The Fashion Designers Textile Directory

Advantages Disadvantages Usual End use Chapter
finishing ●
• Very absorbent surface • Snags easily Towels, robes, interiors
• Softener ●
Furniture, jackets, pants, ●
• Warm • Shrinks easily suits, skirts ●
●
• Loops on face and back sides • Bulky to sew Furniture, jackets,
coats, bedding
• Soft, hair-like surface • One-way napped surface • Sheared/brushed
• Soft texture • Bulky appearance

• Imitates real fur • Poor abrasion resistance • Sheared/brushed
• Great variety • Heat-sensitive

• Luxurious soft hand • One-way napped surface • Sheared/brushed Dresses, tops, coats ●
• Lustrous • Cannot be pressed
• Nap crushes easily Chapter
●
Note: Elastic fabrics using complex elastic yarns can be produced in nearly all woven/knitted fabrics. Check with your fabric supplier. ●
Note: Faux suede can be produced in woven/knitted/massed-fiber fabrics. ●
●
Advantages Disadvantages Usual End use ●
finishing ●
• Fine surface texture • Shrinks easily Tailored shirts
• Softener or
• Very fine • Wrinkles easily light resin Tailored shirts
surface texture • Will shrink
• Softener
• Lustrous surface
• Can be uncomfortable • Softener Tailored jackets, suits,
• Coarse surface texture next to skin and slacks
• Very durable • Water-resistant
• Shrinks easily resins Outdoor products,
• Very durable light jackets, pants,
• UV-safe if polyester • Will mildew if cotton • Water-resistant footwear, accessories
• Will shrink resins
• Very durable Chambray Oxford
• UV-safe if polyester • Will mildew if cotton • Water-resistant
• Heavier than sailcloth • Will shrink resins
• Very durable
• UV-safe if polyester • Will mildew if cotton
• Heavier than duck • Will shrink

Twill weave Usual fibers Usual yarns Fabric Usual fabric weight
Weave name used used names
Top weight
Twill weave Cotton, hemp, wool, Simple spun Twill (pp.86–93)
flax, bamboo, rayon Medium weight
Gabardine (p.90) Medium weight
Polyester or Plied spun
PLA staple Chino (p.91)

Cotton staple only Simple spun

Wool staple only Plied spun Serge (p.92) Medium weight

Herringbone gabardine Cotton, hemp, Simple spun Denim (pp.86–89) Medium to bottom weight
PLA, flax Plied spun
Cavalry twill (p.93) Medium to bottom weight
Cotton or
wool staple

Wool staple Simple spun Melton (pp.110–111) Bottom weight

Silk or polyester Multifilament Surah (p.149) Top weight
filament

Twill weave patterns Staple or filament, Variable Herringbone (p.90) Any weight
any fiber Houndstooth (p.98) Any weight

Glen plaid (pp.62–63) Any weight

300 The charts Pinstriped
serge

Cavalry twill

Advantages Disadvantages Usual End use Chapter
finishing ●
• Fine diagonal surface • Wrinkles Tailored shirts/blouses
• Softener

• Very fine diagonal surface • Sometimes expensive • Softener Tailored suits, jackets, ●
pants, coats ●
• Resilient • Pressing marks show
Tailored jackets, pants,
• Coarse diagonal surface • Pressing marks show • Softener shorts, skirts
• Drapable • Not very wrinkle-resistant • Anti-stain
• Anti-wrinkle
• Fine diagonal surface
• Resilient • Sometimes expensive • Fulling Tailored suits, jackets, pants ●

• Coarse diagonal surface • Shrinks • Resin Tailored jackets, pants, jeans, ●
• Abrasion-resistant • Cotton dries slowly
skirts, shorts

• Pronounced diagonal • Relatively expensive • Resin/softener Tailored jackets, pants ●
texture

• Very warm • Bulky • Fulling Coats ●
• Dense • Wrinkles • Softener Ties, blouses ●

• Fine diagonal surface

• Zigzag appearance • Sometimes matched • Variable Shirts, blouses, jackets, ●
• Check/plaid • Sometimes matched • Variable suiting, pants, skirts ●
• Plaid • Sometimes matched • Variable ●
Shirts, jackets, suiting,
pants, skirts

Shirts, jackets, suiting,
pants, skirts

tweHeodundstooth Twill weave 301

Satin weave Usual fibers Usual yarns Fabric Usual fabric weight
Weave name used used names
Top to medium weight
Satin weave Silk, polyester, acetate, Simple Satin
or rayon filament multifilament (pp.142–143)

Simple Charmeuse Top weight
multifilaments (p.142)
with high-twist
High-twist Crêpe de Chine Top weight
(pp.144–145)
Simple
multifilament Bridal satin (p.75) Medium weight

Cotton, rayon, or Simple spun Sateen (p.74) Top to medium weight
polyester staple

Printed satin
Bridal satin

302 The charts

Advantages Disadvantages Usual End use Chapter
finishing
• Shiny/lustrous surface • Snags easily Blouses, dresses, lingerie ●
• Presses well • May wrinkle • Softener

• Shiny, lustrous • Snags easily • Softener Blouses, dresses, lingerie ●
• Excellent drape • May move • Softener
Blouses, lingerie ●
• Lustrous surface during sewing Formal dresses, suits ●
• Resilient
• May snag
• Lustrous surface • Expensive
• Tailors well
• Crisp hand • Expensive • Softener

• Lustrous surface • Pressing marks show
• Crisp hand
• Pressing marks show • Softener Blouses, dresses, ●
• May wrinkle furniture, accessories

Polyester crêpe de Chine
W
et-printed
sateen
Satin silk charmeuse

Satin weave 303

Weft knit (circular knitting)

Knit name Usual fibers Usual yarns Fabric Usual fabric weight
used used names
Single knit Top weight
Cotton, polyester, Simple spun, Jersey (pp.150–151)
nylon, wool, acrylic, complex spun
or rayon staple

Simple multifilament, Sweater knits Top, medium, and
complex multifilament
(pp.154–155, 188–191) bottom weight

Single/double knit All filament fibers Simple spun,

and all staple fibers complex spun

Double knit Cotton, polyester, Interlock (p.152) Top weight
nylon, wool, acrylic,
or rayon staple

All filament fibers Simple spun, Ribbed (pp.266–267) Top and medium weight
complex spun Top weight
Pointelle knits Top and medium weight
Simple multifilament (pp.156–157)
texturized high-twist,
complex multifilament Thermal knits
(pp.168–169)

Ponte di Roma (p.112) Bottom weight

Silk or polyester High-twist multifilament Matte jersey (p.153) Top and medium weight
filament

W
ool jersey

Raschel sweater knit
Pointelle

304 The charts

Advantages Disadvantages Usual End use Chapter
finishing ●
• Lightweight • Snags easily Non-tailored tops, skirts,
• Even surface • Cut edges roll • Softener dresses, pants ●
• Drapey • Easily distorted Anti-curl
Sweaters
• Varied texture • Softener
• Fine to large gauge
• Wide variety
• Sometimes knitted

as a garment

• Rigid knit • Snags easily • Softener Lingerie, lining, backing on ●
• Same on face/back • Thick fabric for weight bonded fabrics
• Cut edges don’t roll • Softener
• Expensive • Softener Cuffs, waistbands, tops, ●
• Elastic • Sometimes bulky • Softener lingerie, dresses ●
• Ribbed texture • Softener
• Snags easily • Softener Tops, lingerie, sleepwear
• Light, airy designs • Not easily available
• Knitted into fabric Tops, sleepwear, underwear ●
• Snags easily
• Deep texture (high/low) • Loses shape Pants, jackets, suits ●
• Cut edges don’t roll
• Warm fabric • Expensive Dresses ●
• Elastic yet rigid • Not easily available
• Tailors well
• Doesn’t tailor well
• Lively, drapey • Snags easily
• Stable and elastic

Polyester m
atte jersey

Weft knit 305

Weft pile knit Usual fibers Usual yarns Fabric Usual fabric weight
Knit name used used names
Top and medium weight
Looped pile Cotton, polyester, Simple spun, French terry Medium weight
bamboo rayon, complex spun (pp.180–181)
Cut/sheared pile other rayon, or Velour (pp.184–185) Medium to bottom weight
hemp staple Multifilament, complex
multifilament Polar fleece Medium weight
Silk, polyester, rayon, (pp.182–183) Medium/heavyweight
bamboo rayon, or
other rayon filament Panne velour
(pp.184–185)
PET polyester or Spun or multifilament Faux fur (pp.256–259)
polyester staple and
filament, sometimes
blended with acrylic

Silk, polyester, rayon, Multifilament, complex
bamboo rayon, or multifilament
other rayon filament

Jacquard weft knit Staple or filament Variable Variable All

Warp knitting (high-speed)

Knit name Usual fibers Usual yarns Fabric Usual fabric weight
used used names
Tricot knit Top weight
Filament Smooth and texturized Tricot (pp.160–161)
multifilament

Mesh (pp.158–159) Top weight

Raschel knit Spandex, nylon, or Complex elastic yarns Elastic power mesh Top weight
polyester filament (pp.284–285) Top weight
Monofilament,
Silk, nylon, or multifilament Netting (pp.228–229)
polyester filament

Point d’esprit Top weight
(pp.228–229) Top weight

Tulle (pp.228–229)

Polyester staple Simple spun, Mass-market lace Top to medium weight
and filament multifilament (pp.164–165)

306 The charts

Advantages Disadvantages Usual End use Chapter
finishing ●
• Looped surface texture • Loops on face only Tops, dresses, sleepwear
• Drapey • Snags easily • Softener
• Soft, velvety surface • Sheds fiber
• Drapey • Curls • Sheared/brushed Tops, dresses, loungewear, ●
• Anti-curl sleepwear

• Soft, lofty textured fabric • Brushed inside surface • Sheared/brushed Outdoor tops, jackets, ●
• Sheared side does not pill pills easily • Anti-pilling jacket liners, robes, and
• Softener loungewear ●
too easily • Bulky to sew ●
• Can be easily recycled • Sheared/brushed Tops, dresses, robes, ●●
• Irregular surface • Crinkled loungewear
• Crushed, lustrous surface • Doesn’t tailor well
• Soft, velvety surface • Poor heat resistance • Sheared/brushed Coats, bedding, trimming

• Imitates real fur • Snags easily • Variable Tops, sweaters, dresses,
• Bulky but lightweight loungewear, sleepwear

• Variable

Advantages Disadvantages Usual End use Chapter
finishing
• Smooth • Snags easily Lingerie, lining, underwear, ●
• Inexpensive • Softener tops, athletic apparel
• Rigid in straight grain
• Snags easily • Softener Lingerie, lining, underwear, ●
• Air holes in surface • Difficult to sew tops, athletic apparel ●
●
• Very elastic • Expensive • Heat-set Lingerie, underwear, straps,
• Resilient expander inserts
• Sometimes too constricting
• Honeycomb Millinery, skirts, accessories
• Easily available • Breaks easily • Resins/softener

• Honeycomb with texture • Breaks easily • Resins/softener Millinery ●
●
• Small holes • Delicate • Resins/softener Millinery, skirts, ●
trim, accessories
• Open, airy, imitation lace • Snags easily • Softener Tabletop, curtains, lingerie,
• Rigid in straight grain tops, underwear
• Inexpensive

Weft pile knit and warp knit 307

Warp pile knit Usual fibers Usual yarns Fabric Usual fabric weight
Knit name used used names
Medium/heavyweight
Looped pile Cotton, polyester, Simple spun, French terry
bamboo rayon, complex spun (pp.180–181) Medium/heavyweight
Cut/sheared pile other rayon, or Medium weight
hemp staple Velour (pp.184–185) Medium/heavyweight

Silk, polyester, rayon, Multifilament, complex Panne velour
bamboo rayon, or multifilament (pp.184–185)
other rayon filament
Multifilament, complex Faux fur (pp.256–259)
Silk, polyester, rayon, multifilament
bamboo rayon, or
other rayon filament

French terry
Panne velour

Faux fur

Jacquard warp knit

Knit name Usual fibers Usual yarns Fabric Usual fabric weight
used used names
Jacquard warp knit All
Staple and Variable Variable
filament

Note: Elastic knit fabrics, using laid-in monofilament spandex yarn, or complex elastic yarn, can be produced from nearly all knitted fabrics.
Check with your supplier.
Note: Faux suede can be produced in woven/knitted/massed-fiber fabrics.

308 The charts

Advantages Disadvantages Usual End use Chapter
finishing ●
• Looped surface texture • Loops on face only Tops, dresses, sleepwear
• Drapey • Snags easily • Softener

• Soft, velvety surface • Sheds fiber • Sheared/brushed Tops, dresses, ●
• Drapey • Curls ●
• Anti-curl loungewear, sleepwear ●

• Crushed, lustrous surface • Irregular surface • Sheared/brushed Tops, dresses, robes,
• Soft, velvety surface • Doesn’t tailor well
• Crinkled loungewear

• Imitates real fur • Poor heat resistance • Sheared/brushed Coats, bedding, trimming
• Bulky but lightweight

Advantages Disadvantages Usual End use Chapter
finishing ●●
Variable • Snags easily Tops, sweaters, dresses,
• Variable loungewear, sleepwear

Jacquard knit
Jacquard knit

Warp pile knit and jacquard warp knit 309

Fiber to fabric Usual fibers Fabrication Fabric Usual fabric weight
used method names
Fiber massed Medium weight
into fabric Wool, rayon, or Felted/needlepunched Felt (pp.108–109)
polyester staple Bottom weight
Massed fiber (fiber
to fabric)

Microfiber or polyester Needlepunched Faux suede
staple/filament (pp.124–125)

Polyester filament Spunlaced or Interlining (pp.128–131) Top to medium weight
spunbonded

Spunbonded fiber web Polyester or PET staple Fiberfill Medium to bottom weight
Tricot interlining(pp.248–253)
Faux suede

Lace (machine-made)

Knit name Usual fibers Yarns used Fabric Usual fabric weight
used names
Bobbin Multifilament Top to medium weight
Silk, rayon filament, simple spun Bobbin Cluny
wool, acrylic, or (pp.162–163)
cotton staple

Schiffli Silk or rayon Multifilament Schiffli (pp.162–163) Top to medium weight

filament, wool staple simple spun

Note: Faux suede can be produced in woven/knitted/massed-fiber fabrics.

310 The charts

Advantages Disadvantages Usual End use Chapter
finishing ●
• Moldable • Poor strength Appliqués, hats, jackets, skirts
• Felting ●
• Good alternative to Coats, jackets, suits, pants
leather suede • Expensive • Napping

• Strong • Poor strength • Heat-set Interlining ●
• Tailors well • Pills Thermal filling/stuffing ●

• Supports garment • Difficult to sew • Heat-set
structure

• Doesn’t shrink

• Adds loft
• Thermal insulation

Advantages Disadvantages Usual End use Chapter
finishing
• Allover lace design • Limited supply if Appliqués, edgings, tops, dresses ●
• Imitates handmade lace silk/wool • Preshrunk
• Light resin

• Embroidered effect • Expensive • Preshrunk Appliqués, edgings, dresses ●
• Opulent appearance • Limited supply • Light resin

Bobbin lace Fiber to fabric and lace 311
Schiffli lace

Glossary

Abrasion resistance Bulk fabric production Dobby weave
Does not weaken when rubbed on Textile mills producing fabric for a A combination of weaves to produce
the surface. customer’s order. small geometric, woven-in designs.

Absorbent Chemical (wet) finish Drape
Takes in and holds moisture. Involves the use of chemicals, water, Ability of a fiber, yarn, or fabric to be
and heat to apply the finish. flexible and collapse.
Aesthetic finish
Adding visual appeal or texture to the Chenille yarn Dye
fabric. Examples are adding luster, Complex yarn that has a cut-pile Colorant that will chemically bond
brushing, or pleating the fabric surface. appearance. to fiber.

Anti-microbial/bacteria “Closed loop” Dyeing
Does not allow bacteria to grow on A strategy for self-contained Adding color to fiber, yarn, fabric ,
the fiber or fabric surface. production and consumption; creating or garments by immersing them in
a means for raw materials and a dye bath solution.
Balanced weave products to be recaptured and
Same number and size of warp and collected for future use. Elasticity
weft yarns within a square inch/cm. Ability of a fiber, yarn, fabric, or
Coated garment to expand and return to
Basketweave Application of viscous material to a its original shape.
Interlacing of pairs of warp and weft fabric that is later dried or cured to
yarns at a 90-degree angle. become a flexible layer on the fabric Embossing
Adding surface indentations by
Bast fiber Colorfastness applying heat and pressure.
Fiber produced from plant (cellulose) Ability of a colorant to remain on the
stems. Hemp and flax are bast fibers. fiber, yarn, fabric, or garment. Emissions
Airborne molecules resulting from
Beetling Conducts heat evaporation or oxidation.
Finishing method that will soften and Does not absorb heat, but moves
sometimes add luster to the fabric. heat to the surface. Fabric
Any two-dimensional, flexible surface
Bias grain Converter that can be sewn.
The diagonal direction (always at a Textile mill that will convert the
45-degree angle between the warp greige fabric into dyed, printed, Face of fabric
and the weft yarns) across the fabric and finished fabric. The outside of the fabric that will be
surface. Creates stretch and drape. shown in a garment.
Count
Bicomponent fiber The diameter (thickness) of a yarn. Fiber
Blending two or more fibers within a Small hair-like strands. May be natural
single manufactured fiber. Extruded as Crocking or manmade.
a single, blended filament fiber. Color loss from rubbing action.
Can be wet or dry crocking. Fiber blending
Bonded Combination of two or more different
Putting two fabrics together using a Cross-grain fibers in yarn or fabric.
binding agent or heat. Grain line is parallel to the weft
direction or horizontal across the Filament fiber
Bottom of fabric body. This grain line has little “give” Fiber that is continuous in length,
Designated location on the fabric when pulled. produced from a spinneret or by an
that corresponds to the bottom of animal such as a spider or silk worm.
the garment. Cutting waste
Material left over after the garment Finishing
Bottom-weight fabric has been cut from the fabric. A process to add aesthetic appeal
Fabric weight is approximately or function that may change the
9–14+ oz per square yard/meter. Density characteristics of the fiber, yarn,
The number of yarns in warp and and/fabric or garment.
Bouclé yarn weft direction per square inch (cm).
Complex plied yarn with a
looped texture.

Fulling Knit Mercerized PFD or PFP
Finishing wool fabrics by shrinking. One or more yarns looped together Chemical process applied to cotton Prepared for Dyeing or Prepared for
The finished fabric will be denser and to create fabric. yarn or fabric that adds luster and Printing. Fabric has been scoured
less likely to stretch out of shape. strength, and will improve dyeability. (cleaned) and bleached.
Laminating
Functional finish Bonding (gluing) two fabrics together. Microfiber Piece
Adding a new performance Extremely fine fiber that does not exist A roll of fabric (usually about
characteristic to a fabric, such as water Landfill in nature. Only manufactured fiber 50 yds/meters).
resistance or wrinkle resistance. Land set aside by cities and other can be microfiber.
agencies to dispose of garbage and Pigment
Grain line unwanted items. Mildew resistant Colorant that does not chemically
The orientation of the pattern pieces Does not allow a type of fungus to bond to fiber or fabric and requires a
on the fabric that will best suit the Leaf fiber grow on fiber or fabric. binding agent plus heat to remain.
purpose of the garment design. There Fiber produced from a leaf. This is
are three types of grain lines: straight a cellulose fiber. Mill waste Pile
grain, cross-grain, and bias. Unused fiber, yarn, or fabric that is left A third dimension of depth (raised
Lining at the fiber, yarn, or textile mill. surface), usually added by inserting an
Hand A separate fabric sewn on the inside additional yarn to create this
The term used to describe how a of a garment to conceal all raw edges Monofilament yarn dimension. Can be looped or cut.
fabric feels. For example, the fabric and help it to hang well. A single filament fiber is also a yarn.
may feel crisp, soft, or stiff. Spandex and metallic fiber are also Pleating
Loft monofilament yarns. Arranging or creasing fabric in regular
Heat sensitive An amount of air space between patterns to add volume and/or texture
Subject to softening, melting, or fibers creating volume. Multifilament yarn to the fabric surface or garment.
shrinking in the presence of heat. Combining filament fiber into a yarn.
Lustrous Previously worn
Interlining Reflects light. Nano finishing Clothing that has been purchased and
Also known as underlining, this type The use of extremely small (nano) worn by the consumer. It is ready for
of fabric is added for reinforcement Manipulated fiber molecules to apply functional finishes. discarding or reuse.
or shape retention. It is placed on Changing the shape of fiber to change
the back of the face fabric before its fiber characteristics. Nap direction Printing
garment construction. The shading that occurs on brushed Colored images applied to the
Manufactured fiber or cut-pile (sheared) fabrics. The nap fabric surface.
Interlock knit Fiber that does not occur in nature. will absorb light or reflect light,
A weft double knit that shows only Can be regenerated cellulosic fiber or changing the color of the fabric, Progressive shrinkage
knit stitches on the face and back. oil-based (synthetic) fiber. Can depending on the angle of the light. Continues to shrink.
become staple fiber, though all
Jacquard knit manufactured fibers are produced as Natural fiber Raschel knit
Any knitted pattern—can be a curved filament fiber first. Fiber from a non-synthetic source, for A warp knitting technique that can
or a geometric knitted-in design. example, cotton, flax, silk, or wool. produce a variety of lacy, open
Massed fiber fabric fabric designs.
Jacquard weave Fabric produced directly from fiber. One-way pattern
Combination of weaves to produce Fibers are bound together to create A fabric design that can be shown in Recycling textiles or clothing
detailed, curved designs woven into a two-dimensional surface. only one direction. The collection of textile-related
the fabric. products that can be broken down to
Matte Performance its smallest parts to produce yarn from
Jersey knit Non-lustrous (reflective) surface Sustained fiber, yarn, or fabric existing fiber or for the purpose of
A weft single knit that uses a knit stitch appearance. characteristics for the intended use. manufacturing new fiber.
construction on the fabric face and
purl knit on the back side. Mechanical (dry) finish Pest resistant Regenerated cellulosic fiber
Applied without the use of chemicals Ability to prevent insects from eating Manufactured fiber produced from
Jobber or water. fiber, yarn, fabric, or garment. plant-based raw materials. Examples
Sales agency that buys small amounts are lyocell, rayon using bamboo,
of leftover or defective fabrics from Medium-weight fabric PET viscose rayon, PLA, and acetate.
manufacturers, converters, or other Fabric that weighs approximately Description of raw material used to
sources at low prices and sells locally 4.5–8 oz per square yard/meter. create low-quality polyester fiber from
for the benefit of small designers and recycled plastic bottles.
manufacturers.

Continued ▲

•••Glossary 313

Repurposing textiles Sourcing Textile trade show Weave
or clothing Researching to find appropriate fiber, Gathering of textile suppliers in one The systematic interlacing of warp and
The collection of textile-related yarn, and fabric for garment design location to promote their fabrics and weft threads at 90-degree angles.
products, either new or previously and production. yarns to garment designers,
worn, that can be reused in apparel manufacturers, and retailers. Weft
or other products. Spinneret The thread passing from side to side
Mechanism used to extrude Texturized on the loom. Also, the threads along
Resiliency manufactured filament fiber. Similar in Adding loft to thermoplastic the width of the cloth.
Ability of a fiber, yarn, fabric, or concept to a shower head. Filament (heat-sensitive) fiber or yarn
garment to resist crushing/wrinkling. fiber shape can be manipulated by by application of heat, air Weft knit
changing the spinneret holes. movement, or other means. Fabric knitted in the weft (cross grain)
Sales agency direction. Uses only knit and purl
A company or commercial Spun yarn Thermoplastic stitches to create the fabric. Can be
organization that represents textile Twisting (spinning) staple fibers Ability of a fiber, yarn, fabric, or hand or machine produced. Less
suppliers, and markets textiles to into yarns. garment to soften (melt) in the stable in the straight grain direction
designers, manufacturers, and presence of heat. than warp knits.
retailers. Includes multinational, Staple fiber
national, and local sales companies. Short hair-like strands approximately Top of fabric Weight of fabric
1⁄2–21⁄2 inches (1.12–6.5 cm) long. Designated location of the fabric Lightness or heaviness of a fabric; will
Samples/sample yardage that corresponds to the top of help determine end use.
Small fabric quantity available for Static buildup the garment.
immediate shipment. Textile mill Generates static electricity. Wicking
produces 50–100 yds/meters as sales Top-weight fabric Ability of a fabric to move moisture
samples, so designers can test their Straight grain Lightweight fabrics that generally away from the skin to the outer
designs. Designers can request small Grain line that is parallel to the warp weigh about 1–3.5 oz per square fabric surface.
swatch samples of 3–5 yds/meters. yarns, or vertical on the body. This yard/meter.
grain line is strong, with almost no Yardage
Satin weave “give” when pulled. Tricot A quantity for fabric.
Warp yarns float randomly over five A warp knit that is usually produced
or more yarns to create a lustrous or Strength at high speed using simple Yarn
shiny fabric. Can also have weft yarns Ability of fiber, yarn, or fabric to be multifilament yarns. Continuous strands composed of
floating over warp yarns. pulled until it breaks. fiber, either staple or filament fiber.
Tweed yarn
Seed fiber Sun (UV) resistance Spun yarn that contains flecks of color. Yarn mill
Fiber produced from plant seed. Ability of fiber, yarn, fabric, or garment Produces spun yarn from staple
Cotton fiber is a seed fiber produced to resist weakening or damage when Twill weave fiber or multifilament yarns from
in the cotton boll (cellulose). exposed to sunlight. Type of weave where warp yarns filament fiber.
float over 2–4 sets of weft yarns at
Selvage Sustainable textile regular intervals to create a diagonal Yarn ply
The more densely woven edges of a supply chain texture on the fabric surface. Weft A single strand of yarn. 2-ply yarn
fabric, parallel to the straight grain Continuous access to fiber, yarn, yarns can also float over warp yarns. contains two plies of yarn.
(warp) direction. fabric, and garments for the future,
without harm to the environment. Virgin fiber Yarn twist
Sheared fabric Fiber that has not be used in a The spin given to a yarn to give
Cut pile, usually also brushed. Can be Synthetic (oil-based) fiber product before. it strength. The more twist, the
woven or knitted. Manufactured fiber produced from stronger the yarn. Twist can also
petroleum raw materials. Examples Warp add texture to yarn.
Shrinkage are nylon, polyester, spandex, olefin, These yarns extend between the front
Fiber, yarn, fabric, or garment is and acrylic. and the back of the loom. The warp
reduced in size in the presence of grain line, parallel to the warp yarns, is
hot water and/or heat. Textile mill considered the strongest, least flexible
These specialize in knitting, weaving, grain line.
Slubbed yarn or other types of fabric construction.
Yarn that has irregular thicknesses Warp knit
within the yarn. Textile supply chain Knitted fabric created in the warp
Sequence of resources used to (straight grain) direction. Does not use
produce fiber, yarn, fabric, and knit and purl stitches to create the
garments. This includes consuming fabric. Very stable in the straight grain.
and discarding apparel.

•••314 Glossary

Resources

There are many excellent books on SUSTAINING THE TEXTILE SUPPLY CHAIN
textiles that offer detailed information
on the various technical aspects of Hethorn, Janet and Ulasewicz, Connie
fabrics. A few are listed here to Sustainable Fashion: Why Now?
provide resources for those readers Fairchild Books, Inc., 2008
interested in further technical
information. The list included here USEFUL WEBSITES
should not limit the reader to these
texts, but merely provides a beginning www.bambrotex.com
for further investigation and study. Bamboo rayon mill in China. (Note:
this mill is still using the fiber name
TECHNICAL TEXTILE BOOKS “bamboo” instead of “manufactured
bamboo rayon.”)
Bowles, Melanie and Isaac, Ceri
Digital Textile Design www.kenaf-fiber.com
Lawrence King Publishing, 2009 Learn how kenaf has strong potential
as a textile fiber source.
Colussy, M. Kathleen and
Greenburg, Steve www.hemptraders.com
Rendering Fashion, Fabric, and A source for hemp fiber fabrics.
Prints with Adobe Illustrator
Prentice Hall, 2007 www.naturallyadvanced.com
Learn about Crailar®, a new process
Hencken Elsasser, Virginia that can cottonize hemp fiber quickly.
Textiles: Concepts and
Principles www.unifi.com
Fairchild Publications, Inc., 2007 Learn about Repreve®, a fiber
produced from plastic bottles,
Humphries, Mary manufactured in the U.S.
Fabric Reference
Prentice Hall, 2007 www.teijinfiber.com
Learn about Teijin Fiber, Limited’s
Kadolph, Sara J. and Langford, Anna L. new ECO CIRCLE™ Plantfiber™.
Textiles (tenth edition) A polyester fiber that is plant-based
Prentice Hall, 2010 and recyclable.

FABRIC SWATCH KITS www2.dupont.com/Sorona/en_
US/
Humphries, Mary Learn about Sorona® triexta PTT
Fabric Glossary (third edition) fiber, a plant-based polyester fiber
Prentice Hall, 2007 that is recyclable.

Price, Arthur, Johnson, Ingrid, and
Cohen, Allen C.
J.J. Pizzuto’s Fabric Science
Fairchild Books, Inc., 2010

The Textile Kit: Pinnacle Edition
Atex Inc., 2010
www.thetextilekit.com

Young, Deborah
Swatch Reference Guide for
Fashion Fabrics
Fairchild Books, Inc., 2011

•••Glossary 315

Index

A chenille 245 printed cotton voile 138 Ponte di Roma 112
accordion-pleated China silk 236 chenille in a woven interior recycled cotton canvas 82 stretch knits 278–279
anti-microbial finishing 46 fabric 245 sueded finish woven cotton 124 thermal double knit 168
appliqué 196 chenille rug 245 yarn-dyed cotton broadcloth 60 double-weave melton 110
chenille yarn 245 cowhide vs. calfskin 120 down-filled fabric 252
lace appliqués 215 crêpe drape 52, 133
athletics jacket lining 141 chiffon 136 crêpe de Chine 144–145 dry-cleaning 47
chiffon with embroidery 136, 218 crêpe moss 174 duck 82
B crystal-pleated chiffon 236 satin crêpe 172–173 dyeing 23
back 24, 25 satin crêpe pleated fabrics 239 disperse dyes 40
bamboo rayon 16 chino 91 smooth-surface crêpe 176–177 dyeing blended fibers 41
chintz 66 textured crêpe suiting 174–175 dyes 40
bamboo rayon interlock 152 cire 58, 66 crêpeon 146–147 immersion in dye solution 41
batiste 56 Cluny lace edgings 214 crinkled fabrics 146–147 natural vs. synthetic dyes 40
beaded, embroidered handbag 220 coated fabrics 114–115 crinkle-finish calico 237
beaded embroidery on organza 220 collars 196 panne crinkle velour 184 E
beaded fringe 208 color 40–41 sheeting 80 elastic bands 286–287
bengaline 72 taffeta 70 elastic fleece knit 278
bias 24 bleeding 40 crinoline 232 elastic ribbed knit banding 268–269
bias grain 25 crocking 40 cross-dyed plaid 62 elastic ribbed knit trim 278
binding 198 fading 40 cross-grain 24, 25 elastic thread for shirring 286
binding: seam binding 200 comfort stretch crushed velvet 186 embossed face on bonded film 118
bleaching 23, 46 casual fabrics 272–273 cuffs 196 embossed faux suede 124
bobbin lace 162 double knits 278–279 embossed film 118
bodysuit fabric 282 stretch denim 274–275 D embossed leather 120
bonded fabrics 126–127 stretch suiting 276–277 damask 100 embossed polar fleece 182
bonding fabrics 45 top weights 270–271 dark-print challis 148 embossed ripstop 94
bouclé 244 compression 11, 260–263 denim 17–18, 40, 86–87 embroidered fabrics 218–219
braid 207 compression with rigid fabrics
bridal satin 75 denim jeans 264, 274 chiffon 136, 218
broadcloth 60 264–265 denim jeans with crystals 222 denim 222–223
brocade 100 contrast color coating 114 environmental impact 88–89 plaid broadcloth 218
brushed fabrics 106–107 contrasting fabric 192 finishing 46, 88 shirring 242
brushed-back satin 172 hand-painting bleach 89 silk crêpe de Chine 144
“bubble” knit surface 170 creating lines and outlines 198–199 hemp drill or bull denim 87 voile 218
buckram 233 shapes 196–197 recycled 87 embroidered graphic design 222
burgundy crushed surface plush 258 cording 198 red selvage denim 87 embroidery 193, 216
burnout satin 142 corduroy 37, 104–105 types 89 embroidery threads 217
burnout velour pattern 184 5-wale 104 design teams 23 garment-specific embroidery
burnout velvet 186 8-wale 104 designer’s responsibility 10, 11, 15,
burnt-out chiffon 136 thick and thin 104, 272 220–221
butcher linen 78 cotton 16, 17 18–19 hand embroidery on denim 222
buttonhole ribbon 200 cotton cavalry twill 93 diamond dobby 68 emissions 26
cotton gabardine 90 digital printing 42 energy 18, 26, 35
C cotton homespun 84 dobby weaves 37, 68–69 environment 35, 40, 46, 47
calico 57 cotton interlock 152 Environmental Protection Agency
canvas 82–83 cotton plissé 67 crêpe 176
cotton poplin 61 dobby metallic ribbon 205 (EPA) 19, 22
brushed back canvas 106 cotton ripstop fabric 94 dobby stripe crêpeon 146 environmental responsibility 19
wool canvas 131 cotton stretch jersey 270 dobby stripe with metallic yarn exotic long-hair fur 258
cashmere with clear film 118 cotton twill 91 stripes 68 expansion 11, 224–227
cavalry twill 93 cotton voile with dots 138 striped dobby 174 expedition jacket 252
chain-mail fringe 208 cotton-plaid jacket lining 141 suiting 96–97, 276
challis 148 cotton/polyester sheeting 80 woven-in shirring 242 F
chambray Oxford 64 crinkled cotton sheeting 237 Donegal tweed 99 fabric for cycling shorts 280
chambray pinpoint Oxford 64 high-density cotton 58 double georgette 137 fabric for speed-skating 280
channel quilting using down/feathers loosely woven cotton crêpeon 146 double knits 112–113 fabric orientation 24–25
mercerized cotton threads 217 jacquard pattern 112
filler 250 nylon/cotton poplin 61 matelassé effect 174 grain lines 24, 25
channel-quilted fabric 249 pleated cotton fiber fabrics 237 piqué 112 top and bottom 24
checks 62–63 pleated cotton voile 237 fabric production 10, 15, 16, 288
printed cotton 56

•••316 Index

closed loop production 30 functional mechanical finishes 44 hook-and-loop tape 212 leno dobby 68
environmental impact 35, 40, 46 high-performance fabrics 45 hopsacking 85 light-ground challis print 148
knitting 35, 38–39, 291 metallic finish 66 houndstooth check 98 lightweight lace 164
lace making 291 peached finish 106 lightweight polar fleece 182
massing 35, 291 permanent finishes 43 I linen 78–79
mills 22–23, 35, 291 sanded finish 106 icons 13
weaving 35, 36–37, 291 semi-durable finishes 43 inkjet printing 42 handkerchief linen 56
fabrics from fiber 108–109 sheared and brushed finish 106 interlining 128–131 linen hopsacking 85
face 24 sueded finish 106 interlock 152 linen-like fabric 78
faille 72 temporary finishes 43 inverted pleats 240 linings 140–141
faille crêpe 144 flannel 76 iridescent georgette 137 pleated lining fabric 238
faille-backed satin 172 flannelette 77 tricot lining 126, 140, 160
faux curly lamb 256 fleece 106 J looped bouclé yarns 244
faux fur 254, 256–259 elastic fleece knit 278 jacquard for cummerbund 264 luster 66
faux leather 124–125 polar fleece 182–183 jacquard knits 39, 112, 308–309 lustrous organdy 231
faux pony 256 polyester fleece 180 jacquard ribbon 204 lyocell gabardine 90
faux suede 108, 124–125 taffeta with polar fleece 126 jacquard tapestry with tricot
feathers 250 flocked velveteen 103 M
feather fringe 208 floral pointelle 156 lining 126 massed fiber (fiber to fabric)
fine feather trim 255 fluidity 11, 50, 132–135 jacquard weaves 37, 100–101
felt 108 foulard print 149 jersey 150–151 310–311
finely felted melton 110 fox fur 255 massing 35, 291
fiber 10, 26–27, 289 French terry 180–181 matte jersey 153 matched and unmatched plaid 63
bi-component fiber 33 fringe 207, 208–209 jobbers 23 matched color coating 114
fiber blending 29 “frogs” 207 matched plaid box pleats 240
fiber performance 33 functional tapes 200–201 K matelassé effect double-knit 174
fiber texture 33 fur 254 knits 13 matte jersey 153
filament fiber 26 repurposed fur 255 medium-weight melton 110
impact of production 26 fused fabrics 126–127 cut-pile knits 39 medium-weight seersucker 67
intimate blending 29 describing knit fabrics 39 medium-weight sweater knits
manipulating filament fiber 33 G jacquard knits 39
manufactured fiber 16–17, 22 gabardine 90, 240 jacquard warp knits 308–309 188–189
natural fiber 16, 22 garment care 47 looped pile knits 39 melton 110–111
natural filament fiber 32 gauge 39 pointelle knits 156–157 merchandising teams 23
recycling 26, 33 gauze 139 raschel knits 39, 190 mesh 158–159
regenerated filament fiber 31 generic “tweed” Glen plaid 99 ribbed knits 266–267
staple fiber 26, 28, 29 georgette 137 terry 246 mesh elastic banding 286
synthetic filament fiber 32 textured knits 168–169 power mesh 284–285
fiber-dyed serge 92 georgette jacquard 137 tricot knits 39, 240 metallic effect organza 230
fiberfill fabrics 252 georgette lamé 166 warp knits 38, 39, 306–309 metallic finish 66
filling 24, 25 georgette shirring 242 weft knits 38, 39, 304–307 metallic ribbed knit 266
film embossed to look like denim 118 polyester pleated georgette 238 knitting 35, 38–39, 291 metallic ribbon 205
film fabric 118–119 gimp 207 metallic threads 217
fine-gauge knit 266 gingham check 62 L metallic yarn fabric 160
fine-gauge sweater knits 154–155 Glen plaid 99 labor 19 metallic yarn stripes 68
fine-gauge T-shirt 268 gold lace 162 lace 162–163 microencapsulates 46
finishing 13, 43–46 grain 24, 25 microfiber French terry 180
aesthetic chemical finishes 44 edgings 214–215 microporous laminated fabrics
aesthetic finishes 43 H lace appliqués 215
aesthetic mechanical finishes 43 handkerchief linen 56 lace banding 214 116–117
brushed finish 106 heat-sealed seams 116 lace making 291 mills 22–23, 35, 291
ciré finish 58, 66 heat-transfer printing 42 mass-market lace 164–165 mitered channel quilting 250
denim 46, 88 heavyweight sweater knits 190–191 lamé 166–167 mitered-stripe sewn design 96
durable finishes 43 herringbone twill tape 200 laminating fabrics 45 momie crêpe 37, 176
finishing mills 23 high-density fabrics 58–59 land 17 movement 133
functional chemical finishes 45 high-performance fabrics 45–46 landfills 22 multicolored silk shantung 73
functional finishes 44–45 homespun 84 large-hole netting 228 muslin 81
hook-and-eye trim 212 laundry 47
lawn 56 N
leather 120–121 nano-finishing 46
pleated suede leather 236 narrow closure trims 212–213
narrow trimmings 193, 210–211
•••
Index 317

narrow yardage 193 stitched pleating 240–241 Q screen-printing 42
netting 228–229 plissé 67 quilted stitch design 250 seamless pantyhose 280
nylon 16, 17, 18 point d’esprit 228 quilting 45, 248 seersucker 67
pointelle knits 156–157 selvage 24, 25
nylon braid 232 polar fleece 126, 182–183 high-loft 252–253 sequin trim 210
nylon/cotton poplin 61 polyester 16, 17, 18 medium-loft 250–251 serge 92
minimum-loft 249 shaker knit 266
O cotton/polyester sheeting 80 shantung 73
organdy 231 massed polyester 108 R sheared and brushed finish 106
polyester crêpe de Chine raschel herringbone 170 shearling 255
organdy color 231 raschel knits 39, 190 sheeting 80
organza 230 144 raschel lace edgings 214 shine 66
polyester fleece 180 raschel lace for interiors 164 shiny dot pointelle 156
beaded embroidery on organza polyester interlock 152 rayon 16 shirring 242–243
220 polyester matte jersey 153
polyester plain-weave pleated rayon matte jersey 153 elastic thread for shirring 286
wired organza ribbon 203 rayon stretch jersey 270 silk
ornamentation 11, 50, 192–195 fabrics 238 rayon threads 217
ottoman 95 polyester poplin microporous recycling 19, 22, 26, 30, 33, 35 accordion-pleated China silk 236
Oxford 64–65 denim 87 embroidered silk crêpe de
membrane 116 recycled cotton canvas 82
P polyester-rayon homespun 84 recycled polyester ripstop 94 Chine 144
Paisley voile knife pleating 240 recycled polyester ripstop 94 reversible knitted texture 168 multicolored silk shantung 73
panne crinkle velour 184 tightly woven polyester crêpeon rhinestones 210 silk broadcloth 60
pant yoke 264 ribbed knits 266–267 silk charmeuse 142
passementerie 193, 206–207 146 elastic ribbed knit banding 268–269 silk jacquard for cummerbund
patchwork faux leather 124 wool-like polyester jersey 150 elastic ribbed knit trim 278
patent leather 120 poplin 61, 240 metallic ribbed knit 266 264
patterned dobby 96 polyester poplin microporous ribbed knit collar and cuff 268 silk threads 217
peached finish 106 ribbed knit sleeve 268 ski apparel 70
pearl edging 210 membrane 116 ribbed pointelle 156 skirt liner fabric 282
pearls 210 stretch poplin 272 ribbon 193 slubbed-yarn organdy 231
pebble satin 172 power mesh 284 dobby design 205 smart design 19
percale 80 power stretch grosgrain and taffeta ribbon 203 snowboard apparel 70
PET polar fleece 182 athletic knits 280–281 jacquard ribbon 204 social responsibility 19
piece 24, 25 elastic power mesh 284–285 satin and velvet ribbon 202 soft pile with vinyl 126
pigment-printed sateen 74 narrow elastic bands 286–287 ric rac 205 solid-color flannelette 77
pigments 40 underwear knits 282–283 ring-spun stretch denim 274 solid-color gauze 139
Pima cotton broadcloth 60 printed fabrics ripstop fabric 58, 94 solid-color organza 230
pin dot dobby weave suiting challis 148 roller printing 42 solid-color surah 149
chiffon 136 ruffle-edge knitted elastic bands 286 soutache 207
fabric 96 chintz 66 space-dyed threads 217
pink lamé 166 cotton 56 S split cowhide 122
pinstriped serge 92 crêpe de Chine 144 safety 46 sports bra fabric 282
piping 198 faux leather 124 sailcloth 82 spotty grosgrain 203
plaids 62–63 gauze 139 sales agencies 23 spunbonded fiber web 131
georgette shirring 242 samples 23 spunlace 108
Glen plaid 99 lawn 56 sanded finish 106 stay tape 200
multicolored plaid 98 linen 78 sateen 74 stitched design on solid fabric 249
plaid box pleats 240 ottoman rib 95 stitched pleating 240–241
plaid broadcloth 218 polyester matte jersey 153 stretch sateen 272 straight grain 24, 25
plaid flannel 76 sateen 74 satin 140, 142–143 stretch broadcloth 270
plaid flannelette 77 satin 142 stretch denim 274–275
plaid seersucker 67 square weave lining 140 after-sewing error correction 75 stretch lace 164
plastic ring-snap tape 212 stretch lace 164 bridal satin 75 stretch poplin 272
plastic sheets 118 striped poplin 61 satin crêpe 172–173 stretch sateen 272
pleating 234–235 tricot 160 satin crêpe pleated fabrics 239 stretch sock cuff 278
pleated lining fabric 238 wet-printed calico 57 satin ribbon 202 stretch tropical suiting 276
pleated silk fiber fabrics 236 printing 23, 42 weighted satin 75 stretch wool gabardine 276
pleated taffeta 238 puckered surface fabrics 67 schiffli lace 162 stripe taffeta design 70
polyester plain-weave pleated scouring 23 striped gauze 139

fabrics 238•••
satin crêpe pleated fabrics 239

318 Index

Structure Expansion
Fluidity Compression
Ornamentation

striped knit velour 184 tricot without adhesive 131 wet-printed sateen 74 Fabric weight Weft knits
striped Oxford 64 tricotine 92 white bridal satin 75
structure 11, 50, 52–55 trims 210–213, 278 white surah 149 Top weight or Single knit
tropical suiting 76, 276 wicking fabrics 45, 178 lightweight fabrics Double knit
interlining 128–131 tulle 228 windowpane check 62 (below 4 oz/113 g) Loop pile
subtle cable sweater surface 170 tweeds 98–99 windowpane organza 230
suede fringe 208 twice-pleated satin crêpe 239 wired organza ribbon 203 Medium-weight fabrics
suede leather 122–123 twill weaves 37, 80, 300–301 wool 16, 108 (4 oz/113 g–below
sueded finish 106 6 oz/170 g).
sueded pigskin 122 twill-weave jacket lining 141 stretch wool gabardine 276
suitings two-color pique knit 168 wool canvas 131 Bottom-weight
two-color velvet 186 wool cavalry twill 93 fabrics (above
bouclé woven suiting 244 two-tone cavalry twill 93 wool homespun 84 6 oz/170 g)
dobby weaves 96–97, 276 two-tone faux mink 256 wool jersey 150
medium-weight seersucker 67 two-tone fleece 180 wool momie crêpe 176 Weaves Warp knits
textured crêpe suiting 174–175 two-tone velveteen 102 wool voile 138
tropical suiting 76, 276 woolen hopsack 85 Balanced (square) Raschel knit
surah 149 V worsted wool hopsack 85 plain weave
sustainability 10, 15, 17–18 velour 184–185 worsted wool striped herringbone
sweater knits 170–171 Unbalanced Tricot knit
border design 188 woven terry and velour in one gabardine 90 plain weave
bouclé 244 fabric 246 woven lamé 166
bulky, long cables 190 woven ribbon 204 Basketweave Loop pile
fine-gauge 154–155 velvet 37, 186–187
intarsia design 188 velvet burnout 186 Y Twill weave Finishes
puffy stitching pattern 190 velvet ribbon 202 yarn 33–34, 289 Satin weave
raschel warp knit 190 velvet ribbon lacing 202 Jacquard weave Brushed/sanded
tweed effect 188 bouclé yarns 34, 244 Cut (sheared) pile
sweater knits 188–191 velveteen 37, 102–103 chenille yarn 34
Venice lace edging 214 complex yarns 33, 34
T vest with blanket stitch 220 core-spun yarn 34
taffeta 70–71, 240 vintage quilt fabric 249 core-wrapped yarn 34
voile 138 elastic plied yarns 33, 34
pleated taffeta 238 monofilament yarn 34
taffeta ribbon 203 heavily-embroidered voile 218 multifilament yarn 34
taffeta with polar fleece 126 Paisley voile knife pleating 240 one yarn 33
taffeta/microporous membrane 116 pleated cotton voile 237 plied yarn 33, 34
tapes 200–201 ply yarn 33
tapestry 100 W simple yarns 33, 34
tapestry ribbon 204 waistbands 196 single yarn 33, 34
terry cloth 37, 246–247 warmth 45 slubbed yarn 34, 231
woven terry and velour in one warp 24, 25 specialty yarn 34
warp terry knit 246 spun yarn 33, 34
fabric 246 water 17–18, 26 tweed yarn 34
textile industry 10, 21, 50 water repellent fabrics 45–46 yarn mills 22
wax-coated fabrics 114 yarn-dyed plaid flannelette 77
supply chain 22–23 weaves 13 yarn-dyed windowpane check 62
textile mills 23, 291
textured crêpe suiting 174–175 balanced plain weaves 292–293 Dobby weave Coated finish
textured knits 168–169 basketweaves 37, 298–299 Laminated
thermal double knit 168 jacquard weaves 296–297 Velvet weave Water-resistant
threads 217, 286 pile weaves 298–299
tonal-color jersey 150 plain weaves 36 Fiber to fabric
trade shows 23 ribbed plain weaves 294–295
tricot 160–161 satin weaves 37, 302–303 Fiber to fabric
textured weaves 296–297 (massed fiber)
tricot for athletics 178–179 twill weaves 37, 80, 300–301
tricot knits 39, 240 unbalanced plain weaves 294–295
tricot lining 126, 140, 160 weaving 35, 36–37, 291
tricot mesh 178 webbing 201
tricot with metallic yarn fabric 160 weft 24, 25
tricot with texture 178 weft terry knit 246
tricot with wicking quality 178 weight 11, 13, 52, 133, 288

•••Index 319

Credits

Quarto would like to thank the following Paul’s Hat Works, since 1918 Japan Dr. T. Kimura, Professor
for supplying images for inclusion in 6128 Geary Boulevard Mr. R. Miyatake, Marketing Manager, Graduate School of Advanced
this book: San Francisco, CA 94121 Teijin Fibers Limited. Fibro-Science, Kyoto Institute of
Olivia Griffith Mr. T. Sugimoto, Manager, Technology, Kyoto, Japan.
Bextex, Limited: pp 17, 19tr, 88, 89tl hatworksbypaul@com NI Teijin Shoji, Osaka
and bl; Corbis: page 103; Fashion Stock: Buckram fabric. Thailand Dr. Youjiang Wang, Professor
pages 62, 69, 71, 97, 103, 125, 127, Mr. C. Fujimoto, President School of Polymer, Textile, and Fiber
145, 147, 157, 159br, 161, 171, 173, NI Teijin Shoji (USA), Inc. NI Teijin Shoji, Bangkok Engineering, Georgia Institute of
177, 213, 221, 223, 267, 271, 273, Polyester fabrics from recycled Technology, Atlanta, USA.
279; Getty: pages 183, 247; Mark ECO CIRCLE ™ polyester fiber. Now retired:
Baugh-Sasaki: page 235; Rex Features: Mr. H. Okuda, President (retired) Dr. Margaret Rucker, Professor,
pages 87, 207, 232, 241, 251; Science Sal Beressi Fabrics Company NI Teijin Shoji (USA), Inc. Textiles and Clothing, University of
Photo Library: page 27. 1504 Bryant Street Mr. K. Fujiyama, President (retired) California, Davis, USA
San Francisco, CA 94103 NI Teijin Shoji (USA), Inc.
All other images are the copyright of Heather Kilpack Dr. Brian George, Associate Professor,
Quarto Publishing plc. While every [email protected] OTHER PROFESSIONALS Engineering, Director of Graduate
effort has been made to credit Silk fabrics and trimmings. Empire Sales Agency Textile Programs, School of Design
contributors, Quarto would like to Seoul, Korea and Engineering, University of
apologize should there have been any Sports Basement Mr. Ben Hur Philadelphia, Philadelphia, USA.
omissions or errors—and would be 1590 Bryant Street [email protected] Needle-punched fiberfill web with
pleased to make the appropriate San Francisco, CA 94103 reused shredded plastic bag.
correction for future editions of the book. Jon Puver Bextex, Limited
[email protected] Beximco Industrial Park PERSONAL ACKNOWLEDGMENTS
Thank you to the following companies Outdoor apparel. Sarabo, Kashimpur There were the people who supported
for supplying fabrics for this book: Gazipur, Bangladesh my writing effort; each was instrumental
The New Discount Fabrics Sardar Ahmed Khan in making this book possible.
Cloth House 201 11th Street Chief Operating Officer
www.clothhouse.com San Francisco, CA 94013 [email protected] James B Warshell, my husband,
F. Ciment (pleating) Ltd Linda Blake www.bextex.net my friend, my coach and mentor,
www.cimentpleating.co.uk 415-495-5337 experienced in large-scale apparel
MacCulloch and Wallace Fabrics and trimmings. Additional photography: design, product development, and
www.macculloch-wallis.co.uk Mark Baugh-Sasaki retail. He generously donated his own
The Silk Society An important source of fabrics and [email protected] wardrobe collection and made many
www.thesilksociety.com expertise, both for my business and www.industrialforest.com sourcing trips to find fabric samples.
in education has come from my
AUTHOR’S ACKNOWLEDGMENTS representing NI Teijin Shoji (USA), Inc., Teaching designers about fabric in the Jim Tibbs, industry colleague and good
whose parent company is based in design room is not too different to friend, experienced in large-scale knit
Sourcing and selecting the hundreds Japan. I deeply appreciate this global teaching in the classroom, so the design, product development, and retail.
of fabrics photographed for this text sales agency’s willingness to support transition to becoming an educator
involved the help of many individuals both my business strategies and was smooth. However, academia is Linda Sue Baugh, author, editor, and
and suppliers. Jim Warshell, an educational strategies for the benefit very different to private enterprise, so I my sister, my counselor in the world
experienced senior management of the future fashion industry and the am thankful for those who supported of publishing.
executive in the apparel industry and new low-CO2 economy. my work for this book.
my husband, sourced many of the Arsalan Usmani, Marium and their
fabrics. Local businesses, which NI Teijin Shoji (USA), Inc. Dr. Connie Ulasewicz, Associate new son, former students and
continue to support the San ECO CIRCLE ™ Professor, Consumer Family Sciences/ now colleagues.
Francisco/Bay Area fashion industry, www.teijinfiber.com Dietetics Department, Apparel Design
also supplied many samples. 1412 Broadway, Suite 1100 and Merchandising, San Francisco State Maria Lamb, US Olympic speed-
New York, NY 10018 University, San Francisco, USA skating athlete.
Babette, Inc. Mr. S. Nikko, President
Color coding and icons. Babette and Steven Pinsky Mr. K. Kondo, Deputy Julie Stonehouse, Lead Instructor, The team at Quarto, especially
www.babettesf.com General Manager Textiles. Lindsay Kaubi, a saint and steady
Fold out this flap while you use this book for a quick reminder Pleated fabrics. 212-840-6900 Janice Paredes, Department hand throughout the writing and
of the color coding of the chapters in the directory and the Mr. Y. Hamatsu, Manager Coordinator, Fashion Design. editing process and Susi Martin,
icons that appear throughout the book. Turk & Fillmore 3524 Torrance Boulevard, Suite 105 David Orris, Department Coordinator, who coordinated the monumental
Arsalan and Marium Usmani Torrance, CA 90503 Merchandise Marketing and Merchandise task of photographing over 800 fabric
www.turkandfillmore.com 310-792-5700 Product Development. samples on the correct side and in
All at The Fashion Institute of Design the straight-grain direction
In2green and Merchandising, San Francisco, USA.
www.in2green.com
Lori Slater
Recycled cotton canvas and
knitted fabrics.

▲

EANThis is the fabric and textile directory that dressmakers
and fashion designers have been waiting for. It’s like
having your own personal textiles expert on hand to
recommend fabrics that match the effects you want to
achieve. You’ll discover how different fabrics perform,
and you’ll learn the many ways to use them.

The directory is organized by function. Do you want
a fabric for its structure, fluidity, added volume,
definition, or decoration? Do you want a garment
that clings to the figure, or one that allows you to
construct a whole new silhouette? What is the overall
effect you are aiming to achieve—pretty, or lustrous
and magnificent?

Each fabric described in the directory comes with color
photos of samples that illustrate its properties, helping
you understand how a particular fabric’s qualities make
it suitable for specific items of apparel.

At the back of the book you will find essential guides to
fiber properties, weaves, knits, weights, characteristics,
and care advice.

ISBN: 978-0-7641-4628-2

$35.00 Canada $41.99

www.barronseduc.com