F ash i on / T e x t i l es

Swatch Reference Guide for O

Fashion Fabrics offers all of the pertinent U

information students need for fabric identification.
N
Through the text and assembly of this kit, students
will learn the inherent performance properties of G
fibers, yarns, and fabric construction. This invaluable
reference is ideal for designers, merchandisers,
and product developers.

F eatures
— One-hundred ninety nine 2 x 3 swatches, including
chiffon, muslin, tweed, canvas, taffeta, denim, and
satin; fiber and yarns are also provided.

Swatch Reference Guide for Fashion Fabrics

— Easy assembly of swatches on swatch boards. These
boards have pre-printed, detailed information about
each fabric, such as the name, number, fiber content, Swatch Reference Guide for Fashion Fabrics
yarn construction, count, coloration, finish, weight,
and characteristics.

— Extra blank swatch boards encourage students to

find and mount their own swatches.
D
— Activities at the end of each chapter help students E
organize and classify information.
B
— A pick glass is provided for examining and magnifying
O
textiles.
R
— Key chapters on knits and performance fabrics are
featured in the text. A

ISBN: 978-1-56367-728-1

™xHSLFQDy67 281zv*:+:!:+:! b
 Swatch Reference Guide for Fashion Fabrics

Young_FM.indd 1 8/31/10 8:19:52 AM

 Swatch Reference Guide for Fashion Fabrics

B F A , M F A

T h e F a s h i o n I n s t i t u t e o f D e s i g n & M e r c h a n d i s i n g

F a i r c h i l d B o o k s
New Yor k

Young_FM.indd 3 8/31/10 8:19:53 AM

 Vice President and General Manager, Education and Conference Division:
Elizabeth Tighe
Executive Editor: Olga T. Kontzias
Assistant Acquisitions Editor: Amanda Breccia
Editorial Development Director: Jennifer Crane
Senior Development Editor: Joseph Miranda
Creative Director: Carolyn Eckert
Production Director: Ginger Hillman
Senior Production Editor: Elizabeth Marotta
Copyeditor: Jennifer Murtoff
Ancillaries Editor: Noah Schwartzberg
Cover Design: Carolyn Eckert
Illustrations: Ron Carboni
Text Design and layout: Tronvig Group
Director, Sales and Marketing: Brian Normoyle

Copyright © 2011 Fairchild Books, a Division of Condé Nast Publications.

All rights reserved. No part of this book covered by the copyright hereon
may be reproduced or used in any form or by any means—graphic,
electronic, or mechanical, including photocopying, recording, taping, or
information storage and retrieval systems—without written permission of
the publisher.

Library of Congress Catalog Card Number: 2008943316

ISBN: 978-1-56367-728-1
GST R 133004424
Printed in the United States of America
MC06

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 Ta b l e o f C o n t e n t s

Preface xv

Chapter 1 The Textile Cycle: From Fiber to

Fashion 1

Chapter 2 Natural Fibers 9

Chapter 3 Manufactured Fibers 17

Chapter 4 Synthetic Fibers 23

Chapter 5 Yarns 31

Chapter 6 Plain Weaves 37

Chapter 7 Plain-Weave Variations 43

Chapter 8 Twill Weaves 49

Chapter 9 Satin Weaves 55

Chapter 10 Pile Weaves 63

Chapter 11 Complex Weaves 67

Chapter 12 Knit Fabrics 73

Chapter 13 Specialty Weft Knits 83

Chapter 14 Warp Knits 89

Chapter 15 Minor Fabrications 93

Chapter 16 Dyed and Printed Fabrics 101

Chapter 17 Fabrics Defined by Finishes 107

Swatch Boards

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 E x t e n d e d Ta b l e o f C o n t e n t s

Preface xv
The Objectives of the Text xvi
The Study of Textiles xvi
The Organization of the Text xvi
Constructing the Book xvi
Instructions xvii
Acknowledgments xix

Chapter 1 The Textile Cycle: From Fiber to Fashion 1

The Process: Start to Finish 2
In Pursuit of the Perfect Textile 2
Basic Definitions 3
Table 1.1 Basic Textile Definition 3
The Physical Textile Cycle 4
Swatches 1–4 4
The Language of Textiles 4
Textile Performance Concepts and Properties 4
Activity 1.1 Research Project: New Textiles 7

Chapter 2 Fiber Classification: Natural Fibers 9

Overview: Natural and Manufactured Fibers 10
Cellulose Fibers 11
Swatches 5–9 11
Table 2.1 Properties Common to All Cellulose
Fibers: Cotton, Linen, Ramie, Hemp 11
Table 2.2 Quick Reference for Individual
Cellulose Properties 12
Protein Fibers: Wool and Silk 13
Swatches 10–17 13
Table 2.3 Minor Hair Fibers 13
Table 2.4 Properties Common to All Protein
Fibers 13
Table 2.5 Properties of Individual Protein Fibers
14
Table 2.6 Comparison of Protein Fiber Properties
14
Activity 2.1 Swatch Page: Cotton 15

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 Chapter 3 F iber Classification: Manufactured Chapter 7 Plain-Weave Variations 43
Fibers 17 Basket Weaves 44
Manufactured Cellulose 18 Swatches 56–59 44
Swatches 18–25 18 Rib Weaves 44
Manufactured Protein 18 Swatches 60–71 44
Swatch 26 18 Table 7.1 Performance Expectations of Basket and
Manufactured Mineral 18 Rib Weaves 46
Swatches 27–28 18 Activity 7.1 Swatch Page: Plain Weaves 47
Table 3.1 Properties of Individual Manufactured
Fibers 19 Chapter 8 Twill Weaves 49
Activity 3.1 In-Class Activity: Care Label Performance Expectations of Twill Weaves 51
Contents 21 Uneven Twills 51
Even-Sided Twills 51
Chapter 4 Fiber Classification: Synthetic Fibers 23 Swatches 72–83 51
The Introduction of Synthetic Fibers 24 Activity 8.1 Swatch Page: Twill Weaves 53
Swatches 29–33 24
The Burn Test 24 Chapter 9 Satin Weaves 55
Table 4.1 General Properties of Synthetic Fibers 24 Performance Expectations of Satin Weaves 56
Table 4.2 Properties Specific to Each Synthetic Summary of the Three Basic Weaves 57
Fiber 25 Swatches 84–89 57
Table 4.3 Significance of Properties Common to Table 9.1 Comparison of Basic Weaves 58
All Synthetic Fibers 26 Activity 9.1 Weave Comparison Graph 59
Table 4.4 Burn Categories of Fibers 27 Activity 9.2 Swatch Page: Satin Weave 61
Table 4.5 Burn Characteristics of Fibers 27
Activity 4.1 Lab Activity: Fiber Burn Test 29 Chapter 10 Pile Weaves 63
Construction of Pile Weaves 64
Chapter 5 Yarns 31 Properties of Pile Weaves 64
Yarn Classification 32 Swatches 90–95 64
Filament Yarns 32 Activity 10.1 In-Class Activity: Closet Raid I 65
Spun Yarns 32
Novelty Yarns 32 Chapter 11 Complex Weaves 67
Yarn Twist 32 Crepe Fabrics 68
Table 5.1 Properties of Yarn Twist 32 Jacquard Weaves 68
Yarn Sizing 33 Swatches 96–111 70
Yarn Count System 34 Activity 11.1 Research Project: Storybook 71
The Denier System 34
The Tex System 34 Chapter 12 Knit Fabrics 73
Swatches 34–41 34 Construction of Knits 74
Activity 5.1 Lab Activity: Yarn Identification 35 Table 12.1 Comparison of Weaves and Knits 74
Table 12.2 Stretch Classifications, 18%–100% 75
Chapter 6 Plain Weaves 37 Preparing Knits for Cut and Sew 76
Understanding Fiber and Fabric 38 Knit Quality Criteria 76
Identifying Fabrics 38 The Four Basic Knit Stitches 76
Criteria for Fabric Identification 38 Categories of Knit Fabrics 77
Table 6.1 Basic Weight Categories 39 Swatches 112–127 78
Organization of Fabrics in This Text 39 Table 12.3 Comparison of Weft and Warp Knits 78
Plain Weaves 40 Activity 12.1 In-Class Activity: Closet Raid II 79
Swatches 42–55 40 Activity 12.2 Lab Activity: Knit Fabric Analysis 81
Activity 6.1 Research Project: Generic Fiber
Project 41

E x ten d e d T a b l e o f C o ntents

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 Chapter 13 Specialty Weft Knits 83
Double Knits 84
Interlock 84
Pile Knits 84
Swatches 128–141 84
Activity 13.1 Application Exercise: Knit Fabrics 85
Activity 13.2 Swatch Page: Weft Knits 87

Chapter 14 Warp Knits 89

Tricot 90
Raschels 90
Table 14.1 Comparison of Tricot and Raschel
Knits 90
Swatches 142–155 90
Activity 14.1 Swatch Page: Warp Knits 91

Chapter 15 Minor Fabrications 93

Fabrics Made without Yarn 94
Swatches 156–159 94
Fabric Combinations 94
Swatches 160–161 94
Fabrics Made with Yarn 94
Swatches 162–164 94
Fabrics Made without Yarn or Fiber 94
Table 15.1 Lace Putups 95
Swatches 165–168 96
Table 15.2 Minor Fabrications 96
Activity 15.1 Lab Activity: Fabric Evaluation by
Weight 97

Chapter 16 Dyed and Printed Fabrics 101

The Basic Dye Process 102
Stages of Dyeing 102
Swatches 169–171 103
Basic Dye Chemistry 103
Table 16.1 Properties of Dyes and Pigments 103
Special Dye Processes 103
Swatch 172 103
Color Management 104
Printed Fabrics 104
Swatches 173–187 104
Activity 16.1 Application Activity: Wovens 105

Chapter 17 Fabrics Defined by Finishes 107

Swatches 188–199 108
Activity 17.1 Application Exercise: Knits 109

Swatch Boards

E x ten d e d T a b l e o f C o ntents

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 S wa tch B o a rd Co n te n ts

Chapter 1 The Textile Cycle: From Fiber to Fashion

Raw Fiber
1. Cotton
Yarn Constructions
2. Spun yarn
3. Filament yarn
Fabric Construction
4. Muslin

Chapter 2 Fiber Classification: Natural Fibers

Cellulose Fibers
5. Cotton
6. Organically color-grown cotton
7. Flax
8. Ramie
9. Hemp
Protein Fibers: Wool
10. Wool
11. Mohair/Wool
12. Merino
13. Cashmere/Rayon
Protein Fibers: Silk
14. Cultivated Silk
15. Wild Silk
16. Silk Noil
17. Dupioni Silk

xi

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 Chapter 3 F iber Classification: Manufactured 53. Shantung
Fibers 54. Handkerchief Linen
Manufactured Cellulose 55. Linen Shirting
18. Rayon®
19. Bemberg® Cuprammonium Rayon Chapter 7 Plain-weave Variations
20. Modal® Basket Weaves
21. Tencell® Lyocell 56. Canvas/Duck
22. Bamboo 57. Sportswear Canvas
23. Acetate 58. Oxford
24. Sorona® 59. Oxford Chambray
25. SeaTiva® Rib Weaves: Filament Yarns
Manufactured Protein 60. Taffeta
26. Soy 61. Iridescent Tissue Taffeta
Manufactured Mineral Rib Weaves: Spun Yarns
27. Glass 62. Broadcloth
28. Rayon/Metallic 63. Poplin
Rib Weaves: Spun and Filament Yarns
Chapter 4 Synthetic Fibers 64. Bengaline
29. Nylon 65. Ottoman
30. Acrylic 66. Faille
31. Polyester 67. Crepe Faille
32. Polyester Microfiber 68. Crepe de Chine
33. Nomex® Aramid Vertical Ribs
69. Pincord
Chapter 5 Yarn Constructions 70. Dimity
71. Cotton Ripstop
Filament and Spun Yarns
34. Single-Spun Rayon
Chapter 8 Twill Waves
35. Single Multifilament Rayon
36. Two-Ply Spun & Filament Uneven Twills
Novelty Yarns 72. Light-weight Black Denim
37. Bouclé Jersey 73. Crosshatch Dark Denim
38. Chenille 74. Chino
39. Eyelash Jersey 75. Hampton Twill
40. Lamé 76. Rayon Gabardine
41. Herringbone Tweed 77. Polyester/Wool Gabardine
78. Cavalry Twill
Chapter 6 Fabric Structures: Plain Weaves 79. Drill
Even-sided Twills
Balanced Light-weight Sheer Plain Weaves
80. Herringbone
42. Chiffon
81. Houndstooth
43. Georgette
82. Glen Plaid
44. Organza
83. Surah
45. Organdy
Balanced Light-weight Opaque Plain Weaves
Chapter 9 Satin Weaves
46. Challis
47. Voile 84. Bridal Satin
48. Batiste 85. Charmeuse
49. Gauze 86. Crepe-Back satin
Balanced Medium-weight Plain Weaves 87. Antique Satin
50. Gingham 88. Flannel-Back Satin
51. Madras 89. Sateen
52. Chambray

S w a tc h B o a r d C o ntents

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 Chapter 10 Pile Weaves 125. Sheer Matte Jersey
90. Terry Cloth 126. Onionskin
91. Velveteen Three Basic Weft-knit Fabrics: Purl
92. Pinwale Corduroy 127. Purl-Knit Fabric
93. Velvet
94. Crushed Velvet Chapter 13 Specialty Weft Knits
95. Panné velvet Interlock
128. Polyester Interlock
Chapter 11 Complex Weaves 129. Cotton Interlock
Slack Tension Weave Double Knits
96. Seersucker 130. Double Jacquard
Dobby Weaves 131. Ponte di Roma
97. Dobby Shirting 132. Argyle
98. Dobby Lining/Filament Dobby 133. Double-Knit Matelassé
99. Bird’s Eye Piqué 134. Bird’s-Eye Wickaway Piqué
100. Waffle Cloth Pile Knits
101. Momie Weave 135. Knit Terry
Extra-yarn Weave/Supplemental Warp or Weft 136. French Terry
102. Extra-Yarn Weave 137. Sliver Knit
103. Clip Spot 138. Velour
104. Dotted Swiss 139. Stretch Velvet
Jacquard Weaves 140. Microfleece
105. Tapestry 141. Sweatshirt Fleece
106. Filament Damask
107. Cotton Damask Chapter 14 Warp Knits
108. Brocade Tricots
Double Weaves 142. Tricot
109. Double Weave 143. Shimmer
110. Double-Weave Satin 144. Brushed Tricot
111. Matelassé 145. Sueded Tricot
146. Satin Tricot
Chapter 12 Knit Fabrics 147. Athletic Mesh
Three Basic Weft-knit Fabrics: Jersey Raschel
112. Lingerie or Tissue Jersey 148. Hex Net
113. T-Shirt Jersey 149. Power Mesh
114. Slub Jersey 150. Triple Mesh
Jersey Variations 151. Tulle
115. ITY 152. Raschel Lace
Jersey with Color 153. Cut Press
116. Fair Isle/Jacquard Jersey 154. Fishnet
Three Basic Weft-knit Fabrics: Rib 155. Point d’Esprit
117. 1×1 Rib Knit
118. 2×2 Rib Knit Chapter 15 Minor Fabrications
Rib Variations Fabrics Made without Yarn
119. Piqué Knit 156. Nonwoven, Nonfusible Interfacing
120. Thermal Knit 157. Fusible Tricot Interfacing
121. Pointelle 158. Imitation Suede
122. Slinky 159. Needlepunched Eco Felt
123. Cable Knit Fabric Combinations
124. Matte Jersey 160. Pleather
161. Quilt

S w a tc h B o a r d C o ntents

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 Fabrics Made with Yarn, but not Woven or Knit
162. Embroidered Eyelet
163. Tufted Chenille
164. Venise Lace
Fabrics Made without Yarn or Fiber
165. Film
166. Pro-Shell Ultrex®
167. Leather
168. Suede

Chapter 16 Dyed and Printed Fabrics

Stages of Dyeing
169. Fiber/Stock Dyed
170. Yarn Dyed
171. Piece Dyed
172. Cross Dyed
Printed Fabrics: Classics Recognized by Pattern
173. Calico
174. Toile du Jouy
Printed Fabrics: Non-Classic Images
175. Direct Print
176. Blotch Print
177. Overprint
Better-Quality Prints
178. Discharge Print
179. Heat-Transfer Print
180. Heat-Transfer Paper
181. Flock Print
182. Velvet Burnout
183. Batiste Burnout
184. Laser Print
Resist Prints
185. Tie-Dye
186. Batik
187. Ikat

Chapter 17 Fabrics Defined by Finishes

Napping
188. Flannel
189. Flannelette
Emerizing/Sueding
190. Sueded Wickaway Jersey
191. Moleskin
192. Peachskin
Specialized Calendering
193. Glazed Chintz
194. Moiré Taffeta
195. Embossed knit velvet
196. Pleated Jersey
197. Yoryu
198. Plissé
199. Fulled Double Weave

S w a tc h B o a r d C o ntents

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 Preface

E
veryday we touch the subject of this book; we run
our hands over it in our favorite boutique, hang it in
our closets, and drape it on our bodies, and yet the
science behind the textiles we wear continues to elude us.
The intention of this book is to demystify the science and
make it useful for anyone in the fashion industry: students,
teachers, stylists, buyers, designers, colorists, in short, for
just about any fashion professional who can benefit from
a better understanding of how and why fibers and fabrics
work.
The text uses simple, direct language that is not spe-
cific to textile scientists, but rather language that is famil-
iar to the industry at large. Fashion and the apparel trade
require textile science to achieve the appropriate perfor-
mance of the product; however, the science in this book
has a different focus from most textile science texts. The
goal of this book is not to soften the science but to focus
it in a way that is more accessible. Instead of an in-depth
analysis of the molecular structure of a fiber, the text focus-
es on the relevant performance expectations of each fiber
and subsequent elements of textiles.
A solid understanding of basic textile science will as-
sist professionals in making better choices in fibers and
fabrics for their chosen end products. This text strikes the
necessary balance between scientists and designer. It culls
the information available to the textile scientist and pres-
ents only the material directly relevant to the designer or
product developer.
This book brings together all of the elements of a
textile together into a common place. With all the infor-
mation in one location, students can spend less time at-
tempting to connect the dots and more time applying the
concepts.

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The Objectives of the Text
• Create awareness of the diversity of textiles available
• Provide a basic working knowledge of textile compo-
sition, function, and application. This will enable the
student to have the information necessary to make
informed decisions regarding textiles and to commu-
nicate with industry professionals.
• Demonstrate correct use of textile terminology, which,
in itself, is a unique language.
• Differentiate between two critical concepts:
- The difference between fiber and fabric
- The difference between weaves and knits
• Explain production processes and how they impact
the fabric. This would include potential product per-
formance, cost, and selection, based on fiber, yarn,
fabrication, coloration, and finishes.
• Differentiate fiber classifications, yarn types, and fab-
rication methods, and determine how different fab-
rics will perform for a specific end use.
• Demonstrate the selection of appropriate components
of a garment with respect to compatibility with each
other and with the desired result.
The Study of Textiles
Ultimately the study of textiles will help the designers to
make informed decisions throughout the entire design and
construction process. For example, if you were to make a cot-
ton blouse, does the fiber content of the thread also have to be
cotton? What about buttons, linings, and interfacings? Poly-
ester is often both stronger and cheaper than cotton. Would
polyester be a better choice for something as seemingly in-
consequential as sewing thread? The polyester thread could
be too strong for the garment, and the fabric might tear be-
fore the seam gives way. Do polyester and cotton have the
same shrinkage rates? Do they have the same heat tolerance
for ironing and care? Certainly they are used together often
enough that they must be compatible. But they are not always
compatible. Polyester and cotton actually have dramatically
different care requirements, so fiber mixing must be done
judiciously. This example represents a tiny fraction of the
myriad decisions that you will face in your career. A diligent
study of textiles will give you the knowledge and confidence
to make more informed and reliable choices.
Whatever your place in the manufacturing chain, cost
is a factor. One-third of the cost of a garment or product
is the cost of the fabric. Mistakes in fabric choices can dra-
P ref a ce
xvi
Young_FM.indd 16
matically impact the financial bottom line. In fact, one of
the few variables in the cost of a product is the textile itself.
The study of textiles will teach you to shop for fabrics ap-
propriate to a given use, design, or silhouette. In addition,
the information gained will assist in quality control recog-
nition and component compatibility.
The Organization of the Text
This text is organized to follow the natural and logical
sequence of events that occur in the production of a textile.
The first four chapters deal with fibers: natural (cellulose
and protein) followed by manufactured and synthetics. The
next chapter addresses yarn constructions and relevance.
The body of the text is devoted to the identification and ar-
ticulation of fabrics by structure and name. The final chap-
ters address the dyeing, printing, and finishing of fabrics.
Each chapter is punctuated with representative examples of
swatches to re-enforce the subject of the chapter.
Fibers: Natural and Man made
Yarn Constructions
Wovens, Knits or Minor Fabrications
Dyes or Prints
Finishes
End Uses
Constructing the Book
Your first task will be to build this book. One of the things
that you will notice is that text is provided for each swatch;
you need only attach the swatches. Although the book is
organized into logical and sequential chapters, the instruc-
tor may well use swatches out of order. It is advised that
you construct the entire book during the first week of class,
mounting all of the swatches at once. This will enable you
to have a complete resource of swatches at your fingertips
for the instructor to draw upon to illustrate ideas.
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 Instructions
• Begin by identifying the materials needed:
- Four bundles of swatches: A, B, C, and D
- Small baggie with fiber and two yarns
- Swatch boards to mount the swatches
- Pick glass
- Pick needle (not included)
- 1 roll of double-sided tape (not included)
• The text and swatch boards are shrinkwrapped togeth-
er. You have the option of either placing the swatch
boards at the end of your binder, or placing them
next to the accompanying text. All of the swatches are
numbered and correspond to references in the text.
• The swatches are bundled in the order that they ap-
pear in the text. Keep the rubber bands on the bun-
dles until you are ready to assemble the book. Take
swatches from the top of the bundle and keep the
stack face up.
• Open the baggie first and attach the fiber to the box
for Swatch 1 with one-inch of double-sided tape.
Note: If you use exactly one-inch of tape for each
swatch, you will not need more than one roll. Place
tape in the middle of the box, and cover the tape
with fiber.
• Attach the blue cotton yarn to the box for Swatch 2.
• Attach the white filament yarn to the box for Swatch 3.
• Next, attach the four bundles of swatches sequentially
in the book. Place one-inch of the double-sided tape
horizontally across the top of the swatch box, and
then place the swatch on top of the tape. This way,
you can flip up the swatch to observe and feel both
the front and back.
• The swatches are presented in the following bundles:
- 1 bag of fibers and yarns includes Swatches 1-3
- A has Swatches 4–67
- B has Swatches 68–121
- C has Swatches 122–141
- D has Swatches 142–199
• Due to availability of some fabrics, there are a few mi-
nor variations in the swatches presented. In all cases,
the swatches have the same character: they share the
same fiber content, yarn construction, count, weight,
stage of dyeing, and finishes. However, the color of
the swatches may vary between kits.
• As you apply the swatches to the swatch boards, verify
that the swatch matches the description that is listed.
Rely on fabrics that you already know, such as denim
P ref a ce
xvii
Young_FM.indd 17
or velvet. Check that you are on the right number as
you get to the end of each bundle.
• Finally, verify that you have a pick glass in your kit.
Open the pouch and unfold the glass completely.
Look through the glass to the ruler below, and look at
the fabric on your sleeve to get used to the pick glass.
You will use this instrument throughout your study of
textiles, so have it with you for every class.
• It is often helpful to have a pick needle to assist in
your analysis of fabrics, particularly when it comes
to counts or pick outs (analyzing the structure of the
fabric).
While most facts are provided for each swatch in the
text, there instances where the information for yarn con-
struction has been eliminated. This corresponds directly
to Activities in the text and requires the student to deter-
mine and fill in the results.
Additionally, the facts provided in the yarn construc-
tion category are simplified. Unless otherwise stated, it is
safe to assume that the yarn type is single (as opposed to
piled). In the case of filament yarns, one can assume mul-
tifilament, unless otherwise indicated.
Some criteria are present only when it is particularly
relevant. Finishes, for example is a missing criteria for most
fabrics, when it is not an aesthetic or visible finish. This
does not mean that there is no finish on the fabric, we
recognize that most fabrics have a dozen finishes on them
before they are seen by the consumer; it means that there
is no visible or discernible finish.
Finally, the information that is most important or
relevant to the pertinent chapter is often listed first. For
example, in chapters 2-4 when fiber content is being dis-
cussed, fiber is the first item in the list of facts about the
fabric. Fabrics are listed first for each swatch in the fabrics
chapters (Chapters 6-17). The shift is deliberate to focus
on the subject of the relevant chapter.
Five blank swatch boards have been provided to allow
the student to expand on this fabric reference with their
own fabrics.
8/31/10 8:19:56 AM
 Acknowledgments

A
n undertaking of this sort is truly a collabora-
tive project, and there are many people I wish to
thank for their patience, encouragement, and sup-
port. I am grateful for the support of Carol Shaw Sutton,
who nurtured a love of textiles and helped me to see the
world through fiber eyes. B. J. Sims and Maribeth Baloga
were each essential parts of my education for this subject.
Amanda Starling provided the motivation and impetus
for this book. Jacob Kaprelian of Uniprints, Peter Krauz
of Trimknits, and Nori Hill of Texollini were each kind
enough to custom produce fabrics for this project. Rubin
Schubert and the crew at Ragfinders generously provided
many of the exciting fabrics found in this resource. Anne
Bennion offered support and resources and Tom Young
contributed much needed research. My technical support
team, colleagues, and good friends have been and continue
to be Ben Amendolara, Cassandra Durant Hamm, and
Judy Picetti. I truly could not have put this together with-
out their insights, support, and faith. I also wish to thank
the Fairchild team for their initial vision and realization
of the final product. A personal thanks to Martin, Tim,
and Maria at Perry Color Card for shepherding the fabrics
through the swatch cutting process. Invaluable assistance
in the assembly of this project was diligently provided by
Mariah Connell and Chad Simpson. I am appreciative of
the patience of the rest of my family during the course of
this three-year project: Amanda, Diana, Mike, Kim, and
Alyssa. Thank you all for your generosity, caring, and sup-
port. Most of all, I want to thank Jim Young, who traveled
with me on every wild goose chase, was my personal editor
on this project (and in life), and my heart in this book.

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 Swatch Reference Guide for Fashion Fabrics

Young_FM.indd 21 8/31/10 8:19:56 AM

 C

T h e Te x t i l e Cy c l e : F r o m F i b e r t o Fas h i o n

Young_01.indd 1 8/31/10 8:22:10 AM

 T
he development of textiles—spinning, weaving and
sewing—was one of mankind’s earliest technical
achievements, right after taming fire and mastering
stone tools. And after 20-thousand-plus years of textile
history, the basic processes for producing textiles have not
changed. Fibers still need to be harvested and spun into
thread or yarn. Those yarns have to be manipulated on
some type of loom structure to create fabric.
To be sure, mechanization in the 1800s and the de-
velopment of synthetics in the last century brought new
uniformity and speed to the production process. But it’s
our ingenuity and drive to produce stronger, cheaper, bet-
ter, and more beautiful fabrics and fashions that make the
field of contemporary textiles so exciting and diverse. The
number of new fibers and fabrics seems to grow exponen-
tially every day. It is no longer enough to select a textile
simply for its hand, drape, or color. Today’s consumer
wants performance—fabrics that won’t shrink, wrinkle,
or soil and that will do the dishes on Saturdays. In the
current marketplace we can actually meet most of those
demands. Although we haven’t yet trained textiles to do
the dishes, we do have textiles that will allow you to ac-
complish this task in your favorite sweater, without wor-
rying about staining. Making appropriate fabric choice
requires a thorough knowledge of the science of textiles.
Understanding the hygroscopic, thermoplastic, electrical
retention, or hydrophobic qualities of a fiber or fabric is
essential for product developers, apparel manufacturers,
stylists, and fashion designers alike. And if the preceding
sentence sounded a little too technical to you, don’t worry:
­­you will soon be “speaking textile” too!
The Process: Start to Finish
This text begins with the smallest part of a textile—fiber
—and follows the textile cycle through to the final step,
finishing. With increasing demand for more versatile and
functional fabrics, finishing and care have become major
areas of interest within the textile world, unlimited in their
commercial potential. For example, one segment of the
textile industry is devoted to fibers and finishing processes
that resist stains. In their search for more stain-resistant
fabrics, researchers have developed textiles that have su-
perior color retention—even if the color happens to be a
stain. It is an interesting paradox that once a stain has man-
aged to get past the finish and into the fibers of the fabric
itself, it becomes more difficult to eliminate. Stain removal
may not be the most exciting segment of the industry, but
when you have spilled ink on your sister’s favorite shirt,
it certainly becomes a compelling subject. (Hairspray will
usually remove that ink and get you out of trouble.) This
S w a t c h R e f e r e n c e G u i d e
Young_01.indd 2
and other new developments in textile science are moving
the textile industry into fascinating new realms.
In Pursuit of the Perfect Textile
As visually stimulating and tactile as textiles are, they are
even more exciting from a technological perspective. Con-
sumers want high performance and low maintenance; they
want textiles that can do tricks. The field is an exciting
frontier. Space exploration, military and medical research
programs, and, of course, the technology industries have
driven some of the most startling innovations in textile
science. Although not directly inspired by, or created for,
the fashion industry, these innovations trickle down to the
world of couture. All it takes is a little creative thinking to
make the leap from battlefield military to fashion couture.
Savvy designers use these new developments to meet the
market demand for better, unique products.
For example, the military has developed textiles that
interface with the Global Positioning System (GPS) to
keep track of people. Think of the possibilities. You could
track your children’s whereabouts or even LoJack® your
spouse! The military has also developed textiles that make
a person appear invisible and shoes that can help one jump
20-foot walls. After the jump however, a 6-hour recharge
is required before you can jump back out of enemy ter-
ritory! (You might wish to take a spare battery!) Imagine
amazing your friends on a basketball court! On a more
serious note, there are textiles with sensors that will detect
the amount of blood lost in a person wounded in the field,
perhaps to determine the viability of a rescue effort. And
we have textiles that stiffen to act as a splint when neces-
sary for combat injuries as well as those that can dispense
antibiotics.
But military researchers are not alone on the front
lines of textile development today. The medical field is
also producing advancements, like sensors that record and
transmit to your doctor information such as heart rate,
blood pressure, and insulin level. Fuji Spinning Company
in Japan has developed a shirt that provides your recom-
mended daily allowance of vitamin C. Through a process
called microencapsulation, your body slowly absorbs the
medication transdermally (through the skin), just by wear-
ing the shirt. The shirt continues to administer medica-
tion through as many as 30 to 40 washes. Using the same
technology, one could add many different medications to
a garment. Consider a scarf that provides relief for head-
aches, gloves for arthritis sufferers, or a special shirt for
Alzheimer’s patients. What happens when these garments
become mainstream technology? Will you need a prescrip-
tion for your clothes? Will your dress have an expiration
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 date? Will there be a black market for medicated under-
wear? These are fascinating possibilities, but they raise
some provocative ethical questions as well.
In another example of fiber-forward thinking, re-
searchers are experimenting with spider silk because of its
extreme strength. Spider silk is so strong that if you were
to spin a strand of yarn the diameter of a pencil, it could
stop a 747 in flight. In manufacturing, fiber strength is
critical because the stronger the fiber, the less is needed
for a particular use. Spider silk could replace other fibers
to make bulletproof garments—not just vests, but whole
garments—that cover the entire body and that are both
lighter in weight and stronger.
To date, the cultivation of spider silk has been prob-
lematic because the spiders will not cooperate. Unlike silk-
worms, spiders are territorial, and they recycle their proteins
(that is, eat their webs), which is the equivalent of packing
up their tents, when they move on. Researchers have had
to get creative in the cultivation of spider silk. Experiments
are being done in cross-breeding spiders with potatoes,
corn, and even goats. Yes, there exists a herd of spider-goats
that produce milk that provide us with really strong fibers.
This is not the future of textiles; this is the present.
Here are some other high-performance textiles that
are pushing the envelope of textile technology:
• Textiles that are perfumed with your favorite fragrance.
The perfume lasts through 30–50 launderings.
• Antibacterial textiles (no bacteria means no odor).
You can work out all day and go directly on a date!
• Shirts with living bacteria that will eat any spills or
perspiration. The effect is a self-cleaning shirt. But be-
cause the bacteria are live, they must be fed regularly,
so although you may not have to wash this shirt, you
might have to feed it!
• Textiles that change color with temperature—or that
change color and pattern with your mood (remem-
ber mood rings?). This is also being done with wall-
paper (it changes pattern or color according to one’s
whim).
• Textiles that change color with the presence of odor-
less pesticides or gases—great for detecting these dan-
gers in your children’s play areas.
• Textiles that adjust to your body temperature, cooling
you when hot, warming you when cold. Using Ther-
mocule technology, there are sheets that do just that
so that you do not need to throw the covers on and
off all night. These sheets read your body temperature
and self-regulate.
• Hoodies with cell phones or MP3 players built di-
rectly into a cuff or the hood.
• A “smart bra” that turns into a sports bra by increas-
ing its support as you begin to run and then relaxing
when you relax.
• T-shirts that play movie trailers or short videos across
your chest.
• Window curtains that act as solar panels and power
your house.
Basic Definitions
The first step in understanding textiles is mastering the
vocabulary. Let us begin with some basic definitions
that break down the language into simple terms so that
you can begin speaking the language of textiles today
(Table 1.1).

Table 1.1  Basic Textile Definitions

Textile An umbrella term for anything that can be made from a fiber or fabric. This is a very general term that could be a
tennis ball cover, a disposable diaper, a dryer sheet, geotextiles (building materials), carpeting, or interior and apparel
fabrics.
Fiber The smallest part of a textile and the raw material of a fabric. A fiber is a hairlike strand very similar to your own hair.
Fibers can be natural or manufactured.
Yarn A number of fibers that are twisted or laid together to form a continuous strand. In order to make fabric, short
fibers must first be made into longer, more usable lengths called yarn. Historically, figuring out how to do this took
humankind a very long time.
Fabric A method of construction or an organization of fibers and yarns. The most common fabric constructions are weaves
and knits, but there are other minor fabrications as well. Garments and other products are made from fabrics.
Dyeing The science of applying color to textiles.
Printing The process of applying color in a design to textiles.
Finish Any process that is done to a fiber, yarn, or fabric to change the way it looks, feels, or performs. A fabric can be
dramatically changed from its original appearance or performance by the way it is finished.

T h e T e x t i l e C y c l e : Fr o m F i b e r t o F a s h i o n

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 The Physical Textile Cycle
A fiber is the smallest visible part of a textile, a single hair-
like strand. A fiber is either staple or filament in length.
Staple fibers are short—only inches long. All natural fibers
are staple except for silk, which is nature’s only filament.
Filament fibers can be miles long and include both manu-
factured and silk fibers.
Cotton is a staple, with short fibers, and so is wool.
Acrylic is constructed as a manmade filament and is of-
ten cut to staple length, particularly when it is imitating
wool. Likewise, in a blend such as polyester and cotton,
the polyester would first be chopped into staple lengths for
easier blending with the staple cotton fibers and for an all-
over cotton hand, the term for how a fiber or fabric feels.
Although filament fibers can be cut to staple length, staple
fibers cannot be made into long filaments.
The following swatches compare the different stages
of a textile, from the raw fiber through the most common
yarn types, spun and filament, and finally to the simplest
fabric made from these fibers.
Swatch 1 is a staple cotton fiber. Swatch 2 is a yarn
made of cotton staple fibers.
Compare this with Swatch 3, which is filament poly-
ester. Swatch 4 is a fabric made of staple fibers. In effect,
these swatches represent the textile cycle: harvest the fi-
ber from the plant, spin it into a yarn, and use the yarn
to construct the fabric. Note as well the simple difference
in length between the fibers of the two yarns (Swatches
2 and 3). Both yarns are unusually large to aid identifi-
cation. In Chapter 5, we will further explore these dif-
ferences by comparing two fabrics identical in structure
and fiber; one is made of filament fibers and the other is
staple.
[Reference Swatches 1–4]
The Language of Textiles
Before going any further, the core language of textiles
needs to be introduced. This text will allow you to un-
derstand in detail the inherent performance properties
of each fiber, yarn, and fabric construction. Familiarity
with performance concepts and properties helps designers
to determine the specific advantages and disadvantages a
fabric will bring to its end use. In essence this knowledge
mitigates the possibility of making poor fabric choices for
a particular garment.
Here is an example: We know that linen wrinkles hor-
ribly. By selecting a particular yarn or fabric construction,
S w a t c h R e f e r e n c e G u i d e
Young_01.indd 4
adding a select finish, or blending fibers, we can easily cre-
ate a linen garment that will not wrinkle.
The question is which fiber/fabric is best for a specific
purpose? This will be answered in part by studying the
following five performance concepts: durability, comfort,
care, appearance, and safety. The performance of any given
textile is determined by the properties of the fiber, yarn,
and fabric; every component of the construction of a fab-
ric (fiber, yarn, and so on) inherently has these properties.
In the chapters to come, these performance concepts will
be extended to all the components of fabric construction.
In this way, you will learn to create fabulous garments that
perform beautifully.
Textile Performance Concepts and Properties
Performance concepts relate to the measure of a textile’s
ability to perform in the final product. These concepts in-
clude durability, comfort, care, appearance, and safety.
Properties of Durability
Durability is the measure of a textile product’s ability
to resist stress and serve its intended use. (Each criterion
can be measured in a textile lab.)
• Abrasion resistance: The ability of a fabric to with-
stand rubbing without wearing a hole in the surface.
• Pilling: The formation of tangled fibers on the sur-
face of the fabric. Pilling is also caused by rubbing but
with a different end result.
• Cohesiveness: The ability of fibers to cling together.
Only relevant for yarn spinning. Usually provided by
crimp.
• Feltability: The ability of fibers to matte together to
form a fabric.
• Elongation: The degree to which a fiber may be
stretched without breaking; the amount of give in a
fabric. Growth can be a problem in a fabric.
• Elasticity: The ability of a fiber to stretch and recover
(return to its original size and shape after stretching).
• Elastomericity: The ability of a fiber to stretch 100
percent and recover.
• Dimensional stability: The ability of a fiber to retain
a given size and shape through use and care. Relates
to shrinkage.
• Strength-tenacity: The ability of a fiber, yarn, or fab-
ric to resist stress.
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 C

Plain Weaves

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 Understanding Fiber and Fabric
The difference between fiber and fabric is one of the most
fundamental concepts in textiles and generally one of the
most misunderstood. Fibers are the basic building materi-
als. Fabrics are the final woven, knit, or other construc-
tions. Identifying the fiber content is important, but it
does not provide the complete picture of a fabric. Think
of describing a house by calling it wood. While the house
may be built primarily of wood, that description does not
create an adequate representation of the entire structure.
Quite simply, fiber is what the fabric is made of, and fabric
is what fiber is made into.
Understanding the relationship between fiber and
fabric is essential to every textile-related discipline from
product developer to fashion designer. Cotton is a very
common fiber that can be constructed into many different
fabrics, such as calico, denim, and jersey. Yet not all cotton
fabrics are alike in their performance capabilities.
Silk and satin are often confused; they are not the
same thing. Silk is a fiber, and satin is a fabric. Sometimes
silk is made into satin, but more often than not, satin is
made of rayon, acetate, or even polyester. And silk can be
made into many other fabrics.
Fabric stores often organize their inventory by fiber.
If you ask an employee the name of a fabric, he or she
might tell you it is cotton or silk, while showing you a
jersey or broadcloth. Although this practice is common,
it leaves too much room for expensive errors. The fiber
content is not the fabric name. Think of all the cotton
fabrics that you know. Are they interchangeable? If you
decide to make a cotton T-shirt and you order cotton
fabric, could you make this garment if you received cot-
ton corduroy or cotton batiste? No, and that is why it
is not enough to identify a fabric by its fiber content.
Knowing the fiber content is a good beginning, but for
people working in the industry, a greater knowledge of
fabric names and their performance criteria are required
to successfully create a textile product for fashion, home,
or industry.
In Activity 3.1 (see page 21), we analyzed the details
of care labels and discovered that they are rather limited in
scope. If a label says cotton, silk, polyester, or rayon, it is
the fiber content that is listed and not the fabric. In fact,
fabric names are not even required on a care label. Does
this mean that fabric information is not important? It is
extremely important, as you will soon see.
Review Swatch 1 (cotton fibers) and Swatch 4 (the
simplest cotton fabric) for a reminder of the difference be-
tween fiber and fabric.
S w a t c h R e f e r e n c e G u i d e
38
Young_06.indd 38
Identifying Fabrics
How do we identify fabrics? Most people attempt to
identify fabric by feel. With today’s textile manufacturing
technology, you can be completely fooled by this method.
The bottom line is that identification by touch only is ex-
tremely unreliable. A more analytical approach is required
to accurately differentiate one fabric from another
What are the other identifying factors? As we move
through this section, we will be looking at many fabrics
that have the same fabric structure but different names.
First, we must define the criteria for identifying fabrics so
that recognition becomes possible. Then we will apply the
basic criteria to each fabric in order to identify it.
Criteria for Fabric Identification
The names of fabrics are often tied to their characteris-
tics and therefore can be helpful in determining a fabric’s
identity.
• Fabrics can be named for their inherent structure.
Herringbone is always a reversing twill; the structure
relates to the fabric’s method of construction and is
created by a specific interlacing pattern. (Interlacings
are the organization of horizontal and vertical—warp
and weft—yarns as they cross over and under one an-
other.)
• Fiber content is sometimes responsible for a fabric’s
name, such as China silk or handkerchief linen. Linen
is usually, but not always, made of flax, but China silk
is always a plain weave made of silk.
• Fabrics can be named for their origins, such as dam-
ask for Damascus; paisley for the city in Scotland, and
gauze for Gaza.
• Fabrics are often distinguished by their finishes. Flan-
nelette is generally a simple plain-weave cotton fabric.
With a napped finish it becomes flannelette and even
performs differently. Without this finish, it would not
be flannelette.
• Method of coloration is often a factor in identifica-
tion. Gingham, chambray, and madras are all plain-
weave cotton fabrics that are in the same weight
category. The differences between them lie in the
organization of their yarn-dyed colors. Madras uses
several yarn-dyed colors in both directions, creating a
plaid design. Chambray has a white weft and colored
warp. Gingham uses alternating blocks of white and a
color in both directions to form a checked pattern.
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 • Yarn construction can determine fabric identity.
Voile and batiste are basically the same fabric, with
differently twisted yarns. Voile has hard-twisted yarns;
batiste is much softer. The placement of spun and fila-
ment yarns can determine fabric name as well. Ben-
galine is often identified by a spun weft and filament
warp.
• Print can be a determining factor. Calico is a light-
weight, plain-weave, cottonlike fabric with a small
floral print. Although each of these factors is impor-
tant, it is ultimately the print that gives this fabric its
identity and distinguishes it from many other fabrics
of like hand and structure.
• Finally, weight is an important consideration. Often,
fabrics with different identities share the same fiber,
yarn, and fabric construction. Poplin and broadcloth
are basically the same fabric; their distinguishing fea-
ture is simply weight. Broadcloth is a lighter-weight
version of poplin.
The last factor on this list, weight, is one of the most
significant, defining criteria of a fabric. Fabric is often
bought and sold by weight.
Consider the case of denim. This is an extremely
common fabric that everyone knows, but not all denim is
the same. Denim is described by weight, often expressed
as ounces per square yard (oz./sq. yd.). Denim can range
from a very thin, light-weight 4 to 5 ounces per square
yard up to the aptly named bull denim, which can weigh
as much as 18 ounces per square yard. Different weights
of fabrics have different uses. Top weight generally means
that a fabric is an appropriate weight for the top half of the
body—a blouse or shirt. Bottom weight is appropriate for
the bottom half of the body—pants, slacks, or even suiting
materials. Note in Table 6.1, which shows appropriate uses
Table 6.1  Basic Weight Categories
Category oz./sq. yd.
Extremely Light Weight (i.e., lingerie) 0–1 oz. or
< 1 oz.
Light Weight (i.e., top weight) 1–4 oz./sq. yd.
Medium Weight* (i.e., top weight, bottom weight) 4–7 oz./sq. yd.
Medium to Heavy Weight (i.e., bottom weight) 7–9 oz./sq. yd.
Heavy Weight (i.e., jacket or blanket weight) > 9 oz.
*Medium weight comprises both top and bottom weights. This is a fabric that is generally considered heavy for a blouse and light for a pant.
P l a i n W e a v e s
39
Young_06.indd 39
for fabrics of different weights, that the medium category
straddles both top and bottom weights. This is a fabric
that is generally considered heavy for a blouse, light for
a pant.
Organization of Fabrics in This Text
Fabrics in this text are logically organized into groups by
their similarities, beginning with the simplest weave struc-
ture, plain weave. Within each chapter, the fabric organi-
zation will progress from the lightest weight up through
the heavier weight versions of each structure.
Fabrics have been around for a long time. Because
manufactured fibers had not yet been created, all fabrics
were originally invented with one of the big-four fibers:
wool, linen, silk, and cotton. This text will often refer to
fabrics as cottonlike or from the cotton family, which relates
to their first incarnations and to their hand. Today, a cot-
tonlike fabric might be made entirely of polyester. (This
would be an example of polyester imitating cotton, as it
often does.)
The elements of a textile, which are identified with
each fabric, are fiber content, yarn construction, fabric
name, count, coloration method, finishes, and weight. In
terms of yarn construction, one can assume that all yarns
are single unless identified as plied. In the case of filament,
assume multifilament, since this is most often the case in
fabrics. This text also acknowledges that fabrics receive
about a dozen finishes before they reach the consumer.
Most of these finishes are general, such as washing, iron-
ing, or bleaching. These will be assumed and not listed.
Only aesthetic (visible) finishes will be listed.
As a final note, fiber and fabrics are not inextricably
linked. Batiste is a fabric that can be made of cotton, poly-
ester, silk, or even rayon. Think of fiber and fabric as first
Appropriate End Uses
Chiffon dresses/blouses, sheers
Blouses, light summer dresses
Heavier top weight and lighter bottom weight slacks and
suitings
Bottom weight slacks and suitings, lightweight summer
jackets
Blankets, heavier coats
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 Activity 6.1  Research Project: Generic Fiber Project
Name:
Purpose: To determine why certain fibers are used for specific consumer end products, based on
evaluation of their properties.
Procedure
1. Research the Internet or retail catalogs to find
five textile-based consumer apparel adver-
tisements that provide the generic fiber con-
tent in the ad.
• The five ads should include:
- one natural protein fiber ad
- one natural cellulose fiber ad
- one man-made cellulose fiber ad
- two different synthetic fiber ads
•  void blends. Find ads with single-fiber fab-
A • Attach all sheets in the packet with a staple.
rics.
2. P
 roperty names: Identify the three most posi-
tive properties for the fiber featured in each
of the ads. Select properties that reflect the
best qualities of the fiber.
3. D
 efinitions of properties: Define each of the
three properties you have identified for each
advertisement to validate consumer end use.
For each property, provide a correct, specific
description stated in your own words. Finally,
explain why the fiber is relevant to the prod-
uct’s end use.
4. P
 repare a presentation on your findings in-
cluding the following:
•  reate a title page with the title of the project,
C •  ach of the five ads must feature a different
your name, your instructor’s name, the course
number, the class day and time, and the date.
Young_06.indd 41
Date:
•  lace each ad securely and cleanly on a separate
P
8 1/2×11-inch page. Alternatively, cut and paste
internet ads onto the page. The ads should in-
clude the text from the ad describing the product
and the fiber content. Highlight the text that de-
scribes the fiber content.
• F ollow the ad with your typed, double-spaced
content, which should appear on the same
page as the ad.
Tips
•  hoose properties relevant to the consumer!
C
(For example, avoid the dimensional stability
of a wedding gown or a polyester bikini that
will keep you warm!)
•  void properties that are average. Sell this
A
garment with the best possible properties!
• Write about fiber, not fabric.
•  void trade names; this is a generic fiber as-
A
signment.
•  se formal properties: cheap and washable
U
are not properties.
E
fiber, and each fiber must be intended for a
different consumer end use.
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 5 6
Swatch Swatch

Fiber content: Cotton Fiber content: Organically color-grown

cotton
Fabric name: Lawn
Fabric name: Poplin
Yarn construction: Spun
Yarn construction:
Count: 108×88
Count: 64×35
Coloration: Print
Coloration: Color grown, natural, undyed
Weight: 1.7 oz./sq. yd.
Weight: 6 oz./sq. yd.
Uses: Blouses and summer wear
Uses: Jacket, blouses, bottom weight, and
decorative uses

Cellulose Fibers Cellulose Fibers

Swatch 5 Swatch 6

© 2011 Fairchild Books, a division of Condé Nast Publications, Inc. Chapter 2: Fiber Classifications: Natural Fibers

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 Cellulose Fibers Cellulose Fibers Cellulose Fibers

Swatch 7 Swatch 8 Swatch 9

7 8 9
Swatch Swatch Swatch

Fiber content: Flax Fiber content: Ramie Fiber content: Hemp

Fabric name: Butcher linen Fabric name: Plain-weave “linen”
Yarn construction: Spun Yarn construction: Spun
Count: Count: 66×54
Coloration: Natural color Coloration: Piece dyed
Weight: 7.1 oz./sq. yd. Finishes: Beetled
Uses: Suitings, blouses, and skirts Weight: 5.5 oz./sq. yd.
Uses: Suitings, blouses, and dresses
Fabric name: Jersey
Yarn construction: Spun
Count:
Coloration: Bleached
Weight: 7.4 oz./sq. yd.
Uses: Tops and T-shirts

© 2011 Fairchild Books, a division of Condé Nast Publications, Inc. Chapter 2: Fiber Classifications: Natural Fibers

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 Fabric Combinations Fabric Combinations

Swatch 160 Swatch 161

160 161
Swatch Swatch

Fabric name: Pleather Fabric name: Quilt

Fiber content: Vinyl/polyester Fiber content: Polyester
Yarn construction: None on face Yarn construction: Varies
Count: None Count: Varies
Coloration: Print Coloration: Piece dyed
Finishes: Embossed Weight: 8.84 oz./sq. yd.
Weight: 13.08 oz./sq. yd. Uses: Jackets, bedding
Uses: Any leather type applications

Characteristics
Laminated, or bonded, fabrics are made
of two to three layers of fabric that are
joined through any number of processes.
Pleather is an embossed film that has
been printed and laminated to a jersey (in
this example). The resultant fabric is an
imitation leather.
Characteristics
A quilted fabric is three layers of fabric
that are sewn together with a decorative
stitch. Traditionally, the face is woven, the
backing could be anything, commonly a
muslin and the middle layer is a nonwoven
batting. This fabric has a 1 × 1 rib knit
backing.

Similarities
These fabrics are made by combining layers of fabrics, which changes the weight, hand, and
performance of the original fabric. Individually, the fabrics may be woven or knit, but the fabric
has a new value by virtue of being combined and layered.

© 2011 Fairchild Books, a division of Condé Nast Publications, Inc. Chapter 15: Minor Fabrications

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