Textile terms Explanation Examples

Fibre A thin thread-like structure Wool

Staple fibre Short fibres Wool
Filament fibre Long continuous fibres Satin
Yarn A thread made up from many single strands. Staples fibres are Knitting
drawn and spun together; filament is twisted together wool
Fabric A textile which has been woven or knitted from yarns or directly Denim
bonded from fibres
Embroidery thread Piece of machine thread
Fashion Notes

Fibre Source Production

Silk Silkworm Silkworm spins its cocoon, the cocoons are placed in hot water to melt the
silk gum, the surface is brushed to find the ends of the thread, the ends of
the thread from cacaos are placed together and unwound together, the
twisted thread is still surrounded by gum is reeled into skein, the thread is
sent to e woven. The gum is removed after weaving by being boiled away
Wool Fleece of Shearing, wool is graded or sorted, it is cleaned the combed repeatedly
sheep and until smoothed then brushed or carded then combed and drawn out they
goats, may be died and spun into yarn then woven
Hair of
camels and
rabbits
Linen Flax plant Flax stems are cut
Retting – where woody covering of stem is rotted away.
Traditionally left to soak in ponds but ow tanks of water are used
Scrutching – fibres are cleaned and seeds and stem removed Hackling –
fibres are combed and formed into silver. The fibres are spun and woven
Cotton Cotton bowl Pick up the cotton
or seep pod Ginning – cotton bolls pass through machine which separate the seeds
from the fibres and any plant waste
Bailing – cotton lint packed for shopping
Bale breaking – matted fibres are fed into machine to remove impurities
then more breaking down and cleaning to produce a lap
Carding – fibres separated, short fibres removed, and loose rope called
silver is formed
Combing – the silvers are laid parallel y passing over revolving drums with
teeth
Drawing – silvers are drawn out then twisted together several repeated
times
Slubbing – drawn further into roving which are wound onto bobbins
Natural Fibres Man-made fibres
Plant Animal Synthetic Regenerated

Linen Wool Nylon Viscose rayon

Cotton Silk Polyester Acetate rayon

Acrylic

Elastane

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 Man-made fibre production four steps:
1. Conversio of the fibre forming substance into fluid.
2. Extrusion of the viscous solution through spinnerets.
3. Solidification of the extruded filaments.
a) Wet spinning – uses chemicals. The filaments are
soaked I chemical bath to harden (rayon and acrylic)
b) Dry spinning - uses air or inert gas. The solvent
evaporates in warm air to harden fibre (acetate and acrylic)
c) Melt spinning – heated used to melt. Melted
material cools and hardens (nylon and polyester)
4. Drawing - fibres are stretched to make them stronger

Fibre Source Production

Nylon Adipic acid ad Adipic acid and hexamethylene diamine are dissolved in
hexamethylene alcohol and mixed with nitrogen gas to form nitrogen salt
diamine The nylon salt is dissolved I water and heated to form liquid
nylon
Liquid nylon is forced through a spinneret to form continuous
filaments
Filaments are stretched to increase strength and elasticity
then twisted into yarn
Or nylon is made into chips, melted, extruded through
spinnerets, and cut into short staple fibres
Yarn or staple fibres are woven or knitted into fabric
Polyester Ethylene glycol Ethylene glycol (dihydric alcohol) and terephthalic acid
(dihydric alcohol) (dicarboxylic acid) react to form polyester chips
and terephthalic Chips are melted forced through the spinneret then the
acid (dicarboxylic filaments cool and harden (melt spinning)
acid) Filaments are stretched used as continuous yarns or cut into
staple fibres
Acrylic Acrylonitrile Dissolved in solvent
Extruded through spinnerets the solidified by
 Dry spinning – evaporated in warm air
 Wet spinning – Coagulated in a chemical bath
Fibres are stretched, crimped, and cut into staple fibres
Elastane preformed Polyurethane is dissolved in a solvent to form a liquid
polyester The liquid is extruded through spinnerets into fibres (dry
molecules and spinning)
di-isocyanate Fibres are stretched to increase elasticity
(polyurethane) Warroad with non-elastic yarn

Fibre Source Production

Viscose rayon Bleached wood Wood pulp steeped In caustic soda
pulp Treated with carbon disulphide to form viscose solution
Viscose forces through spinnerets the filaments harden in
sulfuric acid bath (wet spinning)
Filaments washed; bleached ad twisted into yarn
Cut into staple fibres and blended with cotton
Acetate rayon Cotton linters Cotton linters dissolved in acetic acid and acetic anhydride to
form acetate flakes
Flakes dissolved In acetone to create thick liquid
Liquid extruded though spinnerets, solidifies in warm air (dry
spinning)
Filaments stretched, twisted into yarn then wove or knitted
Fibre Advantages Disadvantages Finishes
Cotton

Flax

Wool

Silk

Viscose

Acetate `

Nylon

Polyester

Acrylic

Elastane
Term Definition / Process

Blending Mixing different fibres to

create yarn with combined
properties
Carding Disentangling and aligning
fibres into a loose rope
(silver)
Combing Separating short fibres from
long fibres for smoother,
stronger yarns.
Spinning Twisting fibres into yarn.
Staple fibres are spun;
filament is twisted together
 Construction
Woven Fabrics

Weave type Structure Characteristics Examples

Plain weave Weft passes over 1 warp,
under 1 warp alternately
o
o
Baftiste
Calico
o Chiffon
o Chambray
o Georgette
o Poplin
o Pongee
Twill weave Diagonal pattern (weft over
2+ warps, staggered)


Durable
Hides stains
o
o
Demin
Drill
 Drapes well o Gabardine

Satin weave Weft floats over 4 + warps,

creating smooth surface


Shiny face
Dull back
o
o
Satin
Cotton Sateen
 Prone to o Rayon satin
snagging

Pile weave Extra yarns form loops (uncut

or cut)


Soft
Insulating
o Velvet – Cut
pile for
Two methods:  Directional smooth, dense
1. Over Wire Method “nap” surface (used
o Wires inserted during in formalwear)
weaving; withdrawn o Velveteen
later to leave loops o Corduroy – Cut
o Wires with knives cut pile in parallel
loops to create cut rows
pile o Towelling –
2. Face – to – Face uncut loops for
Method: high
o Two layers woven absorbency
simultaneously, sliced (bath towels)
apart to create two
pile fabrics
 Type Process Characteristics Examples
Weft knitting Single yarn loops  Stretchy o Jersey
horizontally. Stretched  Warm o Rib knits
in both directions  Prone to unravelling
Warp knitting Vertical loops with  Flat o Tricot
separate yarns.  Less stretchy o Raschel
Machine-only  Ladder-resistant

Non-woven Fabrics
o Methods: Bonding (adhesives/heat), needle punching, felting
o Examples: Interfacing, Disposable masks, Felt
o Advantages:
 Cheap
 No grain
 No fraying
o Disadvantages:
 Weak
 Stiff
 Tears easily
Blending
A blend is a mixture of fibres of different composition which are spun together to form a yarn. This
blended yarn is used in both warp and weft directions e.g. polyester/cotto lawn

A mixture is a fabric that has yarn of one fibre content in the warp and yarn of a different fibre content
in the weft e.g. terylene in the warp and wool in the weft

Advantages of Polyester – Cotton

 Cost efficiency: Polyester is cheaper than cotton, reducing fabric costs

 Durability: Polyester adds strength; cotton maintains softness
 Easy care:
o Polyester resists creases, reducing ironing needs
o Quick-drying due to polyester’s low absorbency
 Comfort: Cotton’s breathability balances polyester’s moisture resistance
 Shrinkage and mildew resistance: Polyester prevents shrinking and mildew

Reasons for Blending Fibres

1. Performance Enhancement:
 Crease resistance (polyester +cotton)
 Elasticity (Elastane + cotton)
2. Cost reduction: Mix expensive fibres with cheaper ones
3. Improved Texture: Rayon adds softness/luster to cotton
4. Thermoplastic Properties: High synthetic % allows permanent pleating
5. Versatility: Blends wash better

Property Polyester Cotton

Absorbency Low (quick drying) High (breathable
Crease resistance High Low
Cost Cheap Moderate/expensive
Durability High Moderate

Methods of applying colour to fabric:

 Batik
  Dye
 Silk painting
 Printing
 Stencilling

Safe handling and use of dye stuff

1. Work in well-ventilated area

2. Wear latex gloves to protect your hands becoming disluctent and absorbing toxins
3. Wear apron or old t-shirt to protect your clothing
4. Protect the work surface by covering it with a sheet of plastic
5. Disposal of dyes in safe areas i.e. Not into rivers
6. Store dyes in safe place out of children’s reach
7. Avoid contact with eyes and skin
8. Store in secure container

Dyeing

This process involves immersing fabrics in liquid pigments to which salt has been added to. A chemical
known as modern is used to fix the colour making it permanent and helps prevent the colour leaking
when cleaned or washed. Once the fibre has been dried or printed. Allow to dry. The iron with hot iron
over a pressing cloth for about 10 mis to set colour

Tie dye pattern methods

 Twist/fold fabric so that dye does not penetrate certain areas.

 Tie/stitch thread, string or elastic bands on areas to prevent dye penetration.
 Tie/attach objects into the fabric, e.g. buttons/stones to give pattern.

Dyeing using tie dye

 Wash fabric to remove starch/make more absorbent.

 Use one of the methods in above make a pattern.
 Calculate the amount of dye needed.
 Mix dye with water depending on fibre – usually cotton.
 Add salt.
 Add washing up liquid/wetting agent to dye bath.
 Immerse the fabric in the dye for specified period/squeeze dye onto fabric from a bottle.
 Remove fabric and rinse to remove excess dye.

Ways in which textile dyes can harm the environment.

 Wastewater from dyeing may enter the water system and poison wildlife in rivers or the sea.
 Toxins/poisons in water may cause damage to crops.
 Dye waste is toxic and can poison animals if not disposed of safely.
 If dye or water containing dye gets into drinking water, it may be toxic and cause illness or
poisoning.

Batik
[Batik is a method of resist dying in which a design is applied to fabric, [usually cotton] using hot wax or
a starch paste to resist the dye. The unwaxed/uncoated areas will then absorb the cold dye.]

1. Preparation
- Wash fabric to remove starches/residues
- Stretch and secure fabric on a hoop, frame, or tape to a flat surface

2. Design Transfer
- Draw/pencil the design directly onto the fabric
- Plan the order of dye colours (light to dark for layering)

3. Wax Application
- Melt wax in a thermostatically controlled pot or pan over gentle heat
- Use a tjanting (or brush) to apply wax over the drawn lines
- Ensure wax penetrates both sides of the fabric for full resist
- Let wax cool and harden.

4. Dyeing Process
- Prepare cold dye (to avoid melting wax).
- Immerse fabric in the dye bath for ~20 minutes (time varies with dye type).
- Gently agitate fabric for even colour
- Rinse until water runs clear
- Air-dry completely

5. Adding Multiple Colours

- For additional colours:
1. Reapply wax to areas to resist the next dye.
2. Repeat dyeing, rinsing, and drying steps

6. Wax Removal
- **Method 1 (Ironing):
- Place fabric between layers of newspaper.
- Iron with a hot iron; wax melts and absorbs into the paper.
- **Method 2 (Hot Wash):
- Soak fabric in boiling water to melt wax (can reclaim wax from the surface).
- Wash fabric to remove residual wax/dye.

Silk Painting Process for Scarves

1. Preparation
 Pre-wash fabric: Remove sizing/chemicals to ensure dye absorption.
 Stretch silk: Secure tightly on a frame or embroidery hoop to prevent wrinkles.
2. Design Transfer
 Sketch design lightly with pencil or use a transfer method (e.g., tracing paper).
3. Outlining
 Apply gutta/wax: Use a resist (gutta or wax) to outline design areas. This creates barriers to
prevent colour bleeding.
4. Painting
 Colour application:
o Use silk paints/dyes within gutta-outlined areas.
o Optional: Add texture with salt (sprinkle wet paint for crystal effects).
5. Setting the Dye
 Dry completely: Wait 24 hours.
 Heat-set: Iron (for wax) or steam (for dyes) to fix colours.
6. Finishing
 Wash: Rinse in warm water to remove excess gutta/wax.
 Dry flat: Preserve shape and colours.
Block Printing:
1. Carve design onto wood/polystyrene/lino (laser-cut for precision).
2. Ink block → Press onto fabric; repeat with registration marks.
 3. Heat-set → Fix colours with iron/steam.
Uses: Paisley/traditional patterns; multi-block for colours.
Screen Printing:
1. Stencil design on mesh screen (photo emulsion for complex designs).
2. Spread ink with squeegee; dry → heat-set.
Industrial: Flatbed rollers for continuous patterns.
Stencilling:
 Cut design from card/plastic → Dab paint through holes.
 Best for: Motifs/lettering; simple repeat patterns.
Roller Printing (Industrial):
 Adapt designs to fit roller circumference; 1 roller per colour.
 Materials: Metal rollers for durability.
Digital Printing:
 For samples/short runs; fabric pre-treated with thickener.
 Fixation: Steaming → wash out thickener.

4. Dyeing Methods & Colour Application

Stages of Dyeing:
1. Spin dyeing → Add pigment to liquid fibre pre-spinning.
2. Yarn dyeing → Colour before weaving.
3. Piece dyeing → Post-weaving.
4. Garment dyeing → Final product.
Dye Types:
 Natural dyes: Plant/insect-based; require mordant (fixative).
 Synthetic dyes: Wider colour range, predictable, cheaper.

FABRIC FINISHES
Definition: Processes applied to grey goods (unfinished woven fabric) to improve appearance,
performance, or handle.

1. Pre-Treatment (Before Dyeing/Printing)

 Scouring: Washed to remove dirt, oils, and sizing.
 Bleaching: Whitens fabric for uniform dyeing.

2. Mechanical Finishes
(Uses heat, pressure, or physical processes.)

Finish Process Effect Fabrics Applications

Rollers with wire brushes Soft, fluffy, and Cotton, Pyjamas, baby
Brushing
lift fibres to create a nap. warmer. wool, fleece clothes, blankets.

Heated rollers press Cotton,

Calendari Smooth, glossy Formalwear,
fabric (like industrial linen,
ng surface (e.g., sateen). upholstery.
ironing). polyester

Heat applied to
Heat- Reduces Polyester, Sportswear,
thermoplastic fabrics to
Setting shrinkage/wrinkles. nylon stretch fabrics.
stabilize shape.

Fabric beaten with Tablecloths, high-

Beetling Lustrous, flat surface. Linen
wooden blocks. end garments.

Key Points:
 Brushing increases flammability unless treated.
 Calendaring can weaken natural fibres.
3. Chemical Finishes
(Applies solutions to alter fabric properties.)

Finish Process Effect Fabrics Applications

Crease- Reduces Cotton, Shirts, school

Resin applied + heat cured.
Resistant wrinkling. linen uniforms.

Children’s
Flame Chlorine/phosphorous Self- Cotton,
nightwear,
Retardant compounds (e.g., Proband). extinguishing. viscose
curtains.

Waterproofi Blocks water Nylon,

Polymer coating (e.g., Teflon). Raincoats, tents.
ng penetration. polyester

Office wear,
Conductive chemicals Prevents static
Anti-Static Synthetics electronics
sprayed. cling.
covers.

Key Points:
 Flame retardants may stiffen fabric.
 Chemical finishes often reduce breathability.

4. Specialized Finishes
 Sanforising: Pre-shrinks fabric (e.g., denim).
 Mercerization: Treats cotton with NaOH for strength + sheen.
 Bio-polishing: Enzymes remove fuzz for smoother fabric.

5. Exam Focus: Common Questions

Q: Why use brushed fabric for sleepwear?
A:
1. Softness (comfort against skin).
2. Warmth (traps air in raised fibres).
Q: Compare calendaring vs. heat-setting.
A:
 Calendaring: For aesthetics (glossy finish).
 Heat-Setting: For synthetic fabric stability.
Q: Evaluate finishes for children’s pyjamas.
A:
1. Flame retardant (safety).
2. Brushing (comfort).
3. Easy-care resin (low maintenance).
CAD/CAM in Textile Production
Computer Aided Design (CAD):
 Allows modification of existing designs saving time
 Stores all design variations for future use
 Creates 3D virtual models with see-through views
 Enables quick colourway trials to select best options
 Shows multiple variations to clients rapidly
 Facilitates emailing designs to clients/manufacturers
 Generates accurate working drawings and lay plans
 Calculates material quantities and costs automatically
 Reduces paper waste (environmentally friendly)

Computer Aided Manufacture (CAM):
 Uses multi-headed embroidery machines (CNC) for logos
 Can apply up to 8 colours in one embroidery design
 Machines are computer-programmed for precision
 Includes digital printing capabilities
 Automates processes like colour matching and dye weighing
 Enables global electronic sharing of designs

Comparison: CAD vs Traditional Methods

 CAD advantages:
o Faster design changes
o Digital storage and organization
o Perfect accuracy
o Virtual prototyping
o Easy client communication
o Access to design libraries
o Cost and material savings
o Environmental benefits
 Traditional advantages:
o Doesn't require IT skills
o Lower equipment costs
o Preserves handcraft skills
o Creates unique hand-drawn designs
Eco-Labelling and Sustainable Textiles
Eco-Labelling Systems:
 EU Ecolabel indicates reduced environmental impact
 OEKO-TEX Standard 100 certification guarantees:
o No carcinogenic dyes
o Minimal heavy metals (below drinking water limits)
o Low pesticide concentrations
o Controlled formaldehyde levels
o Skin-friendly pH balance
o Safe for children (no dye release in saliva)
 Requires periodic independent laboratory testing

Sustainable Practices:
 Using organic cotton (no pesticides/herbicides)
 Choosing Fair Trade certified materials
 Implementing closed-cycle production
 Selecting renewable fibres (bamboo, hemp, flax)
 Using natural dyes instead of chemical dyes
 Adopting micro-encapsulation for smart textiles

Benefits of Organic Cotton:

 Protects ecosystems and water supplies
 Supports farmer livelihoods
 Reduces skin irritation risks
 Often combined with other sustainable fibres
 Though may wear faster than conventional cotton

Recycling and Upcycling Textiles

Methods:
1. Repurposing garments into accessories:
o Transforming dresses into bags/belts
o Using least-worn fabric sections
2. Component reuse:
o Salvaging buttons, zippers, trims
o Incorporating into new designs
3. Industrial recycling:
o Shredding textiles into new fibres
o Processing into new yarns

Environmental Benefits:
 Reduces textile waste in landfills
 Lowers demand for virgin materials
 Decreases resource consumption
  Minimizes production pollution

Cultural, Social and Economic Factors

Cultural Influences:
 Changing lifestyles and fashion trends
 Celebrity and media impact on styles
 Brand loyalty and image consciousness
 Peer pressure among youth consumers
Economic Considerations:
 Target market value alignment
 Ethical material sourcing
 Working conditions in manufacturing
 Waste management solutions
 High setup costs for small businesses
 Need to balance quality and affordability
Social Responsibility:
 Supporting fair labour practices
 Reducing environmental footprint
 Promoting sustainable consumption
 Preserving traditional craftsmanship
 Addressing fast fashion consequences

Sustainable Textile Fibers

Plant-Based Options:
 Cotton, jute, flax, hemp
 Ramie, abaca, bamboo
 Soy, corn, banana fibres
 Beechwood (for rayon)

Animal-Based Options:
 Wool, silk, angora
 Camel, alpaca, llama
 Vicuna, cashmere, mohair

Manufactured Sustainable Options:

 Recycled polyester (from PET bottles)
 Tencel/Lyocell (from wood pulp)
 ECONYL (recycled nylon)

Production Considerations
Environmental Impact:
  Resource consumption monitoring
 Pollution control measures
 Energy efficiency improvements
 Water conservation methods
 Waste reduction strategies

Technological Integration:
 Digital inventory management
 Automated production systems
 Precision manufacturing tools
 Quality control technologies
 Sustainable packaging solutions