jodie Barnes, (bottom right) courtesy Chien, Model: Shin @ STORM MODEL, Pang, (bottom left) courtesy Matmarket, p.210
Roksanda Ilincic A/W 2008; p.123 (left) V&A Retoucher: Chinn, Photo Assistant: Naga Advertising Archives; p.211 catwalking.com;
Images, Victoria and Albert Museum, (right) CHANG & Yang LIN, Styling Assistant: XiaoBao; p.212 ©Myka Baum; p.213 (left) ©shutterstock;
courtesy Haider Ackermann; p.124 (top) p.162 (left) courtesy Mary Binding, (right) p.214 Eye of Science/ Science Photo Library;
courtesy Alexander McQueen, S/S 2007, courtesy Maria Francesca Pepe Jewellery-Wear p.215 (left) ©Myka Baum, (right) ©kojoku /
photograph by Chris Moore, (bottom left) Design, www.mfpepe.com; p.163 (right) Shutterstock; p.217 courtesy A Détacher, photo
courtesy Yiqing Yin, photo by Laurence Laborie, catwalking.com, design by Nabil El Nayal, (left) by Randy Brooke; p.219 courtesy Dinu Bodiciu,
(bottom right) courtesy Nicholas K.; p.125 (top) courtesy Kris Van Assche, photograph by Photographer: Pearly, Model: Olivia-Fayne
courtesy Armand Basi One, photograph by Ugo Gaetan Bernard, (bottom) courtesy Kris Van Lamb MUA, Hair: Eimear Sweeney; p.221 (left)
Camera, (left) photofriday / Shutterstock.com, Assche, photograph by Etienne Tordoir; p.164 ©shutterstock, (right) courtesy G-Star RAW C.V.
(bottom) courtesy Yiqing Yin, photo by Shoji (top) Nayukko Yamamoto, (bottom) courtesy ©; p.222 ©Myka Baum; p.223 (left) courtesy
Useful information
Celine Faizant, photograph by Matthieu
Granier, (right) Paul Morgan, design by Ada
Zanditon; p. 224 courtesy catwalking.com,
design Ada Zanditon; p.225 (left and centre)
photos ©Myka Baum, (right) courtesy Seaweed
Fashion Project, photo: MIGA studio Herford,
design and fabric processing: Seaweed
Fashion Project www.seaweedfashion.com;
p.226 (left) courtesy g=9.8, photograph by
Milomir Kovacevic; (right top to bottom)
shutterstock, courtesy Lenzing AG, ©Myka
Baum, courtesy Lenzing AG, courtesy Lenzing
AG, ©Myka Baum; p.228 ©shutterstock; p.229
(left) ©Myka Baum, (right) courtesy
Copenhagen Fashion Summit; p.230 (top left)
©shutterstock, (others) ©Myka Baum; p.231
courtesy Uranus Apparel; p.232 (left)
©shutterstock, (right) ©Myka Baum; p.233 (left)
courtesy Sanyukta Shrestha, photo by
Christopher Dadey, (top right), ©shutterstock,
(bottom) courtesy 01M-One Moment; p.236
(top) courtesy CELC Masters of Linen
Confédération Européenne du Lin et du
Chanvre, (others) ©Myka Baum; p.239 ©Myka
Baum; p.240 (1) courtesy Better Cotton
Initiative, (2) courtesy bluesign®, (3) courtesy
Cradle to Cradle Products Innovation Institute,
(4) courtesy The Fairtrade Foundation, (5)
courtesy Soil Association, (6) courtesy Textile
Exchange, (7) courtesy I.W.T.O. International
Wool Textile Organisation, (8) courtesy MADE-BY;
p.242 (1-3) courtesy OEKO-TEX®, (4-7) courtesy
Textile Exchange, (8) courtesy Soil Association;
p.248 ©Myka Baum; p.266 ©Myka Baum.
271
Photo credits
Acknowledgments
We would like to thank the following people:
For their technical expertise and images:
Nigel and Christine Maitland of Maitland
Designs, Marie Demaegdt at Masters of Linen,
Dr. James M. Vreeland, Jr. at Peru Naturtex,
Linda F. Learn at Class Act Fabrics.
For their generosity with images and their
contribution with information:
Cheryl Benda at Wild Turkey Felt Makers,
Nell Trotter at Blow PR, Marsha Hobert at Suri
Network, Johnstons of Elgin, Australian Wool
Innovation Limited, Ursula Hudson at London
College of Fashion.
For their original images and artwork assistance:
Nicholas Vivian, Artist, Georgina McNamara,
Artist–photographer, Fagner Bibiano, Artist–
photographer.
For consultation and support:
Dilys Williams, Director of the Centre for
Sustainable Fashion at the London College of
Fashion, Jess Lertvilai, Materials and Products
Coordinator at London College of Fashion and
Central St Martins, Nina Marenzi, Director of the
Sustainable Angle.
For researching and producing the sustainable
certifications chart:
Charlotte Turner, The Sustainable Angle
Myka Baum
www.seephotography.net
Very special thanks are reserved for Myka
Baum, whose original remit was to source
the broad variety of images needed for this
publication. Myka’s tenacity, professionalism,
and organization deserve much credit,
but it is her acute interpretative sense and
proactive creative input that has exceeded
our original expectations of her role. She has
worked tirelessly to generate original imagery
and produced many specially commissioned
photographs, for which we are profoundly
grateful.
Lastly, we would like to thank our publisher
Laurence King and his team, especially Helen
Evans, Susie May, Sara Goldsmith and Roger
Fawcett-Tang.
This book is dedicated to
Ron Johnston 1930–2008
272
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