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Skirt
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For the cut of beef, see skirt steak.
Polka dot skirt on a hanger.
A skirt is a tube- or cone-shaped garment that hangs from the waist and covers all or part
of the legs.
In the western world, skirts are usually careful women's clothing. However, there are
exceptions. The kilt is a traditional men's garment in Scotland, and some fashion
designers, such as Jean-Paul Gaultier, have shown men's skirts.
At its simplest, a skirt can be a draped garment made out of a single piece of material
(such as pareos), but most skirts are fitted to the body at the waist and fuller below, with
the fullness introduced by means of dart, gores, pleats, or panels. Modern skirts are
usually made of light to mid-weight fabrics, such as denim, jersey, worsted, or poplin.
Skirts of thin or clingy fabrics are often worn with slips to make the material of the skirt
drape better and for modesty.
The hemline of skirts can be as high as the upper thigh or as low as the ground,
depending on the whims of fashion and the modesty or personal taste of the wearer.
Some medieval upper-class women wore skirts over three metres in diameter at the
bottom. At the other extreme, the miniskirts of the 1960s were minimal garments that
may have barely covered the underwear when seated.
Costume historians typically use the word "petticoat" to describe skirt-like garments of
the 18th century or earlier.
Contents
[hide]
• 1 History
o 1.1 Skirts in the 19th century
o 1.2 Skirts in the 20th and 21st centuries
• 2 Basic types
o 2.1 Fads and fashions
• 3 Lehenga
• 4 Male wear
• 5 Gallery of skirt styles
• 6 See also
• 7 References
• 8 External links
[edit] History
Skirts have been worn by men and women from many cultures, such as the lungi, kanga
and sarong worn in South Asia and Southeast Asia, and the kilt worn in Scotland.
The earliest known culture to have females wear clothing resembling miniskirts were the
Duan Qun Miao, which literally meant "short skirt Miao" in Chinese. This was in
reference to the short miniskirts "that barely cover the buttocks" worn by women of the
tribe, and which were "probably shocking" to observers in medieval and early modern
times.[1]
[edit] Skirts in the 19th century
During the nineteenth century the cut of women's dresses in western culture varied more
widely than in any other century. Waistlines started just below the bust (the Empire
silhouette) and gradually sank to the natural waist. Skirts started fairly narrow and
increased dramatically to the hoopskirt and crinoline-supported styles of the 1860s; then
fullness was draped and drawn to the back by means of bustles.
[edit] Skirts in the 20th and 21st centuries
Beginning around 1915, hemlines for daytime dresses left the floor for good. For the next
fifty years fashionable skirts became short (1920s). then long (1930s), then shorter (the
War Years with their restrictions on fabric), then long (the "New Look"), then shortest of
all from 1967 to 1970, when skirts became as short as possible while avoiding exposure
of underwear, which was considered taboo.
Since the 1970s and the rise of pants for women as an option for all but the most formal
of occasions, not one skirt length has dominated fashion for long, with short and ankle-
length styles often appearing side-by-side in fashion magazines and catalogs.
[edit] Basic types
• Straight skirt or Pencil skirt, a tailored skirt hanging straight from the hips and
fitted from the waist to the hips by means of darts or a yoke; may have a kick-
pleat for ease of walking
• Full skirt, a skirt with fullness gathered into the waistband
• Short skirt, a skirt with hemline above the knee.
• Bell-shaped skirt, eponymous to its namesake
• A-line skirt, a skirt with a slight flare, roughly in the shape of a capital letter A
• Pleated skirt, a skirt with fullness reduced to fit the waist by means of regular
pleats ('plaits') or folds, which can be stitched flat to hip-level or free-hanging
• Circle skirt, a skirt cut in sections to make one or more circles with a hole for the
waist, so the skirt is very full but hangs smoothly from the waist without darts,
pleats, or gathers
• Hobble skirt, long and tight skirt with a narrow enough hem to significantly
impede the wearer's stride
[edit] Fads and fashions
• Ballerina skirt, a full-length formal skirt popular in the 1950s.

• Broomstick skirt, a light-weight ankle length skirt with many crumpled pleats
formed by compressing and twisting the garment while wet, such as around a
broomstick. (1980s and on)
• Bubble dress/skirt, a voluminous skirt whose hem is tucked back under to create a
“bubble effect” at the bottom. Popular in the 1950s, 1980s and from the mid
2000s to currently.
• Cargo skirt, a plain utilitarian skirt with belt loops and numerous large pockets,
based on the military style of Cargo pants and popularised in the 1990s.
• Dirndl, a skirt made of a straight length of fabric gathered at the waist
• Jean skirt, a trouser skirt made of denim, often designed like 5-pocket jeans, but
found in a large variety of styles.
• Leather skirt, a skirt made of leather
• Kilt-skirt, a wrap-around skirt with overlapping aprons in front and pleated
around the back. Though traditionally designed as women's wear, it is fashioned
to mimic somewhat closely the general appearance of a (man's) kilt, including the
usage of a plaid pattern more or less closely resembling those of recognized tartan
patterns of Scotland.
T-skirt
• Maxiskirt, an ankle length-skirt (1970s, but has made a comeback in the 2000s)
• Midi skirt, mid-calf length. See: 1970s in fashion.
• Miniskirt, a thigh-length skirt, and micromini, an extremely short version (1960s)
• Poodle skirt, a circle or near-circle skirt with an appliqued poodle or other
decoration (1950s)
• Prairie skirt, a flared skirt with one or more flounces or tiers (1970s and on)
• Rah-rah skirt, a short, tiered, and often colourful skirt fashionable in the early-mid
1980s.
• Sarong, a square of fabric wrapped around the body and tied on one hip to make a
skirt; worn as a skirt or as a cover-up over a bathing suit in tropical climates.
• Tiered skirt, made of several horizontal layers, each wider than the one above, and
divided by stitching. Layers may look identical in solid-colored garments, or may
differ when made of printed fabrics.
• Trouser skirt, a straight skirt with the part above the hips tailored like men's
trousers, with belt loops, pockets, and fly front
• T-skirt, made from a T-shirt, the T-skirt is generally modified to result in a pencil
skirt, with invisible zippers, full length 2-way separating side zippers, as well as
artful fabric overlays and yokes.
• Legwear and footwear with skirts. Popular legwear trends now include: skirts
with striped tube socks popular with the Rocker style of dressing, skirts with bike
shorts or leggings sometimes with lace trim and opaque footless tights, and
opaque tights especially in black and also in gray and other colors, and skirts with
fun knee socks in styles such as argyle in many colors and solid bright colors.
UGG boots, classic sneakers like Converse, Chuck Taylor All-Stars and Keds,
flats, and Sperry Top-Siders are popular footwear now with skirts.
[edit] Lehenga
It has been suggested that this article or section be merged into Blouse#Choli.
(Discuss)
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may
be challenged and removed. (May 2010)
Lehenga is a traditional dress of women of North India, and Pakistan worn below
waistline and extends to the toe, upper part of the body is covered with a choli or
Kameez. The lehenga is particularly popular form of dress for women in Punjab.
In Punjabi, it's known as a "lehnga". In South India, it is known as a langa (in Telugu), a
pavada (in Malayalam) or a pavadai (in Tamil).
[edit] Male wear

Main article: Men's skirts
There are a number of male garments which fall under the category of "skirt" or "dress."
These go by a variety of names and form part of the traditional dress for men from
various cultures. Usage varies - the dhoti is part of everyday dress on the Indian
subcontinent while the kilt is more usually restricted to occasional wear and the
foustanella is used almost exclusively as costume. Robes, which are a type of dress for
men, have existed in many cultures, including the Japanese kimono, the Chinese
cheongsam, the Arabic thobe, and the African Senegalese kaftan. Robes are also used in
some religious orders, such as the cassock in Christianity and various robes and cloaks
that may be used in pagan rituals. Examples of men's skirts and skirt like garments from
various cultures include:
• The kilt is a skirt of Gaelic and Celtic history, part of the Scottish national dress in
particular, and is worn formally and to a lesser extent informally. Irish and Welsh
kilts also exist but are not so much a part of national identity.
• The foustanella is worn by men in Greece and other parts of the Balkans. By the
mid-20th Century, it was relegated to ceremonial use and as period or traditional
costume.
• The gho is a knee-length robe worn by men in Bhutan. They are required to wear
it every day as part of national dress in government offices, in schools and on
formal occasions.[2]
• The sarong is a piece of cloth that may be wrapped around the waist to form a
skirt-like garment. Sarongs exist in various cultures under various names,
including the pareo and lavalava of the Hawaiian islands and Polynesia (Samoa,
Tonga, Tahiti, and Fiji), the Indian dhoti and lungi, and the South Indian mundu.
In the Western world skirts, dresses and similar garments are considered primarily
women's clothing today although historically that was not the case.[3] The wearing of
skirts by men in these areas was generally seen as cross-dressing although some fashion
designers such as Jean-Paul Gaultier have produced skirts for men and kilts are widely
accepted in some situations.
[edit] Gallery of skirt styles
A-line skirt Dirndl Jean miniskirt Kilt
Microskirt Pencil skirtPoodle skirt Sampot
[edit] See also

• 1970s in fashion
• Blouse
• Clothing terminology
• Dress
• Skort
• Women wearing pants
• Men's skirts
[edit] References
A-line
An a-line skirt
This article is about the skirt/dress/coat style. For the sleeveless shirt, see A-shirt. For the
medical equipment, see Arterial catheter.
An A-line skirt is a skirt that is fitted at the hips and gradually widens towards the hem,
giving the impression of the shape of a capital letter A. The term is also used to describe
dresses and coats with a similar shape.[1]
[edit] History
The term was first used by the French couture designer Christian Dior as the label for his
collection of spring 1955.[2] The A-Line collection's feature item, then the "most wanted
silhouette in Paris", was a "fingertip-length flared jacket worn over a dress with a very
full, pleated skirt". [2]
Although an A-shape, this silhouette was not identical to what is now understood to
embody the A-line idea.[2] That idea was given its definitive expression and popularized
by Dior’s successor, Yves Saint Laurent, with his "Trapeze Line" of spring 1958, which
featured dresses flaring out dramatically from a fitted shoulder line.[2]
A-line clothes remained popular in the 1960s and 70s, disappeared from fashion almost
completely by the early 1980s and were revived by the retro trend of the late 1990s.[2] By
that time, "A-line" was used more loosely to describe any dress wider at the hips than at
the bust or waist, as well as a number of flared skirt styles.[2] "True" A-line shapes on the
pattern of Dior and Saint Laurent saw a revival in the early 2000s.[2]
[edit] Style details
The A-line skirt has no visible embellishments for ease, such as pleats or slits, but is
fitted to the upper hip by means of seams and/or darts. Its fastening is usually kept
discreet, with a side or back zipper. A belt is sometimes used. Pockets may be present,
but not usually. The length of an A-line skirt varies, between mini- and below-knee-
length.
When referring to dresses and coats, the term A-line generally means fitted from the
shoulders to the hips and then widening to the hem, but it is also sometimes used to mean
widening from the shoulders to the hem, ignoring the waist and hips.
It is often used to describe a popular style of wedding dress, which is fitted above and
around the hips but flares gently to the hem, giving a streamlined and quite slim look.
http://en.wikipedia.org/wiki/A-line
Next…………………2
All About Skirts, its shapes, and body

types it suits the most
July 19, 2010 By nidhi
My fascination for skirts is renewed every season as skirts remain an all time favorite
item of clothing worldwide, closely trailing behind dresses in popularity. Interestingly,
skirts have been around since the evolution of mankind. The rectangular piece of animal
skin, leaves interwoven together and the earliest form of fabric – loosely woven tartans;
all used to be wrapped around the waist and were the initial basic form of skirts.
If you thought skirts were only meant for the women, think again!
Kilts, the traditional wear of the Scottish is for Men, Indians have a version of the skirt –
the good old desi Lungis, wrap around skirts are worn by the Indonesian men. However,
skirts are predominantly a Women’s clothing item.
Indians have a long tradition with skirts too. The South Indian traditional dress worn by
the women “Mundu Neriyathum” or a long skirt “ Mundu” worn with a blouse and a long
stole ‘Neriyathum’, North and western Indian traditional dress of a ‘Ghaghara’ or
‘lehenga’ and teamed with ‘choli’ or a tight fitting blouse are all different forms of long
skirts.
The skirts have evolved over time period and how! You could say that the popularity of
skirts can be attributed to its versatility – you could wear a skirt to a strictly formal
occasion such as a business sit down dinner, a semi formal occasion such as a party to
celebrate your contribution to the company or even to a casual movie and pub night out
with your girlfriends. The best part about skirts is that you could look different every
single day, wearing the same skirt, if you just alter the top and accessories you wear it
with.
So what defines which skirt should be worn on what kind of occasion? Is it the styling/
fabric/ length /body type / colours or a combination of all of these?
We try and answer all these questions and more in this article.
Fabrics for skirts

The fabric of the skirt largely depends on the season.
If you are wearing a skirt in summers, it will be in
• Light to Medium weight 100% cotton fabrics such as poplin, sheeting, linen or
denims in 5 oz. to 8.oz.
• A few kinds of skirts are also made in the lighter weight cotton like cambric and
voile or in polyester fabrics like georgettes, chiffons or net. However, skirts made
in light weight and transparent fabrics are normally lined to provide additional
strength and prevent too much transparency. Also due to the fabric strength
limitation, these are normally not converted into very tight fitting designs.
• For the colder months, skirts may be made in heavier weight cotton fabrics such
as canvas, twills and denims in weight 8 oz. to 12 oz. heavier weights and tighter
constructions of poplins and sheetings are also common.
• Warmer fabrics which are less permeable and trap air like silk, satin, taffeta or
heavier fabrics like worsted wool , different wales corduroy, uncut corduroy,
velvet are also good choices for skirts for colder months. To give added warmth
to the wearer, skirts can also be teamed up with leggings and stockings.
• Skirts in knit fabrics such as cotton, viscose or a blend of viscose/lycra, cotton
lycra are also very popular. Knit gives the benefit of taking the shape of the
wearer.
Colors, prints and accessories
There is no ground rule for colors or prints that could do well for skirt. The occasion that
you want to wear a skirt to, normally dictates the prints and colors.
• For office wear, conservative colors such as pastels, navy, beige, brown, black,
ecru and white are preferred. Pinstripes are also considered formal wear. Team
office wear skirts with fitted shirts for a serious, ‘don’t-mess-with-me’ look or, for
a more relaxed look, team it with loose fitting, self textured blouses or blouses
with small prints. Flat, or small heeled closed shoes work the best for office wear;
stick to neutral colors for footwear such as beige, brown, black or white. High
heels can best left to be worn for after office dance parties. Avoid wearing heavy
jewelery; a string of pearls and ear studs or small ear rings convey a look of
professionalism. The lengths most suitable for a formal skirt is knee and below.
For summers you could wear a knee length skirt (make sure your legs are toned
and waxed!), for winters you could wear a long skirt.
• A strictly office wear skirt can be converted to a party skirt in a jiffy, by just
altering the things that you wear it with. Wear a nice floral fitted top, add some
color to your lips and cheeks and throw the string of pearls and the small heels in
the locker, to be replaced by some fun trinkets and neck-wear and stilettos. We
talked about the versatility of a skirt…now you understand why!
• For a more casual outing, bolder colors and prints which are ‘in fashion’ are
preferred. Colors such as fuchsia pink, raspberry red, lemon yellow are all
perfectly acceptable, however, ensure that you accessorize right and team it with
the right top. You could have an array of prints in vogue for a season, such as
large floral prints, ditsy prints; border prints, paisleys, geometric prints etc. and all
of these would work perfectly well for a skirt. Team a solid color top with a skirt
having large prints. Teaming tops and skirts, both with large prints could prove to
be a fashion disaster and avoid this at all costs. All skirt lengths from thigh to
ankle are worn and work well for casual wear. The shirts could be more stylish
however, from sleeveless to full sleeves, from bright colors to neutrals to prints,
everything works. You could experiment a lot with jewelery – large chunky
necklaces, multi-layered chains, delicate trinkets all work well with a casual skirt.
The key is to create a balanced look; if the top is the highlight of the ensemble,
keep the skirt and jewelery basic; likewise, if the jewelery is loud and creates a
statement, keep the top and the skirt basic.
Before I go on to talk about the shapes, it is also important to know the closures that a
skirt uses. A skirt could be a pull on elasticated skirt, or one with a hook and eye/button
and a zipper. The elasticated skirt is a strict no-no for formal wear as the elastic makes
the waist look fuller. An elasticated skirt can perhaps only be worn if you absolutely do
not wish to wear anything fitting at the waist, yet wish to wear a skirt. It is best suited for
small girls and the elderly. The most common closures are the hook and eye or button
and hole along with zipper closures. These make the fitting of a skirt much better and the
skirt shape can be truly realized. Zippers could be chosen from invisible or a regular zip,
depending upon the styling or shape of the skirt.
Shapes and types of Skirts
A-Line Skirt
As the name suggests, the shape of the skirt roughly resembles the letter A – fitting at the
waist, taking the shape of your hips and thighs and then flaring at the hem. Some of the
variations are: Godet skirt, Gypsy skirt and Paneled skirt.
Godet skirt
• A-line skirts which have triangular pieces of fabrics inserted from the main body
of the skirt to the hem are godet skirts. The godets are inserted to have more
volume at the hem, so that the hem sways when the wearer walks. Godet skirts
have a slimming look to them as they take to tend away the attention from the
waist and hips to the hem.
Gypsy skirt
• A-line, ankle length skirts which have tiers with or without ruffles are Gypsy
skirts. The horizontal panels of a gypsy skirt could be attached by simply sewing
them or by having lace insets. Gypsy skirts may be elasticated and normally also
have ties. Some gypsy skirts are also crinkled. Pear shaped women should avoid
crinkle skirts and skirts with too much horizontal detailing on the hip area as the
same tends to accentuate the hips.
Paneled skirts
• A-line skirts which have vertical panels of fabric (self or some other fabric)
stitched from the waist to the hem are called paneled skirts. These have a
slimming effect on the wearer and can hence be worn by the curvier lot.
An A line skirt could be knee length or below. Since it accentuates the hips, women with
curves love this shape. Simple A line skirts or skirts with vertical detailing panels work
the best for the pear shaped women. An A line knee or ankle length skirt, which is not too
heavily detailed could be worn on a casual Friday to the office as well.
Straight skirts
• Straight skirts are skirts that are the same width from the waist area to the hem.
Good for both formal and casual occasions, these come in varying lengths –
ankle/mid calf and knee. These normally have slits either at the back, sides or
front for ease of movement of the wearer.
• The fabric decides if the skirt should be worn on a formal occasion or casual. For
formal occasions normally satins or fabrics which take the shape of your body are
preferred. For more casual outings you could choose heavier weight cottons,
denims or even leather. This shape flatters almost all body types. Well toned legs
are guaranteed to be noticed if you wear a knee length straight skirt. Straight
skirts which have a high defining waist suit people with thin frames who want to
show off their thin waists. This skirt is also forgiving to people who have a
generous middle, especially if the skirt is long, as the length takes away the
attention from the width.
Pencil & tube skirts

• giving. Quiet a staple in boardrooms, these are considered to be very stylish and
non fussy and hence a popular choice for formal occasions. These are normally
teamed with jackets or formal shirts/tops and formal footwear. Belts highlighting
the waist are a wonderful accessory for these skirts.
Mini skirt
• Extremely stylish and a wardrobe basic, these skirts have held the fascination of
men and fashion divas alike. These are small or ‘mini’ in length, hence the name,
reaching just about mid thigh. I am sure all of us would have in some point had a
denim miniskirt with patch pockets at the back and small side slits. Miniskirts
could come in a variety of fabrics, however normally are made in thick fabric to
give extra strength. These could be straight or flared at the hem and are most
suited for a casual outing to a pub or nightclub with your girl friends or that
special someone. Flared A-line miniskirts, because of a little more room at the
hem, could be made in lighter fabrics too, normally with an inner lining. To add
an element of playfulness, A line miniskirts could have multiple layers of frills.
These are known as ra-ra skirts. Another popular feature found in the A line
miniskirts is a cut-work lace/printed fabric in the form of a frill / net attached at
the hem.
• Minis can suit short or tall thin women. Due to their short length, they give an
impression of length to the wearer. Needless to say, since they show off so much
of legs, they are the best bet for any woman looking to show off her well toned
long legs! They are also perhaps the only skirts with which you could team flats,
boots or heels and manage to carry off the look in all three. You could also team
these with colorful leggings during the colder months.
Bubble skirts
• These are skirts which have hems going in (almost like a series of big semi
circles) all around the skirt circumference at regular intervals, to create a
voluminous, puffy, balloon like silhouette. These are off and on popular, but
rarely can be classified as a staple skirt must-have. Due to its’ shape, the fabric
plays a very important role. Certain fabrics such as satin or flowy
crepes/georgettes etc. can handle this kind of shape well, but the stitching quality
needs to be extremely good. Cottons, due to their tendency of developing creases,
should normally not be chosen for this shape. Since the most noticeable part of
the bubble skirt is its hem, it is advisable to not have too many design features
such as embroidery/belts/pockets on a bubble skirt, or else the skirt will look too
busy and done up.
• Bubble skirts are puffy in shape and hence should normally be worn by the thin.
Curvaceous women could give it a try too, if they absolutely must, as it is
voluminous and therefore could hide lots of body flaws. The length however,
needs to be at least till knee for the well endowed with the hem line going up for
the slimmer of the lot.
Wrap skirts
• These skirts are rectangular pieces of fabrics with self fabric ties, which you could
‘wrap around’ your waist. These could be knee length or ankle length. The
amount of overlap can also be adjusted to either show off a leg partly or totally
covered. After wrapping the skirt, the shape could be straight or A-line.
• Wrap skirts are suitable for all body types as the shape is very forgiving. Thin
people may prefer to wear shorter wrap arounds. You could team the wraparounds
with heels or flats.
Asymmetrical hem skirts

• Skirts with unbalanced or uneven hems are known as asymmetrical hem skirt.
Basically any skirt shape could be with an asymmetrical hem. Unlike a lot of
other skirt shapes, asymmetrical hem skirts work well with lighter fabrics as well
such as chiffons, georgettes and knits. Due to the mix of an unconventional shape
and fabric, these if worn right, can be the ultimate feminine skirt. Normally these
are quiet roomy at the hem and the imbalance in the hem adds a sort of the bounce
and the skirt sways as the wearer walks, making it look super-cool.
• The best part about asymmetrical hem skirts is that these could work for almost
all body types. Long skirts with a handkerchief hem work well for tall, pear
shaped women who want to distract the attention from the not so flattering parts
of their body to the hem. A skirt fitted at the waist and hip area, and then flaring
out at the uneven hem is great for people with thin frames. You could wear heels
or flats or even boots with these kinds of skirts.
Circle skirts
• The hem circumference of these skirts is a perfect circle. You could have panels
attached at the waist to have a perfect skirt at the hem since any fabric will not be
wide enough to make a complete circle. These could be short (reaching mid thigh)
or mid calf or ankle long, in either case these are voluminous. The short length
skirts suit the thin tall women, the longer varieties due to the volume and as the
skirt normally does not hug the hips or the waist, suit the curvier women as well.
• Circle skirts are a great symbol of feminity and can easily be made in light weight
fabrics, as these fabrics have a lovely fall and drape and that is what the circle
skirts require. Short Circle skirts can be worn at a casual party, the longer ones
could be worn to a more formal occasions even the red carpet!
Skort and divided skirts

• A skort is a combination of a pair of shorts and a skirt, hence the typical name. It
is primarily a pair of shorts; however, the front part of the shorts has a self fabric
panel attached to it, making it look like a skirt from the front. Length of the skort
is usually mid thigh and it almost never goes below the knee. Due to the short
element, these skirts are very comfortable when you wish to go for playing tennis
or hiking or even street shopping.
• These are rarely worn to a formal event. Suits the well toned athletic body types;
it normally should be avoided by the pear shaped bodies as it highlights the back
thighs and the derriere. Skorts normally come in thick, heavier weight cottons
and you could team these with sport shoes and flats.
• Divided skirts are often confused with culottes. You could identify this style in
most of the black and white English movies. When it was first worn in the latter
part of the 19th century, it was proclaimed by the male chauvinists as a woman’s
attempt to be the proverbial ‘wear pants and be the man of the house’. The times
have changed and women have nobody and nothing stopping them from wearing
what they please, leave alone the trousers. Not surprisingly, therefore, divided
skirts are hardly found in any fashion conscious woman’s wardrobe and are now
relegated to be a school uniform design for the young girls.
Fit and Flared skirts
These are a combination of skirts fitting at the top and flaring out as they reach the hem.
Mermaid skirt
• Along fit and flared skirt, this is fitted till almost your knees and then suddenly
flares to give the appearance of almost a mermaid to the wearer.
Skirts with yokes

• These skirts are divided into two parts; the upper part at the waist has a fitted
yoke, below which the skirt flares. The yokes could be asymmetrical or the
regular horizontal or round.
The fit and flared skirts are available in long and short lengths and in a variety of fabrics,
though the lighter weights normally are a popular choice due to their ability to flare out
beautifully at the hem. These normally are meant for casual outings or to be worn at
nightclubs, but never to the workplace as the effect of the fit and flare in one skirt is a
little dramatic. Very tight fitting skirt at the waist and hip area should be avoided by pear
shaped women.
Draped skirt
• A skirt with self fabric folds placed asymmetrically at one side of the hem or
waist or at both the side seams. The effect on this is quiet dressy and this skirt is
usually made in flowy fabrics as the fabric can easily be created into folds. This
look can be carried off by almost all body types as the fabric in which this skirt is
usually made has a slimming effect.
Tulip skirts
• Picture a tulip and then invert it, tulip skirt is normally made with two pieces of
fabrics overlapping each other, almost like the petals of a tulip, to leave a small
part of the leg showing off between the two layers. The length could be knee or
below, rarely below mid calf though. This has a slimming effect on the wearer
and so can be worn by almost all body types.
Layered skirts
• Layered skirts are skirts with a fabric layer above the main body of the skirt. The
top most layers are normally of a sheer fabric, so that the bottom layer could be
seen through. At times it could be of a different color to add an element of
mystery to it. The layer adds volume to the skirt and so this shape is
recommended for thin frame women.
Pleated skirts
Skirts could come in with a variety of pleats to give more room to the wearer or as a
design feature. Pleats could be stitched or permanently heat pressed on to the skirts.
Pleated skirts are not commonly worn on a day to day basis.
Accordion pleated skirt
• An accordion pleated skirt is one which has a series of pleats of equal width.
These resemble the pleats on a foldable hand fan. The accordion pleats are heat
pressed in opposite directions. These are normally found in fabrics which could
hold these pleats permanently. This kind of a skirt should be worn by thin people
as pleats add volumes to the body.
Knife Pleated skirts
• When accordion pleats are pressed flat in the same direction, they are called knife
pleats. Knife pleats are wider than the accordion pleats.
Box Pleated skirts
• You could identify a box pleated skirt from the others as they have flat fabric in
between two pleats. The flat fabric shows through from between the pleats. When
the top of the pleats are brought so close to each other that they almost kiss and
their position is secured by a stitch, the box pleat is called kick box pleat. Box and
kick box pleats are used for a lot of sports skirts as these offer the maximum
room.
Sometimes, small, uniform pinches of fabrics are secured with a stitch; these resemble a
pin-tuck and are not really common in skirts.
Like women, skirts come in all shapes and sizes, making it sometimes difficult to
understand the right kind to wear to an occasion; the guidelines given above should be
able to help you though, in looking your best in a skirt, at every occasion!
.
http://www.glamcheck.com/fashion/2010/07/19/all-about-skirts-shapes-body-types-it-
suits-the-most/
Next………………3
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Next……………..3
How to Buy a Woman's Skirt

The skirt is a staple of every woman's wardrobe and a necessity of feminine expression.
There are more varieties than can be imagined and the prices vary widely, too. Read on to
discover how to make your next skirt purchase a meaningful experience.
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Tips for Buying a Woman's Skirt

1. Select the material, keeping in mind your personal lifestyle and habits. Natural
fibers like canvas, cotton, and denims are cooler than synthetics like lycra, nylons,
and satin. Do consider the frequency of use when selecting the skirt material.
Most of us use lacework cottons and knits for everyday wear and home use, when
we should actually be using sturdy, thick-weave cottons or denims.
2. Skirts are available in a variety of styles and fabrics. Nowadays you can find a
skirt made from almost any material that is used for clothing. Skirts meant for
informal wear are usually made form cottons and cotton-blends. Formal wear
skirts will usually be made from richer fabrics like silks, satins, and wool-cotton
blends. These skirts will also feel 'heavier' when worn and are not suited to hectic
activities.
3. Skirt fashions can be quite fleeting and temporary. You will find that there are
basically just two to three main types of skirts - the long skirt, the mid-length skirt
and the short skirt. Long skirts go well as dress skirts and can be frilly, wide and
restrained in design. Mid-length skirts are the fashion favorite of everyone since
they are adaptable to various kinds of dress, both formal and informal. Short skirts
are typically not meant for formal occasions and are usually worn as beachwear,
party wear and so on.
4. Try to use the skirt style to emphasize your good features. Or to hide what is not
too great! Long legged? - Go for a short skirt, just about two inches above the
knee is good. If you are short in stature, do not wear knee length skirts; rather go
for longer drapes that fall in sweeping folds. Try a pinstripe vertical pattern to
make you look even taller!
5. If choosing a long skirt, ensure that it has a slit, either at the side or at the back.
Walking is quite impossible in a skirt without a slit! Most formal skirts are made
form materials that are usually sheer and transparent. Make it a point of wearing
an appropriate slip with a long skirts.
Caution
You must follow the wash and care instructions from the manufacturer carefully,
especially for expensive skirts made from silks and other natural fibers. It is easy to ruin a
perfectly great silk skirt simply by washing it with water.
Where to Buy a Woman's Skirt

Skirts are available at a lot of women's fashion web sites, women's clothing and apparel
web sites, and fashion houses. Visit these sites for a selection of women's skirts:
• Nordstrom offers some really innovative styles and designs of women's skirts.
• Target has a good selection of women's skirts in contemporary materials and a

variety of styles.
• Gap has a good selection of the latest styles and fabrics in women's skirts.
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short skirt, mini skirts, shorts and others.
Send Enquiry
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next………………………5
So, you've been invited to a cocktail party (or you hope you will be) and you really don't
know what to wear. The bad news is that there is no pat answer to the question. Cocktail
parties vary widely in formality and thus there is no single type of attire that will cover all
such engagements. The good news is that there should be some big clues on what you
should wear based on your invitation.
But before we get into some of the specific types of cocktail parties, here is a common
rule of thumb for most of them: Men should wear a suit and tie and women should wear
any elegant-looking dress that isn't a formal gown. At most cocktail parties, skirt length
can be anything that the woman finds personally comfortable (although super-short
micro-mini-skirts could send entirely the wrong message).
In terms of accessories, realize that for most functions, a woman's handbag doesn't need
to match her dress fabric. Also, it doesn't have to be plain. Many women
prefer simple styles of handbag, but if you want to bring a fancier one with
adornments, that is fine at most cocktail parties.
Now that we've talked about what is the "common rule," let's talk about two specific
types of cocktail parties with different rules. These are the two most formal of parties: the
"black tie" and "white tie" events.
Black tie means that men must wear tuxedo attire, no exceptions. Women have a bit more
flexibility, though, at such events. Any nice outfit with just about any length of skirt (that
at least leaves something to the imagination) will work. A short black dress or a longer,
elegant gown take your pick of those or anything in-between. Dressier suits and silk pants
and beaded or sequined tops works well also. While silks and satins are good for women
in a "black tie" context, almost any nice medium to lightweight woven or stretchy fabric
works well. Accessories can dress up any outfit the woman thinks might be too simple
(whether nice jewelry or nice shoes).
But there's a kind of party that is even more formal than black tie, and that is white tie
events. In this context, men won't wear a tuxedo. Instead, he'll wear a black tailcoat and
black pants along with a white shirt, white tie and white vest. Women still have
somewhat more variety than men, but their choices are much more constrained in a white
tie context. They must wear long, formal dresses. This time, there is no flexibility in skirt
length; long is the requirement.
Now that the most formal events are out of the way, a few other tips:
If you were invited to the event via telephone or e-mail, it's probably a more casual affair,
possibly even casual enough that you can wear clothes similar to "business casual" attire.
Receiving a formal invitation in the mail means it's more likely the event is fancier. In
such cases, if the invitation doesn't specify the type of attire, you should inquire.
For winter or fall, wool and wool blends are good materials. For spring and summer, fine
knits, silk, satin and rayon work well.
For women attending a cocktail party outdoors in the afternoon, particularly in warm
weather months, a printed sundress often is the best choice.
In terms of terminology, formal often means the same as black tie. Ultra-formal usually
means white tie. Black tie optional means is very similar to black tie but the man can
wear a dark suit and a tie instead of a tux if he likes. Semi-formal can be tricky. It might
be more toward black tie or might be more toward black tie optional. But generally, your
safe with a nice dark suit in such cases
http://www.essortment.com/lifestyle/wearcocktailpa_tvvs.htm
next……..6http://www.glamcheck.com/fashion/2010/07/19/all-about-skirts-shapes-body-
types-it-suits-the-most/
http://en.wikipedia.org/wiki/Skirt
skirt……………………………..1
Skirt
For the cut of beef, see skirt steak.
Polka dot skirt on a hanger.
A skirt is a tube- or cone-shaped garment that hangs from the waist and covers all or part
of the legs.
In the western world, skirts are usually considered women's clothing. However, there are
exceptions. The kilt is a traditional men's garment in Scotland, and some fashion
designers, such as Jean-Paul Gaultier, have shown men's skirts.
At its simplest, a skirt can be a draped garment made out of a single piece of material
(such as pareos), but most skirts are fitted to the body at the waist and fuller below, with
the fullness introduced by means of dart, gores, pleats, or panels. Modern skirts are
usually made of light to mid-weight fabrics, such as denim, jersey, worsted, or poplin.
Skirts of thin or clingy fabrics are often worn with slips to make the material of the skirt
drape better and for modesty.
The hemline of skirts can be as high as the upper thigh or as low as the ground,
depending on the whims of fashion and the modesty or personal taste of the wearer.
Some medieval upper-class women wore skirts over three metres in diameter at the
bottom. At the other extreme, the miniskirts of the 1960s were minimal garments that
may have barely covered the underwear when seated.
Costume historians typically use the word "petticoat" to describe skirt-like garments of
the 18th century or earlier.
Contents
[hide]
• 1 History
o 1.1 Skirts in the 19th century
o 1.2 Skirts in the 20th and 21st centuries
• 2 Basic types
o 2.1 Fads and fashions
• 3 Lehenga
• 4 Male wear
• 5 Gallery of skirt styles
• 6 See also
• 7 References
[edit] History
Skirts have been worn by men and women from many cultures, such as the lungi, kanga
and sarong worn in South Asia and Southeast Asia, and the kilt worn in Scotland.
The earliest known culture to have females wear clothing resembling miniskirts were the
Duan Qun Miao, which literally meant "short skirt Miao" in Chinese. This was in
reference to the short miniskirts "that barely cover the buttocks" worn by women of the
tribe, and which were "probably shocking" to observers in medieval and early modern
times.[1]
[edit] Skirts in the 19th century
During the nineteenth century the cut of women's dresses in western culture varied more
widely than in any other century. Waistlines started just below the bust (the Empire
silhouette) and gradually sank to the natural waist. Skirts started fairly narrow and
increased dramatically to the hoopskirt and crinoline-supported styles of the 1860s; then
fullness was draped and drawn to the back by means of bustles.
[edit] Skirts in the 20th and 21st centuries
Beginning around 1915, hemlines for daytime dresses left the floor for good. For the next
fifty years fashionable skirts became short (1920s). then long (1930s), then shorter (the
War Years with their restrictions on fabric), then long (the "New Look"), then shortest of
all from 1967 to 1970, when skirts became as short as possible while avoiding exposure
of underwear, which was considered taboo.
Since the 1970s and the rise of pants for women as an option for all but the most formal
of occasions, not one skirt length has dominated fashion for long, with short and ankle-
length styles often appearing side-by-side in fashion magazines and catalogs.
[edit] Basic types

• Straight skirt or Pencil skirt, a tailored skirt hanging straight from the hips and
fitted from the waist to the hips by means of darts or a yoke; may have a kick-
pleat for ease of walking
• Full skirt, a skirt with fullness gathered into the waistband
• Short skirt, a skirt with hemline above the knee.
• Bell-shaped skirt, eponymous to its namesake
• A-line skirt, a skirt with a slight flare, roughly in the shape of a capital letter A
• Pleated skirt, a skirt with fullness reduced to fit the waist by means of regular
pleats ('plaits') or folds, which can be stitched flat to hip-level or free-hanging
• Circle skirt, a skirt cut in sections to make one or more circles with a hole for the
waist, so the skirt is very full but hangs smoothly from the waist without darts,
pleats, or gathers
• Hobble skirt, long and tight skirt with a narrow enough hem to significantly
impede the wearer's stride
[edit] Fads and fashions
• Ballerina skirt, a full-length formal skirt popular in the 1950s.

• Broomstick skirt, a light-weight ankle length skirt with many crumpled pleats
formed by compressing and twisting the garment while wet, such as around a
broomstick. (1980s and on)
• Bubble dress/skirt, a voluminous skirt whose hem is tucked back under to create a
“bubble effect” at the bottom. Popular in the 1950s, 1980s and from the mid
2000s to currently.
• Cargo skirt, a plain utilitarian skirt with belt loops and numerous large pockets,
based on the military style of Cargo pants and popularised in the 1990s.
• Dirndl, a skirt made of a straight length of fabric gathered at the waist
• Jean skirt, a trouser skirt made of denim, often designed like 5-pocket jeans, but
found in a large variety of styles.
• Leather skirt, a skirt made of leather
• Kilt-skirt, a wrap-around skirt with overlapping aprons in front and pleated
around the back. Though traditionally designed as women's wear, it is fashioned
to mimic somewhat closely the general appearance of a (man's) kilt, including the
usage of a plaid pattern more or less closely resembling those of recognized tartan
patterns of Scotland.
T-skirt
• Maxiskirt, an ankle length-skirt (1970s, but has made a comeback in the 2000s)
• Midi skirt, mid-calf length. See: 1970s in fashion.
• Miniskirt, a thigh-length skirt, and micromini, an extremely short version (1960s)
• Poodle skirt, a circle or near-circle skirt with an appliqued poodle or other
decoration (1950s)
• Prairie skirt, a flared skirt with one or more flounces or tiers (1970s and on)
• Rah-rah skirt, a short, tiered, and often colourful skirt fashionable in the early-mid
1980s.
• Sarong, a square of fabric wrapped around the body and tied on one hip to make a
skirt; worn as a skirt or as a cover-up over a bathing suit in tropical climates.
• Tiered skirt, made of several horizontal layers, each wider than the one above, and
divided by stitching. Layers may look identical in solid-colored garments, or may
differ when made of printed fabrics.
• Trouser skirt, a straight skirt with the part above the hips tailored like men's
trousers, with belt loops, pockets, and fly front
• T-skirt, made from a T-shirt, the T-skirt is generally modified to result in a pencil
skirt, with invisible zippers, full length 2-way separating side zippers, as well as
artful fabric overlays and yokes.
• Legwear and footwear with skirts. Popular legwear trends now include: skirts
with striped tube socks popular with the Rocker style of dressing, skirts with bike
shorts or leggings sometimes with lace trim and opaque footless tights, and
opaque tights especially in black and also in gray and other colors, and skirts with
fun knee socks in styles such as argyle in many colors and solid bright colors.
UGG boots, classic sneakers like Converse, Chuck Taylor All-Stars and Keds,
flats, and Sperry Top-Siders are popular footwear now with skirts.
[edit] Lehenga
It has been suggested that this article or section be merged into Blouse#Choli.
(Discuss)
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may
be challenged and removed. (May 2010)
Lehenga is a traditional dress of women of North India, and Pakistan worn below
waistline and extends to the toe, upper part of the body is covered with a choli or
Kameez. The lehenga is particularly popular form of dress for women in Punjab.
In Punjabi, it's known as a "lehnga". In South India, it is known as a langa (in Telugu), a
pavada (in Malayalam) or a pavadai (in Tamil).
[edit] Male wear

Main article: Men's skirts
There are a number of male garments which fall under the category of "skirt" or "dress."
These go by a variety of names and form part of the traditional dress for men from
various cultures. Usage varies - the dhoti is part of everyday dress on the Indian
subcontinent while the kilt is more usually restricted to occasional wear and the
foustanella is used almost exclusively as costume. Robes, which are a type of dress for
men, have existed in many cultures, including the Japanese kimono, the Chinese
cheongsam, the Arabic thobe, and the African Senegalese kaftan. Robes are also used in
some religious orders, such as the cassock in Christianity and various robes and cloaks
that may be used in pagan rituals. Examples of men's skirts and skirt like garments from
various cultures include:
• The kilt is a skirt of Gaelic and Celtic history, part of the Scottish national dress in
particular, and is worn formally and to a lesser extent informally. Irish and Welsh
kilts also exist but are not so much a part of national identity.
• The foustanella is worn by men in Greece and other parts of the Balkans. By the
mid-20th Century, it was relegated to ceremonial use and as period or traditional
costume.
• The gho is a knee-length robe worn by men in Bhutan. They are required to wear
it every day as part of national dress in government offices, in schools and on
formal occasions.[2]
• The sarong is a piece of cloth that may be wrapped around the waist to form a
skirt-like garment. Sarongs exist in various cultures under various names,
including the pareo and lavalava of the Hawaiian islands and Polynesia (Samoa,
Tonga, Tahiti, and Fiji), the Indian dhoti and lungi, and the South Indian mundu.
In the Western world skirts, dresses and similar garments are considered primarily
women's clothing today although historically that was not the case.[3] The wearing of
skirts by men in these areas was generally seen as cross-dressing although some fashion
designers such as Jean-Paul Gaultier have produced skirts for men and kilts are widely
accepted in some situations.
[edit] Gallery of skirt styles
A-line skirt Dirndl Jean miniskirt Kilt
Microskirt Pencil skirtPoodle skirt

http://www.google.com/webhp?client=firefox-a&rls=org.mozilla:en-
US:official&channel=s&hl=en&source=hp&btnG=Google+Search#sclient=psy&hl=en&
client=firefox-a&rls=org.mozilla:en-US
%3Aofficial&channel=s&site=webhp&source=hp&q=formal+skirt+sillhouette&aq=f&a
qi=&aql=&oq=&fp=fd0f73886609171d
Pencil skirt
For the song "Pencil Skirt" by Pulp, see Different Class.
A pencil skirt is a slim fitting skirt with a straight and narrow cut. Generally the hem
falls to, or just below, the knee and is tailored for a close fit. Its name comes from its
shape: long and slim.[1][2]
A modern pencil skirt
Contents
[hide]
• 1 Style
• 2 History
• 3 Wearing
• 4 References
[edit] Style
The pencil skirt is usually worn either on its own or as part of a suit.[3] The slim, narrow
shape of a pencil skirt can restrict the movement of the wearer so pencil skirts often
feature a slit at the back, or less commonly at the sides. Sometimes a pleat, which is
considered to be more modest, is used instead of a slit. The classic shoes for wearing with
a pencil skirt are a pair of high heels,[4] with sheer stockings or tights. Back-seamed
hosiery matches well, recalling the classic pencil-skirt era of the 1950s.[5]
[edit] History
Narrow-fitting skirts have a long history in western fashion. The predecessor to the pencil
skirt is the hobble skirt of the early 20th century, which is a full-length skirt which
seriously impedes the wearer's walking, and sometimes those two terms are used as
synonyms. However, it was the French designer Christian Dior who introduced the pencil
skirt in the late 1940s,[4][6] using the term H-line to describe its shape. It quickly became
very popular, particularly for office wear.[7] This success was due to women's desire for
new fashions in the wake of the drudgery of the Second World War coupled with the
austere economic climate, when fabrics were expensive and still rationed, and full-skirted
garments were seen as wasteful.[8] It again became popular for business women in the
1980s, as part of the "power suit" style of dressing, and has remained a popular
mainstream fashion choice ever since.
[edit] Wearing
The pencil skirt feels different from looser types of skirts, and can take some adjustment
by the wearer in terms of movement and posture in order to manage it successfully.
Walking needs to be done in short strides; entering and leaving a car gracefully takes
practice; and when sitting the legs are held close together which some can find restrictive
(though others like the feeling of their legs being "hugged" by the skirt). Activities such
as climbing ladders and riding bicycles can be very difficult in a pencil skirt. In spite of
these apparent disadvantages, the pencil skirt does have practical benefits: it is warmer
due to the reduced ventilation, and is less likely to be blown up by gusts of wind.
http://en.wikipedia.org/wiki/Pencil_skirt
A-line
An a-line skirt
This article is about the skirt/dress/coat style. For the sleeveless shirt, see A-shirt. For the
medical equipment, see Arterial catheter.
An A-line skirt is a skirt that is fitted at the hips and gradually widens towards the hem,
giving the impression of the shape of a capital letter A. The term is also used to describe
dresses and coats with a similar shape.[1]
[edit] History
The term was first used by the French couture designer Christian Dior as the label for his
collection of spring 1955.[2] The A-Line collection's feature item, then the "most wanted
silhouette in Paris", was a "fingertip-length flared jacket worn over a dress with a very
full, pleated skirt". [2]
Although an A-shape, this silhouette was not identical to what is now understood to
embody the A-line idea.[2] That idea was given its definitive expression and popularized
by Dior’s successor, Yves Saint Laurent, with his "Trapeze Line" of spring 1958, which
featured dresses flaring out dramatically from a fitted shoulder line.[2]
A-line clothes remained popular in the 1960s and 70s, disappeared from fashion almost
completely by the early 1980s and were revived by the retro trend of the late 1990s.[2] By
that time, "A-line" was used more loosely to describe any dress wider at the hips than at
the bust or waist, as well as a number of flared skirt styles.[2] "True" A-line shapes on the
pattern of Dior and Saint Laurent saw a revival in the early 2000s.[2]
[edit] Style details
The A-line skirt has no visible embellishments for ease, such as pleats or slits, but is
fitted to the upper hip by means of seams and/or darts. Its fastening is usually kept
discreet, with a side or back zipper. A belt is sometimes used. Pockets may be present,
but not usually. The length of an A-line skirt varies, between mini- and below-knee-
length.
When referring to dresses and coats, the term A-line generally means fitted from the
shoulders to the hips and then widening to the hem, but it is also sometimes used to mean
widening from the shoulders to the hem, ignoring the waist and hips.
It is often used to describe a popular style of wedding dress, which is fitted above and
around the hips but flares gently to the hem, giving a streamlined and quite slim look.
http://en.wikipedia.org/wiki/File:A-line_skirt.jpg
PENCIL SKIRT
Posted by Don under apparel design | Tags: patternless drafting, sewing. fashion |
[22] Comments
Featured: DKNY Pencil Skirt
Both sexy and classy, the pencil skirt creates a flattering silhouette on every woman, no
matter what size. Pair it with an all-business top for work, then slip into a pair of sleek
stilettos to glam things up at night. The elastic waistline allows for an adjustable fit and
may be worn with a purchased belt. This version of the pencil skirt is fully-lined.
You will need:
• 1 yd. [0.9 m] of fashion fabric, 45″ [115cm] wide

• 1 yd. [0.9 m] of lining, 45″ [115cm] wide
• 1 yd. [0.9 m] of elastic, 1 ½” [40 mm] wide
• Coordinating thread
• Bodkin
PATTERN
This is a simple block pattern. It may be measured and cut directly on the fabric. Seam
allowance is included.
CUTTING
Skirt shell (A+5 x B+5) – cut 1X self

Skirt lining (A x B) – cut 1X lining
Waistband elastic – waist measurement less 6″ [15.25 cm]
Note: Cut all fabrics on the straight grain.
ASSEMBLY
1. Mark the center of each fabric piece.

2. On the bottom corners of the fashion fabric, measure up 1″ [2.5 cm] and across 1″
[ 2.5 cm]. Join these 2 points with a straight line and cut the corner away.
3. Fold this 45° angled line in half with right sides of the fabric together. Pin/baste
and sew each corner, using a ½” [1.25 cm] seam allowance, to create a miter in
each corner.
4. With right sides together (RST), align and match the lining and fashion fabric
along the length on both side edges, from the inside corner of the miter to the top
edge. NOTE: Remember to allow ½” [1.25 cm] seam allowance on the hem on
the lining portion.
5. Pin/baste and sew each seam using
½” [1.25 cm] seam allowance. Press the seam allowances towards the lining. Turn
this piece right side out.
6. Align and match up the centers of each fabric and pin the layers at the top edge.
Allow the fashion fabric to turn at the ends and press flat along the fold edges
from the top to the mitered corners. Turn the skirt wrong side out.
7. Align and match the lining and hem allowance of the fashion fabric along the
bottom edge. Pin/baste and sew the bottom edge using ½” [1.25 cm] seam
allowance. Press the seam allowance up towards the lining. Turn the skirt right
side out.
8. Lay out the skirt with the hem away from you and the
fashion fabric face up. Fold the fabric along its length so that the 2 sides meet at
the center. Measure from the mitered corners 6″ [15.25 cm] and mark the location
with a pin. This will be an open slit.
9. Working from the open end at the waist, align and match the foldlines from the
pin to the top edge. Sew the 2 foldlines together to create the skirt from the inside
of the layers.
10. Along the top edge, turn under all layers ½” [1.25 cm] to the inside of the skirt
and press flat.
11. Turn under 1 ¾” [4.5 cm] to create the casing for the elastic waist. Pin/baste the
casing through all layers. Press flat.
12. Topstitch 1/8″ [0.25 cm] along the fold of the top edge of the skirt.
13. Topstitch 1/8″ [0.25 cm] along the bottom edge of the casing, leaving a 2″ [5 cm]
opening at the back seam.
14. Cut the waistband elastic to your waist measurement less 6″ [15.25 cm] or wrap
around the waist and adjust to a proper fit. Using a bodkin, thread the waistband
elastic through the casing and secure the ends together. Be certain not to twist the
elastic as you do so. Slipstitch the opening in the casing and complete the
topstitching on the skirt.
Description : You’ll just need to take a couple of measurements and draw a couple of
lines to put together the very easy Pencil Skirt Pattern.
http://craftstew.com/sewing/pencil-skirt-pattern
Collection / Calabria
Shimmer Textured Short Pencil Skirt

Was $99.00
Now $73.99
One of our all-time favorites. Pair it with the matching shimmer jacket,and you are good
to go!
THIS ITEM HAS BEEN ADDED TO YOUR BAG
Enlarge
Views: Main|Back|CloseUp
• Dry Clean
• Zipper,Hook & Eye
• Imported
• Sweep Approx. 37 1/4 in.
• Lined
• 43% Cotton, 42% Acetate, 15% Metallic
(View Fabric Glossary)
• From the JNY Collection Line

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Grey Texture Suit Pencil Skirt

• Was £35.00
• Now £20.00
• Colour: Grey
• Item code: 241637003
Grey pinspot texture fabric suit pencil skirt. Matching jacket and trouser also avalible.
66% Polyester,32% Viscose,2% Elastane. Machine washable. Save energy. Wash at 30
degrees.
Sorry, this item is out of stock.
• Standard delivery is free on all orders over £30.

• UK
• Standard: £4 delivered within 2–4 working days
• Nominated Day: £5 delivery charge for delivery Mon – Fri, £7.50 delivery charge
for delivery on Saturday. Next day delivery is available for orders placed before
6pm Monday to Friday and 2pm Sunday (GMT).
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• £5 delivered within 3–7 working days
• Nominated delivery is not available
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Wallis is the premium women’s fashion destination. Stylish women’s dresses, tops, maxi
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Standard: £4 delivery charge for all orders under £30
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At this time we regret that we do not deliver to these addresses.
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selected day. £5 delivery
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days when day available Free for all Mon-Fri
UNITED £4 delivery
ordered when ordered orders over deliveries.
KINGDOM charge.
before noon. before 6pm £30. £7.50 for
(GMT) (Mon-Fri and Saturday
2pm delivery.
Sunday) (GMT)
NORTHERN 5-7 working The next £4 delivery Free for all £5 delivery
NOMINATED
STANDARD STANDARD STANDARD
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DELIVERY DAY COSTS
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TIMES
charge for
days when working day Mon-Fri
ordered after the day orders over deliveries.
IRELAND charge.
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(GMT) the checkout Saturday
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AND ordered orders over deliveries.
day nominated charge.
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at the checkout.
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Please note that delivery time for standard orders is currently 2-4 working days. If you
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Returning an item couldn't be simpler...
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or send back to us within 14 days.
Please return all Wallis Boutique, Bellissima, Riviera, Barratt shoes and Wallis Home
products to our website free of charge. Stores will be unable to refund this item for you.
Click here for our complete returns policy

• Was £35.00
• Now £20.00
• Colour: Grey
• Item code: 241637003
degrees.
http://www.wallis.co.uk/webapp/wcs/stores/servlet/ProductDisplay?
beginIndex=0&viewAllFlag=&catalogId=33058&storeId=12557&productId=1946494&l
angId=-
1&sort_field=Relevance&categoryId=209357&parent_categoryId=209308&sort_field=R
elevance&pageSize=20
http://www.wallis.co.uk/webapp/wcs/stores/servlet/ProductDisplay
Skirts
Sale Skirts
Skirts are in the spotlight this season! Anything from A-line cuts, fitted styles, pencil
skirts, denim skirts, full skirts, long skirts, tailored skirts, short hems or floor-sweeping
maxi skirts.
Sssssssssssssssssssssssssssssssssssssssssssssss
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About 505 results: Other Apparel (13)
Home > Products > Apparel > Skirts (24418)
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skirt
FOB Price: Get Latest Price
Port: guangzhou
Supply Ability: 2000 Piece/Pieces per Week
Payment Terms: T/T,Western Union,cash
Ms. Sara chen Offline
Supplier Details
Baiyun District Guangzhou City Guang Li Fu Garment Factory
[ Guangdong, China (Mainland) ]
Business Type:
Manufacturer
Contact Details Gold Supplier [1st Year] A&V Checked
3 Similar Products from this Supplier View this Supplier's Website
See larger image: skirt

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Product Details Company Profile Report item

Quick Details
Age Group: Adults Gender: Women Supply Type: OEM Service
Material: Polyester / Cotton Fabric Type: woven Design: Cargo
Place of Origin: Guangdong
Technics: Plain Dyed Feature: from skirt
China (Mainland)
Brand Name: lfgarment Model Number: FSK185 color: khaki
Packaging & Delivery
Packaging
one piece per poly-bag with carton
Detail:
Delivery Detail 7-15 days (200-1000pcs),15-30days(1000-5000pcs)
Specifications
Material of products
a. Fabric Type:woven
b. Technics:no-printed
c. Feature: formal skirt
d. Design: short skirt
Product name: Skirt
Model No.:FSK185
Product/Sercices:Manufactrurer,Distributor/wholesaler
Description of Dresses:
1 Sizes:
a. Size ranges:XS S M L XL XXL or according to the customers' requirement.
2 Packing:
a. Box dimensions: 50cm*32cm*38cm
b. Inner packing:poly or according to the customers' requirement.
c. Outer packing: 10pcs/bag or According to the customers' requirement.
d. Carton dimension:According to the customers' requirement.
3 MOQ:
a. Minimum order quantity:200pcs
Delivery time:
a. delivery time:7-15 days (200-1000pcs),15-30days(1000-5000pcs).
4 Price:
a. Unit price: According to the customer's quantity,please E-mail us
5 Trademark:
a.According to the customer's requirment(no extra charges)
6 Sample terms:
a. We can send a piece of dress in order that the customer check the quality of the dress,th
e sample cost of the dress is as same as unit price.
b. If you order over 200pcs (inclusive)in the future,we will deduct the sample cost from t
he total amount of your future order.
7 Guarantee:
a Excellent workmanship
b.Comfortable & durable
c.Top Credit standing
8 Welcome OEM and ODM order.
Established in 1989,Baiyun District, Guangzhou ,Guang Li Fu Garment Factory is a

manufacturer (manufacturer and trader) specialized in the research, development, design,
production, marketing and processing of clothes. We are located in Guangzhou with
convenient transportation access. All of our products are good in material, fashionable in
design and superb in workmanship and are greatly appreciated in a variety of different
markets throughout the world, especially in Japan, Australia and ...
View more >>
Basic Information
Business Type: Manufacturer

Product/Service (We Sell): Clothes,Garment
Send your message to this supplier
From: Enter email or Member ID
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Ms. Sara chen Baiyun District Guangzhou City Guang Li Fu Garment Factory
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http://www.alibaba.com/product-gs/390703702/skirt.html
women fashion woven mini flare short skirt
US $3.8 - 5.5 / Piece
FOB Price:
Get Latest Price
Port: Shanghai
Supply Ability: 40000 Piece/Pieces per Month
Payment Terms: T/T
Ms. Aileen Chen Offline

Supplier Details
Hangzhou Jiuwei Import and Export Co., Ltd.
[ Zhejiang, China (Mainland) ]
Business Type:
Manufacturer, Trading Company
Contact Details Gold Supplier [2nd Year] A&V Checked
4 Similar Products from this Supplier View this Supplier's Website
http://www.alibaba.com/product-
gs/321391444/women_fashion_woven_mini_flare_short/showimage.html
he only way to achieve this is to be conscious of your body shape and dress accordingly.
So here are a few guidelines on how to wear some of this season's trends.
COLOUR - Wearing the right colour can takes years off. So what do you do when this
season's colours aren't right for you? You have a few options:
1.mix them with shades that do suit you
2. only wear the colour in small doses
3. keep the colour away from your face
The main colours this Spring/Summer are:
All White- I hear you all gasp I can't wear white! It makes me look fat/pale etc. Well
wearing all white can be as slimming wearing as all black and such a good alternative.
We all know white looks good on tanned and dark skin, but all you pale ethereal
complexions never fear - just wear softer whites.
Also the fabric will have an effect - a crisp tailored white shirt will look whiter and
brighter than a tee shirt, so to soften a harsh look wear softer flowing fabrics.
The big trends are:
KNEE HIGH SOCKS: These along with thigh high socks are set to be very popular, but
the school girl look is definitely a no no -so do not wear with pleated skirts. This season it
is more of a grown up look with the socks teamed with patterned tights for extra texture.
The socks are either worn pulled up or scrunched down. Knee high socks or just above
the knee socks are more slimming than thigh high if you are concerned with the size of
your thighs. In the warmer weather wear thinner and light coloured socks. If you are
conscious about your legs, try neutral plain socks or match the colour to your shoe. Wear
a heel for a more sophisticated look.
HIGH WAISTED HOTPANTS!!! Wearing knee high socks with hot pants will ensure
not too much skin is revealed. But OK with hot pants you do have to be young and have a
reasonable figure, so we'll leave that one for the young fashionistas. However if you wear
on the beach then that is a different scenario - it can give you a fun and sexy 1950's look.
Alternative and still on trend looks are:
BOY SHORTS & SHORT SHORTS: Still short but not as figure hugging
TAP PANTS: these are looser and not so short, usually with a ruffled finish (similar to
lingerie) in lace or semi sheer materials. These give a feminine look
UNDERWEAR AS OUTERWEAR: Corsets/bustiers will be shown and worn as tops
or part of dresses. This is good news for all shapes and sizes as they hold you in, push
you up and give curves where none existed. Some will have bra straps giving added
support. For a more feminine look, wear silk/satin slips as dresses or tops. Some of the
hot pants will be made of satin and so looking like lingerie. For the daring bras will be
worn on top of tight tops - no need to hide your La Perlas now.
JEWELLERY: Big statement necklaces are still on trend. Only have one large statement
piece unless your bone structure is large. If you have an angular face, choose jewellery
with angular details, e.g. squares, triangles. If you have a contoured face, choose softer
detail such as loops, circle, and ovals. Also consider your face shape when choosing
jewellery. E.g. a round face will look good in longer earrings as they will lengthen the
face, round earrings will only emphasise the roundness of the face.
TROUSERS:
Patterned pants - stripes, florals, graphic and abstract shapes in bright & bold colours and
also subtle & muted colours. Anything as long as they are patterned. Not good news for
the bottom heavy figure so go for the more relaxed cuts rather than skinny tailored cuts.
This trend will suit top heavy or the boyish figure.
Jodhpurs- high waisted to make the legs look longer and the muffin tops in . The shape
gives a curve to the boyish figure and can also help disguise the larger hips.
Jumps suits & playsuits. These were in trend last summer and continue in to SS10. Will
look good on curvy figures in the softer fabrics, but also for the straighter figures in a
more taut fabric.
Patched ripped jeans - probably only for the younger woman
Genie pants - similar to harem pants but a bit more fitted.
DRESSES :Hot pants and short shorts may be showing a lot of leg suring the day, but it's
the more sophisticated long slit dresses for the evening. dresses with splits - How far up
will you go? For the daring, the split will reach the hip. If don't have tanned toned legs,
wear patterned tights or show off your stay ups.
FUTURE TRIBAL WARRIOR : This is a blend of dark ancient tribal fashion (think
Xena Warrior Princess) with a futuristic twist. Leather and metal plating are key
materials.
Just a few tips, if you wanted a style and/or colour consultation, need help with wardrobe
weeding or shopping then contact Karen on 07787800390 or view the website:
http://www.frumpytofunky.com
Article tags: Wear Spring, Summer 2010 Fashion Trends, Boy Shorts Short Still,
Knee High Socks, Underwear Outerwear Corsets, Future Tribal Warrior, High
Waisted Hotpants, Xena Warrior Princess, Spring Summer, Tap Pants, La Perlas,
Jewellery Big, Trousers Patterned, Dresses Hot, Spring Summer White-
About the Author: Karen Grace frumpy to funky was established by

Karen Grace, an affiliate member of the Federation of Image Consultants. Karen has
studied Personal Styling at the London College of Fashion and received her professional
training in one of the London's leading Image Consultancy training centre. More details
can be seen on www.frumpytofunky.com
http://articlesadv.com/fashion/tips-on-how-to-wear-spring-summer-2010-fashion-trends-
for-women-aRtI0JIS.html
Woven Skirt
Add to My Favorites
• Age Group: Adults

• Fabric Type: Corduroy
• Model Number: TSU-13
• Technics: Other
• Keywords:Woven Skirt, Woven Skirt products, Skirt,ladies' skirt
http://www.weiku.com/products/1630787/Woven_Skirt.html
Ball Gown Knee-Length Fancy Silhouette

Taffeta Ruched Brooch Evening
Dress/Prom Dress
Item No. : cocktaildresses0091
(15 Reviews)
Retail price: US$352.77
You Save: (52.38%) US$184.78
Sale Price: US$167.99
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Ball Gown Knee-Length Fancy Silhouette Taffeta
Ruched Brooch Evening Dress/Prom Dress
Salecode: cocktaildresses0091
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Product Name:Ball Gown Knee-Length Fancy Silhouette Taffeta Ruched Brooch Evening Dress/Prom Dress
Category:Cocktail Dresses
Product Weight:2KG
Color:Pink
Occasion:Wedding,Cocktail Party,Formal Events
Fabric:Taffeta
Silhouette:Ball Gown
Sleeves:Cap Sleeves
Closure:Zip up
Waistlines:Empire
Backs:Mid
Embellishment:Ruched,Brooch
Design:Off-the Shoulder,Fancy Silhouette
Skirt Length:Knee Length
Style:Chic,Elegant
Theme:Glamorous
Body Shape:Petite,Slender
Feature:Dry Cleaning
Packaging:PP Bags&Cartons
Details:The ball gown is a classic shape with a fitted bodice and very full skirt that brushes the
floor.The pick-up skirt is a modern interpretation of this silhouette.The Column dress hugs the
figure and looks great on tall,willowy women.This is the one to give you that catwalk look!It
will also work well on a more petite figure
Types of Skirts
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• Fashion
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Skirt Styles and Types
Continue onto the next page for more skirt types and pictures
Having traced the journey of skirts and their hemlines, it is
time to examine a few of the skirt styles: the shapes of the women they suit, the times
and occasions on which they can be worn, and the shoes that would look best with them.
Skirts come in a lot of different variations, and the limits lie only in the
imagination of the designers. While it is natural to follow trends, it is also a good idea to
try and pick the silhouettes from the trend that suit you the most. This way, you are
guaranteed to pick some real winners!
Discussed here are some skirts and the figures they flatter, which will make your job
easier when out shopping for a skirt next time.
A-line skirts
A basic skirt with many variations. An a-line skirt sits snugly at the waist, kisses the hips
and thighs but does not cling. It is wider at the hem as in the yellow printed skirt seen
above. This kind of skirt is recommended for you if you are pear-shaped, because this
style balances out heavier hips and thighs. The hem usually falls just below the knee, but
you can vary it depending on your leg shape. This style is not very flattering for thin,
narrow-hipped women or those with a smaller derriere.
Usually the flare on the a-line varies, becoming a flared a-line like the Luisa Beccaria
embroidered black skirt seen below right. This skirt is flattering for most body types.
Luisa Beccaria Flare A-line, right, and Pleated print A-line, left
Sometimes triangular fabric pieces are added to make the flares dance as you walk like in
this dark grey skirt, below right, with the neat black detailing. This distracts from heavy
hips. Great choice for a full-figured woman, and good for wearing at office.
The A-line could also be paneled, slimming the hips in the process as in the cream and
black printed skirt here. This is great for a pear-shaped figure. An a-line could also be
made in a heavier, stiffer fabric with pleats, like the plain cream skirt by Ellie Tahari,
seen below left, which is ideal for a thin or petite figure. A casual version of a pleated a-
line skirt can be seen above left, in the printed cream skirt.
Depending on the choice of fabric, these skirts can be casual or formal enough for office
wear. Close-toed shoes with pointy heels, strappy heeled sandals, ankle boots and wedge
heels all work marvelously with these skirts. It is best not to wear these skirts with flats.
Flared skirts
These skirts are also good to hide heavy derriere, they are basically a-line skirts with
extra flare, which swing and swish about the legs, giving you a floaty feel and a slim
silhouette like the Anna Sui black skirt worn with leggings.
Flared skirts are recommended if you are tall and heavy on the hips: petite women tend
to look overwhelmed in this skirt style, especially in skirts with a lot of flare like the
lovely ethnic embroidered pink skirt by Christian Dior. A front or side slit in a flared skirt
could be an interesting and slimming detail, dividing the hip into vertical parts like the
black front slit skirt here by Louis Vuitton. These skirts are shown below.
For those that are medium height and slim hipped, flared skirts like the short printed Etro,
below left, could help give a sense of curvature. If you are tall and thin, you could wear
flared skirts with large prints and a pocket detail like the Carolina Hererra red and white,
below right. This would balance you out with a skirt with extra body. The general rule of
prints also applies to flared skirts: big prints look better on thin women, and big women
look good in plains and small prints.
Etro short flare skirt on left Carolina Herrera on right
These skirts would fit right in for a lunch appointment with the girls, a movie date or
society party. These are best avoided as office-going clothes. They usually do well with
most kinds of footwear, provided there is a slight heel.
Fit and flare skirts
These are variations of the flared skirt, where the flares do not start at the waist, but at the
hip. The level from which the flare starts and the length of the flare depends on the
designer.
This style, like the black skirt below left shows, can do wonders for a thin or petite
figure: accentuating the curve of the hip, and concealing the lack of curve at the thigh by
letting all that soft fabric swirl around the body. It is good also for figures with a smaller
derriere.
The Giorgio Armani blue-printed skirt below right is made of stiffer fabric, with ruffles
attached to the surface to give it extra volume and surface interest, and works very well
on slim-hipped figures.
Giorgio Armani straight skirt on right
The skirts below look enticingly feminine in chiffon: the printed knee-length Dolce and
Gabbana with its fly-away charm, for instance, or the long printed fit and flare skirt with
godet inserts and uneven hem. Both would look nice on petite, curvy or slim-hipped
women. They are perfect choices for a lunch with the girls or a dinner date.
Dolce and Gabbana chiffon fit and flare on the right
The fit and flare silhouette works like a dream on thin women especially when the flare
part has a lot of movement or volume to it. These skirts can be worn on similar occasions
with the same footwear as flared skirts.
Straight skirts
As their name suggests, these skirts fall straight from the hip. They suit a variety of body
shapes, depending on the length and the waistline.
If the straight skirt is a simple loose knee length like the cream Louis Vuitton straight
skirt, it helps hide big thighs. If it is short like the black and white Emporio Armani, it
would suit short, petite women.
Louis Vuitton skirt on left, Emporio Armani straight skirt on right
If instead it is a high waisted long skirt like the brown calf-length by Chloe, it can make a
thin, long- torsoed woman proportionate and curvy. Such skirts look equally good on
medium or tall women. A well-cut long skirt can hug you at all the right places: the satin
black number seen below can be an asset to any curvy tall woman's wardrobe.
Chloe high-waisted on left, Satin long skirt in the middle, Louis Vuitton long slit skirt on right
Another skirt that is an expert at hiding figure flaws is one like the dark beige slit Louis
Vuitton long skirt seen above on the right. This skirt, when worn with a long top, can
look good on tall, big women.
A straight skirt can make you look slim and tall if vertical details are included, like the
vertical embroidered lines on the black Lanvin skirt seen below left. But the best part
about this shape is that it can be tailored in a wide variety of fabrics, from cotton and
satin to denim, knit and leather.
This means it is good for women who need structured looks and those who look better in
unstructured ones. The highly structured fitted denim straight skirt with a front slit is a
wardrobe staple for thin, slim, or curvy women, while the red Prada leather skirt is a hot
number, especially great for fall-winter. The denim skirt is also slimming for women who
are full across the tummy. From left to right is the Lanvin, the denim jeanskirt, and the
Prada leather skirt.
Saturday, September 12, 2009

The huge pencil skirt pattern review
The first pencil skirt
pattern I tried was the hot patterns version. Let me just say for the record I really, really,
wanted this to be the one. Not only that I love the idea of supporting these indie pattern
companies, but Trudy and Jeremy have really gone the distance to make their patterns
user friendly. If you haven't found them on You Tube you are missing out on some pretty
creative stuff. I have had good luck with the hot patterns I've used. This one not so much.
The pattern has some really great details, I just couldn't get the fit right. I found the shape
very bulbous at the hip line. Then when I adjusted for that, I could never get the front
darts quite right. I liked the curved waistband, the hem (deep bias cut facing) and the
back kick pleat.
Skirt number two: New Look pattern 6758
I cut this out in my usual size. It's big. Never assume. You know the saying. So I have to
re-size after it's almost done. Is this really going to happen? Maybe yes, maybe no.
Funny, after I made this, and while I was looking up the info, I found this post. My
sentiments exactly.
note to self: check pattern review site first!!
So finally, in this case the third time being the charm, I've got it. This skirt is from a
burda pattern. I first saw it made up here. I will make a this one again. I am going to
borrow the elements I liked from the hot patterns skirt and make a few changes. The back
slit is just the seam finished, and I don't think it will hold up well and I don't like the look.
I'll add the vent. I'm also going to add the bias fabric hem.
So... as promised there you have it, maybe this will help someone looking for a go to
pencil skirt pattern.
leave me a comment if you've made any of these patterns, I would like to hear about your
experience
http://countrygirlcouture.blogspot.com/2009/09/huge-pencil-skirt-pattern-review.html
Texture means……….
Also found in: Medical, Encyclopedia, Wikipedia, Hutchinson

texture 0.01 sec.
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tex·ture (t ks ch r)
n.
1. A structure of interwoven fibers or other elements.
2. The distinctive physical composition or structure of something, especially with respect
to the size, shape, and arrangment of its parts: the texture of sandy soil; the texture of
cooked fish.
3.
a. The appearance and feel of a surface: the smooth texture of soap.
b. A rough or grainy surface quality: Brick walls give a room texture.
4. Distinctive or identifying quality or character: "an intensely meditative poet [who]
conveys the religious and cultural texture of time spent in a Benedictine monastery"
(New York Times).
5. The quality given to a piece of art, literature, or music by the interrelationship of its
elements: "The baroque influence in his music is clear here, with the harmonic
complexity and texture" (Rachelle Roe).
tr.v. tex·tured, tex·tur·ing, tex·tures
To give texture to, especially to impart desirable surface characteristics to: texture a
printing plate by lining and stippling it.
[Middle English, from Old French, from Latin text ra, from textus, past participle of
texere, to weave; see text.]
tex tur·al adj.
tex tur·al·ly adv.
tex tured adj.
The American Heritage® Dictionary of the English Language, Fourth Edition

copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by
Houghton Mifflin Company. All rights reserved.
texture [ˈtɛkstʃə]
n
1. the surface of a material, esp as perceived by the sense of touch a wall with a rough
texture
2. (Clothing, Personal Arts & Crafts / Textiles) the structure, appearance, and feel of a
woven fabric
3. the general structure and disposition of the constituent parts of something the texture of
a cake
4. the distinctive character or quality of something the texture of life in America
5. the nature of a surface other than smooth woollen cloth has plenty of texture
6. (Fine Arts & Visual Arts / Art Terms) Art the representation of the nature of a surface
the painter caught the grainy texture of the sand
7. (Music, other)
a. music considered as the interrelationship between the horizontally presented aspects
of melody and rhythm and the vertically represented aspect of harmony a contrapuntal
texture
b. the nature and quality of the instrumentation of a passage, piece, etc.
vb
(tr) to give a distinctive usually rough or grainy texture to
[from Latin textūra web, from texere to weave]
textural adj
texturally adv
textureless adj
Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers

1991, 1994, 1998, 2000, 2003
texture (t ks ch r)
The general physical appearance of a rock, especially with respect to the size, shape, size
variability, and geometric arrangement of its mineral crystals (for igneous and
metamorphic rocks) and of its constituent elements (for sedimentary rocks). A sandstone
that forms as part of an eolian (wind-blown) deposit, for example, has a texture that
reflects its small, rounded sand grains of uniform size, while a sandstone that formed as
part of a fluvial deposit has a texture reflecting the presence of grains of varying sizes,
with some more rounded than others.
The American Heritage® Science Dictionary Copyright © 2005 by Houghton Mifflin

Company. Published by Houghton Mifflin Company. All rights reserved.
ThesaurusLegend: Synonyms Related Words Antonyms

Noun 1. texture - the feel of a surface or a fabric; "the wall had a smooth texture"
tactile property, feel - a property perceived by touch
nap - a soft or fuzzy surface texture
smoothness - a texture without roughness; smooth to the touch; "admiring the
slim smoothness of her thighs"; "some artists prefer the smoothness of a board"
raggedness, roughness - a texture of a surface or edge that is not smooth but is
irregular and uneven
2. texture - the essential quality of something; "the texture of Neapolitan life"
lineament, character, quality - a characteristic property that defines the apparent
individual nature of something; "each town has a quality all its own"; "the
radical character of our demands"
3. texture - the musical pattern created by parts being played or sung together;
"then another melodic line is added to the texture"
musicality, musicalness - the property of sounding like music
4. texture - the characteristic appearance of a surface having a tactile quality
visual property - an attribute of vision
grain - the direction, texture, or pattern of fibers found in wood or leather or
stone or in a woven fabric; "saw the board across the grain"
marbleisation, marbleising, marbleization, marbleizing - a texture like that of
marble
beaux arts, fine arts - the study and creation of visual works of art
5. texture - the physical composition of something (especially with respect to the
size and shape of the small constituents of a substance); "breadfruit has the
same texture as bread"; "sand of a fine grain"; "fish with a delicate flavor and
texture"; "a stone of coarse grain"
grain
physical composition, composition, make-up, makeup, constitution - the way in
which someone or something is composed
Based on WordNet 3.0, Farlex clipart collection. © 2003-2008 Princeton University,
Farlex Inc.
texture
noun feel, quality, character, consistency, structure, surface, constitution, fabric, tissue,
grain, weave, composition It is used in moisturisers to give them a silky texture.
Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition.
2002 © HarperCollins Publishers 1995, 2002
Translations
Select a language:
Afrikaans / Afrikaans
Arabic / ‫العربية‬
Bulgarian / Български
Chinese Simplified / 中文简体
Chinese Traditional / 中文繁體

Croatian / Hrvatski
Czech / Česky
Danish / Dansk
Dutch / Nederlands
Estonian / eesti keel
Farsi / ‫فارسی‬
Finnish / Suomi
French / Français
German / Deutsch
Greek / Ελληνική
Hebrew / ‫ִעְבִרית‬
Hindi / िहनदी
Hungarian / magyar
Icelandic / íslenska
Indonesian / Indonesia
Italian / Italiano
Japanese / 日本語
Korean / 한국어
Latvian / Latviešu
Lithuanian / Lietuvių
Malay / Bahasa Melayu

Norwegian / Norsk
Polish / Polski
Portuguese / Português
Romanian / Română
Russian / Русский
Serbian / српски
Slovak / slovenčina
Slovenian / slovenski
Spanish / Español
Swedish / Svenska
Thai / ภาษาไทย
Turkish / Türkçe
Ukrainian / українська
Urdu / ‫اردو‬
Vietnamese / Tiếng Việt

-----------------------
texture
n texture [ˈtekstjuə]
1 the way something feels when touched, eaten etc the texture of wood, stone, skin etc.
2 the way that a piece of cloth looks or feels, caused by the way in which it is woven the
loose texture of this material.
Skirts have been in fashion singe

centuries, though their styles and
patterns have got evolved with
the time. And the best part about Related Articles
skirts is you can wear them at » See Through Skirts
any occasion, whether you have » Embroidered Denim Skirts
to dress formally or simply chill » Types Of Noses
out in casuals. While straight and » Types Of Braids
pleated skirts impart a » History Of Mini Skirt
sophisticated look to the women,
you can give the impression of
being the replica of 1950’s actress by wearing full or ballerina skirts. Floral designs in
skirts are liked by most of the girls in casual wear which also provides them a delicate
look. In India, skirts have been in trend since times immemorial, and the cotton handloom
skirts manufactured here, are loved by every Indian woman. Besides these cotton
handloom skirts, there are many other types of skirts available across the world.
A-line skirts
This is the basic skirt that has been modified to a great size. With small flash having
rough shape of capital letter ‘A’, it fits at the waist while slightly touching hips and
thighs; it is broader at the hem.
Flared Skirts
Actually Flared skirts are A-line skirts, but they have extra flare which beautifully covers
the fat over hips and thighs. Women who are thin can also try this out in large prints as it
will give a voluptuous appearance.
Fit and Flare Skirts

It is just about a variation in flared skirt and in this, flare starts from the hip, not from the
waist. Girls having smaller derriere would love such skirts as it will accentuate the hip
curve and cover up the lack of thigh curve.
Straight Skirts
Just true to its name, straight skirt falls rightly from the hip. These skirts suit almost
everyone, though depending upon the body shape, length and waistline, results may vary.
Pencil Skirts
Hugged to the body from the waist to just above the knee, these skirts come in stretch
material and with a back slit at times. Such skirts go only with slim and skinny figures as
they emphasize the hips and the derriere.
Tube Skirts
Simply the longer versions of the pencil skirts, Tube skirts fit at the hip and taper at the
hem. The visible difference is that they go down below the knee. It suits slim figures.
Mini Skirts
These casual and sexy skirts are loved more by men than women. Mini skirts can be very
short and just right to reveal a beautiful pair of legs. Short women can always rely on this
because mini skirts elongate the legs.
Pleated Skirts
Plated skirts appear best in short length, just above the knees. The flare of this skirt is
reduced by plates and it fits the waist. It looks nice on both, slim and a little plump
figures.
Asymmetric Hem Skirts

Asymmetric Hem Skirts come in a variety of shapes and suit a variety of figures. In this,
the hem moves and curls in a pattern at different levels. It usually conceals various flaws
at the hip, thigh or leg
ttp://lifestyle.iloveindia.com/lounge/types-of-skirts-935.html
topic…………….2
How to Sew a Line Skirt With No Pattern

By Michelle Bell, eHow Contributor
updated: January 29, 2010
The line skirt, more commonly known as the A-line skirt, is a simple type of garment that
flares out from the hip. This skirt style is flattering on a wide variety of body shapes and
is often recommended to women who are pear-shaped or who are disproportionately
larger in the hip and thigh area. The shape of the skirt draws the eye away from the body,
toward the legs and waist, rather than drawing attention like a straight-cut skirt might.
Like many garments, the line skirt is designed to fit curves and can therefore be draped
and sewn without the use of a pre-existing skirt pattern.
Difficulty: Moderately Easy
Instructions
Things You'll Need:
• Cloth measuring tape
• Muslin fabric
• Elastic or cording
• Markers
• Pins
• Scissors
• Thread
• Home sewing machine
• Skirt fabric
• Fabric pencil
• Zipper
Drape the Line Skirt
1. 1
Take your hip measurement, at its widest part, from the center front to the side
seam. Add 3 inches for ease, then double the entire measurement to get the width
measurement. Add 5 inches to the desired length measurement.
2. 2
Cut a large rectangles from the muslin that has the length and width
measurements from step 1. This will be your skirt front piece.
3. 3
Take your hip measurement again between the center back and side seam, then
add 3 inches for ease. Cut 2 rectangles in this width measurement and the length
measurement from step 1. These will be your skirt back pieces.
4. 4
Sew the skirt backs to the skirt front at the side seams, using a basting stitch close
to the fabric edges.
5. 5
Put the skirt muslin on with the seam allowances facing outward. Line up the
center back edges on your body and tie a piece of cording or elastic around your
waist to hold the top in place while you work.
6. 6
Have a friend help you make adjustments and mark the sizing. Adjust the side
seams and center front so that they fall into the proper body positions. Adjust the
hem so that it falls parallel to the floor.
7. 7
Have a friend pin darts into each quarter of the skirt, so that you have at least one
dart between the center back and left side seam, center back and right side seam,
center front and left side seam, and center front and right side seam. You may
need more darts if working on a curvy body.
8. 8
Adjust the darts so that they are spaced evenly and follow the curves of the body.
Leave a small amount of ease between the pins and the body.
9. 9
Adjust the side seams so that they fit close to the body at the top and flare out and
the hem.
Transfer the A-Line Skirt Adjustments
10. 1
Mark all darts and seam lines with a marker. Mark the desired hemline. Remove
the skirt muslin.
11. 2
Take the pins out of the muslin and cut along all marker lines. You should have
separate pieces for front, left back and right back.
12. 3
Lay the muslin pieces out over your skirt fabric to use as pattern guidelines. Trace
around the outsides of the pieces with a fabric pencil, straightening any wobbly
lines as you go.
13. 4
Remove the muslin pieces and trace around the drawn shapes, 1/2 inch away at
the seams, 1 inch away at the skirt hem and 2 inches away at the waistband.
Extend the darts to the waistband line.
14. 5
Cut the pieces from the fabric along the outside lines. Sew the skirt together like
you would if working from a pattern, using 1/2 inch seam allowances.
Read more: How to Sew a Line Skirt With No Pattern | eHow.com

http://www.ehow.com/how_5928543_sew-line-skirt-pattern.html#ixzz1BKMMk5Az
HOW TO - Make an A-line Skirt Pattern
Katrin of Sew-Mad shows you how to foray into the art and sciene of pattern making
with her tutorial on making an A-line skirt pattern. From taking your own measurments
to drafting it all on paper, she shows you all the intricate steps on how to create your own
tailored skirt! [ via ] Link.
Use Butterick 4461 or 3597 (any basic a-line skirt pattern should do though). I'm using
Butterick 4461 in this tutorial.
Okay! This is my favorite style of skirt and I'm excited to share it with you! My favorite
thing about this skirt is the way it lays flat at the hips so it doesn't add unwanted "fluff"
like a gathered skirt does (which I haven't worn since I started having kids). I always
make it with a lining because it's cheap and fast and then I never have to find a slip. I've
made a lot of very different looking skirts from this one basic pattern so it has served me
very well.
In this post I'm going to show you how I remove the back seam and add width to the
bottom of the skirt pattern so that it becomes a simple, 2 piece pattern and doesn't look
like a fabric tube instead of a skirt. In the following skirt posts I will begin to show you
some fun variations you can make with this pattern.
When choosing your pattern size I recommend using your hip measurements as your
guide. Adjusting the waist when your pattern is cut is much easier than adjusting the hips
(if you're between sizes, chose UP and adjust from there). You'll want your finished skirt
to sit 1 inch below your waist. Tie a string around your waist and then measure 1 inch
under that to get the correct waist measurement for your finished skirt. I want the bottom
of my unfinished skirt to land around the center of my knees because it's an easy length to
add or subtract from (when you make variations), so I cut my pattern pieces slightly
below the "view F" cutting line.
Once you cut your 2 pattern pieces out (ignore the little facing pieces) fold under 5/8 inch
along the straight edge of the BACK piece using the "center back" line at your guide.
This is the line where you would normally have a seam but since I'm removing the seam
(and putting the zipper on the side), you need to remove the part that would have been the
seam allowance. You can actually just cut this part off instead of folding it but it's a good
idea to leave it folded on your first try in case you need to make some adjustments at the
back of your skirt after your first try.
On your pattern pieces fold your darts and pin them, then pin the side seams together (I
use a 1/2" seam allowance just to keep it simple). Measure across at a curve along the
"waist" line. Your goal is to get a number that is 1/2 of the measurement you got when
you measured below your waist. If it's too big you need to "shave" a little bit off of both
sides of each pattern piece and pin and measure again.
My finished measurement needs to be 32 inches around so once I got 1 measurement of

16" (half of 32 you know) inches across I knew I was on the right track.
Now I want to extend the bottom of the skirt out because I'm of the opinion that a skirt
that's a nice, bigger width at the bottom helps make the top look narrower (that's my story
anyway). Tape a piece of tissue or tracing paper onto the outer side of both skirt pieces
and trace a straight line from right where the hip curves down on the pattern (I used a
straight ruler and a pen for this). I just used some old tissue paper I ironed out. Mine
extended out 2 1/8 inches at the bottom side. This number will vary with different
patterns but the goal is to make the skirt flare from the side and not hug the hip.
Now make sure your pattern pieces are the same length. It will be longer where the side
seams are because the length needs to compensate for the curve of your hips (which lift it
a little on the sides).
So now I have my pattern pieces ready to go. Keep in mind your first skirt will not be as
great as your second skirt so you may want to start out with "practice" fabric (not too
"practic-y" though because you may end up loving it).
You'll need 1.5 yards of fabric (for the main skirt) and 1 yard of a solid fabric (for the
lining) on the first skirt I'll demonstrate (the one in the picture on top). Pre-wash it and
iron it and I'll be back real soon with instructions!
***PLEASE ask me to clarify anything that is confusing about this post (or give me help
in expressing these instructions better)! I'm going to make it part of a whole series with
lots of (very fun!) variations so any help is appreciated and I'll be adding corrections and
helpful hints to these posts. THanks!!***
MacPhee
Drawstring or
Elasticized Skirt
Pattern By The
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1942—Modern Pattern Design

by Harriet Pepin
Chapter 8—Skirts
The methods used for cutting skirts are being presented at this
point, because after having studied cutting principles applying to
other portions of the garment, you will have acquired a deep
appreciation of the artistry required to produce a pattern for a well
hung skirt.
The skirt is the portion of the garment which is essentially

physical in character. It covers the hips and limbs of the wearer.
Emphasis placed upon certain areas will give the woman a sexy
appearance. In some cases, this might be deliberate intent on the
part of the designer, but when it has been done unintentionally, and the garment is worn
by the wrong type of woman, the results are disappointing.
The garment which has a flattering skirt will be the favorite in any woman's wardrobe.
Unfortunately, many women's figures are such that there is a great need for flattering the
hips and limbs and a well designed skirt will sell the rest of the garment to the customer.
Every woman secretly yearns for beauty of limb more than beauty of face. Hence, if you
would become known for your talent as a designer, learn to cut shapely, flattering skirts
and your future will be assured!
The silhouette and the length of the skirt is a vital point in changing styles. It has been
widely said that the skirt will "date" the garment. It must be proportioned to suit the size
of the wearer and the height of the hemline. It must be designed as a unit. It is therefore a
dangerous procedure to merely shorten a skirt three inches in an attempt to bring a dress
into current style.
A few professional terms describe skirt features:

1. Sweep: is used to describe the width at the hemline.
2. Movement: refers to the fullness or the bulk of the silhouette.
3. Break: is the point where the fitted area of the skirt breaks away from the body into
movement.
Because the skirt is suspended from the waistline and falls naturally from some given
point, a well hung skirt is the result of the proper placing of the grain of the fabric. If this
is not carefully planned, it may sag or pucker at the seams or twist on the body. When the
pattern is being designed, the texture of the fabric must be taken into consideration in
planning the degree of movement and sweep. A skirt designed to be used for a tweed
fabric would appear skimpy when used for light weight silk or chiffon.
When one says, "The skirt has good lines," he means to say that it has a pleasingly
balanced silhouette, the break being well placed for the length of the skirt and the amount
of movement. The seams within that silhouette are also pleasingly spaced to create the
impression of a perfectly proportioned woman. It must be equally attractive whether the
figure is standing or in motion. A well fitted skirt will not cause wrinkles to appear
through excessive fitting in any one area. The flattering skirt will veil the bad proportions
of the wearer and reveal the good ones to a modest degree. It will be smoothly fitted, but
it will at no time appear to hamper freedom of movement.
How to Take Measurements Correctly
The measurements needed to draft a skirt sloper would normally be recorded

at the time measurements would be taken for the bodice and sleeves. As
some of the bodice measurements are common to the skirt draft, turn back to
your basic measurements to ascertain the following:
• Number 11. Front Waistline Measurement

• Number 11. Back Waistline Measurement
• Number 13. Shoulder Blade Width (back only)
• Number 14. Front Hip Measurement
• Number 14. Back Hip Measurement
Take these length measurements from waistline tape to floor:
• Front Center Skirt Length Measurement

• Side Skirt Measurement
• Back Center Skirt Measurement
The method used for taking these last three length measurements is shown in Fig. 1. On
the normal size 14 slopers used in manufacturing plants usually the back length is made
one half inch longer than the front length measurement. It is assumed that the posture is
ideal which provides for a true horizontal waistline and the difference in length is due to
the additional length caused by the curve at the back hips. The side length measurement
is made equal to the back length measurement. The front section of the skirt would be
curved downward at the waistline towards the center front to a point one half inch
downward.
These proportions would vary in patterns used for larger size garments. Manufacturers of
specially sized "stouts" use special slopers which provide for abnormal deposits of flesh
and imperfect posture. It is interesting to know that most irregular size, stout women
would not have abnormal flesh distribution if good posture had been maintained!
The vertical skirt length measurement to the floor is a permanent record. As the fashion
changes the heights of the skirt hems change. It is also convenient to have the full length
measurement in case one has occasion to cut a full length garment. Naturally, when
fitting slopers to individuals, the measurements would be taken directly from the
individual and the proportions might differ somewhat from the standard figure of that
height.
You will recall, when you were experimenting with various hip length bodice patterns,
you found that the jacket which had a center back seam, with accompanying darts,
produced a close fitting jacket. When the center back seam was eliminated for a fold of
the fabric, a semi-fitted garment resulted. This skirt pattern is intended to be worn
separately or as the attached skirt to a bodice for a dress. It is not an extension of the hip-
length bodice pattern. Such an extension would be used to produce a vertically fitted
garment having no waistline. Such designs are presented later in this text. The simple,
basic skirt sloper should be cut on the fold at the front and back centers and the back darts
provide the control of the shaping through the back hip area. The shaped side seams aid
in fitting the side hip area.
Drafting the Two-Pieced Skirt Sloper
Fig. 2 illustrates the simple skirt sloper which forms the basis for a wide
variety of dress and suit skirts. It is seldom used as a skirt pattern in this
simple form. When it is, usually extra inverted pleats are added in at least
one side seam to provide ample walking room.
Your finished draft will provide a minimum of walking room needed for
a slender figure. Larger size women need walking room distributed
around the skirt and therefore this style would not be suitable for such
individuals as it would mean adding all the required walking room at the two side seams
and that would result in an ugly silhouette.
The basic hip darts extending from the waistline to the hip in the back are basic control
darts. Note that they are slightly tilted outward at the hip. This conforms to the natural
contour of the feminine body. Further comment will be made as to the possibilities of
changing the position of the darts when designing for certain proportioned individuals.
These darts are needed to give a smooth fit to the back hips when a skirt has a straight
silhouette. They control the fabric over the back hips.
In Fig. 3 on this page, note that the side seams provide the fitting for
the side hip curve. Also note that the side seam of the front section is
more curved than the back. This is caused by the fact that the ideal
figure has a straight silhouette at the front and the curve of the hip
starts at each side. Certain types of figures require some control in
the front. In later lessons you will observe how the curve of the side
seam may be lessened when darts are used.
Read Each Step Carefully
All measurements given here are for an average size 14 figure. See
chart on page 59.
A-B—Draw the vertical line A-B equal in length to Back Skirt

Length. (Determined by subtracting height of desired hemline
from full length measurement.)
A-C—From point A, on line A-B measure downward a

distance equal to Hip Depth. (In standard sizes placed at seven
inches but with individuals, it may vary from 6 to 10 inches.) Label
point C.
B-D—From the line A-B, square a line to the right, equal to one half the Back Hip
Measurement. Label point D.
D-E—Extend the line B-D an amount equal to one half Front Hip Measurement. Label E.
E-F—From the line B-E, square a line upward which is equal to line A-B. Label F.
A-F—Connect points A and F with a straight line. Line A-F must equal B-E.
F-G—This line equals the line A-C. Connect points G and C.
D-H-I—Square a line upward from point D to intersect the line C-G. Mark point of
intersection H. Extend this line to intersect with line A-F. Label point I.
F-J—The area between points F and J equals the difference between the Center Front
Skirt Measurement and the Center Back Skirt Measurement. Label point J. (Occasionally,
in certain individuals, these measurements are the same. In such cases, eliminate location
of point J.)
J-K—From point J, measure off a distance on the line F-I equal to half the Front Waist
Measurement. Label point K. With the aid of your curve draw lines J-K and K-H.
A-L—From point A, on line A-I, measure off a distance equal to half Back Shoulder
Blade Width less one-half inch. Label L.
C-M—From point C, measure off distance on the line C-H equal to the line A-L plus one
inch.
Subtract half Back Waist Measurement from the length of line A-L. Cut small strip of
paper equal to this difference. Fold strip into three equal parts.
L-N—From point L on line L-I, measure off a distance equal to two-thirds of the strip of
paper and label point N. Connect points L and N with point M to form back hip dart.
I-O—From point I on line I-N, measure off a distance equal to the remaining unused third
of strip of paper. Label point O. Use curve to connect points O and H.
D-P—From point D on the line D-B, measure off one and one-half inches and mark point
P, (to provide minimum walking room in side seam).
D-Q—From point D, on the line D-E, measure off a distance of one and one-half inches
and mark point Q. (This adds an equal amount of walking room to back section on each
side.)
NOTE: Because line K-H is more intensely curved than O-H, it should be shortened at K
to make two lines of equal length.
Slip another piece of paper beneath your draft and trace off the pattern for the back
section as follows: A-C-B-P-D-Q-H-O-N-M-L-A. Also trace the position of the hip line
OM-H. Mark point D to show position of a notch.
Slip another piece of paper beneath your draft and trace off the front section as follows: J-
G-E-Q-D-P-H-K-J. Trace in position of hip line G-H. Mark D for a notch.
Allow normal construction seams at side and waistline. In all your skirt muslins, no seam
allowances need be added to the lower edge.
Place notches and punch hole to show back dart.
Place grain lines at right angles to hip line.
Place notches to indicate position of point D on each section.
Lay finished patterns together as shown in Fig. 3, page 169. Remove the point at the
hemline (dotted lines) to produce a continuous, shallow curve.
Produce your muslin proof, leaving ample seam allowance at side seams. Model forms
vary and your finished sloper should provide same walking room provided for in lower
portion of model form. When muslin has been approved, make cardboard slopers from
pattern.
In the instructions given you to make the draft, the rectangle was first established, based
upon the hip measurements of the back and the front. The back hip dart was established
as two-thirds of the difference between the back hip measurement and the back waist
measurement. The remaining third of the difference was left to shape the fabric at the side
seam. This proportion is that found pleasing for the average woman. When you make
such a draft for an individual, the muslin pattern proof can be assembled without cutting
away the areas at the side seam and then with the muslin on the individual, the
distribution of this tapering to meet the waistline can be manipulated according to the
actual shape of the figure of the customer.
It was mentioned that the basic skirt sloper is seldom used in its simple form as a pattern
for a skirt. The reason for this is obvious if we will stop to reflect that the motion of the
limbs when walking is forward and backward. Hence, the perfectly plain front, which
provides no actual means for the movement of the limbs, would have a tendency to
wrinkle across the abdomen when the figure is in motion. The additional "walking room"
added at the side seam helps a little, but it isn't actually needed at that point, but is needed
in the front of the skirt instead.
If you will study your skirt pattern, you will notice that the front was fitted in one place
only— at the side seam, yet, in fact, most women have a slight curve caused by the
abdomen. Hence, should your customer have such a figure shape, you might adjust the
muslin on her figure to provide a little dart about half way between the center front and
the side seam. This would then reduce the amount of shaping that would be provided at
the side seam and would distribute the fit more accurately.
Hence, if you wished to produce a "perfectly plain" skirt pattern and the individual being
fitted had a pronounced curve at K-H, you would establish a small dart in the side front
between J and I in the draft and then the distance from K to I would be established in the
same manner that point O on the back section was established. Such a dart, if folded out
in the pattern and a slash is made from the hemline to the dart point to effect shifting
fullness to the hemline, would be referred to as a "working dart." It serves a functional
use in changing the shape of the pattern for a functional reason. The resulting "perfectly
plain" skirt pattern would have just a little more room at the hemline in the front than the
basic sloper would have and would be more attractive on the figure.
The sloper, as it now is, then, is a diagram or pattern of the measurements of the
individual to whom it has been fitted. The notches placed at the common point D on each
section will indicate to you where the "walking room" area starts. Some patterns include
the use of the walking room. Other patterns eliminate the need for it by throwing the
movement to the back and front entirely.
Analysis of Individual
Skirt Slopers
The above diagrams show

the gradual changes which
appear in patterns for
increasing figure
proportions. In these
illustrations, the lines
across the hip show the
position of the grain of the
fabric, which, in most
cases, is not visible. Only
in rare cases, when a
fabric which has a
pronounced stripe might
be used crosswise, would
the grain line be apparent.
And, by looking at the
illustration of Mrs. Heavy, you can readily imagine how unsuitable such a skirt would be
for her. However, it might be used for Mrs. Slim who has a straight waistline and hip
line.
The hipline is the point from which the skirt is hung. With the various figures, the pattern
shows more fabric above the hipline at the back while the front section shortens a
proportionate amount.
The side seams of the skirt may be adjusted as desired to suit the natural contour of the
figure being fitted. Mrs. Slim, being erect in posture and carriage, requires a hip side
seam which is practically perpendicular. As the figures grow heavier, the side seam is
gently curved to conform to the natural contour of the figure. In cases where the
individual has an excessively bad posture, the curve would be limited slightly rather than
permit it to repeat the excessively bad posture line at the back.
It is technically possible to cut and fit many styles of skirts to certain types of figures;
but, when the muslin is completed, it becomes obvious that, despite the fact that the skirt
has been fitted, it is not suited to the individual. Therefore, you will soon learn that every
individual has certain proportions which are flattered most advantageously through only a
certain few styles of skirts and a certain few silhouettes.
Illustrated herewith are two common types of bad posture which require major alterations
in ready-to-wear skirts. To correct the fit of a standard size skirt for an extreme example
of such posture would require ripping the skirt apart and re-hanging it entirely. When the
case is moderate, the fit may be corrected somewhat, but these women should have their
clothes specially made for them whenever possible.
Fig. 1 probably has rounded shoulders and the resulting "question mark" silhouette
thrusts the abdomen and hip bones forward and destroys the natural curve of the back
hips. In fact, her silhouette is about opposite to what it should be. The position of her hip
level will be lower than normal.
Fig. 1 shows her wearing a standard size garment. Notice how the curve
of her abdomen lifts the hemline and pulls the side seam forward. In
extreme cases, this will cause the side seams of the skirt to ripple. The
back section of the skirt is completely thrown out of line because of what
has happened to the front section. Because she does not have the normal
curve at the back hips provided in the standard garment, it will bulge at
the back and probably dip at the hemline. It may wrinkle near the
waistline also.
Fig. 2 shows a sloper fitted to this same woman. The grain line is
established at the level of her hips. To accommodate the curve of her abdomen and front
hip bones, a small dart is placed at each side of the front. The side seam is hung as
straight as possible and the waistline is dropped at the front slightly to hide her bad
posture.
When making a skirt of wool fabric, the extra front dart area may be eased into the
waistband and then steamed out over a curved cushion. When designing gored skirts for
her, this shaping provided by the dart may be hidden in the seams. But that shaping must
be provided to achieve a properly hung skirt which will hide her physical defects.
Fig. 3 shows the example of the opposite in bad posture. This is not
common to large women only. If you will study girls of high school
age, you will see too many who carry themselves in this manner,
thinking, in so doing, they are standing "straight." Note what
happens to the fit of the standard size garment when worn by such a
figure. Because her back hips are thrust outward, this lifts the back
hemline and pulls the side seams backward. It then causes the front
section to pull tightly just below the abdomen and wrinkles appear in
the skirt after a few moments of wearing the garment. You can
readily see that to properly hang this skirt, it must be ripped apart,
lifted all around to provide sufficient width to the back section, and entirely re-hung.
Fig. 4 shows how her sloper should be fitted. To eliminate the wrinkling across the front
the skirt should be suspended from the curve of her abdomen. Due to her posture the
front waist measurement will be larger than her back waist measurement. The back hips
being large, the control darts at the back will be just that much larger. The waistline
should be lifted slightly in the front, but a loose belt would have a tendency to drop at the
front unless supported by being attached to the garment.
Lay your transparent ruler parallel to the center front and sketch in a straight line for the
side seam. Note that, in order to reduce the evidence of her back hip width, it is advisable
to shape the line of the side seam with a slight curve. Do not let it exactly follow the
contour of the back of her body, because that would only emphasize that bad line. A
modified curve is the best line to use in such a situation.
Obviously, even though adjusted, the straight skirt does not flatter such a figure. The
vertical line of the muslin below the hips only intensifies the curve above. With your
pencil, lightly sketch in a line on Fig. 4 to widen the back of the skirt from the hips to
hemline. Her "plain skirt" should be made like the following tailored suit skirt pattern.
Drafting the Tailored Suit Skirt Pattern
At first glance, this skirt looks very much like one made from the basic
skirt sloper. But the normal walking room added to the side seams has
been shifted to the center back and the side seams have been moved
forward slightly to give a slenderizing effect from a front view. It is a skirt
popularly used to combine with tailored suit jackets which require a slim
skirt from a front view to balance the slim lines of the jacket. It is not
generally used as the skirt to complete a dress, because of the change of
position of the side seams which would not conform to those established in
the simple bodice. However, there is no reason why it could not be used, if the bodice is
so designed as to require the use of an unattached skirt, as is the case in many evening
gowns.
The draft is started by tracing around the back and front sections of the basic skirt sloper.
(See diagram on following page.) The normal walking room is eliminated at the side by
placing the notch at the hemline of the back sections upon the notch of the front section
which has been traced. These seam allowances are shown by the solid lines extending
from point H on the diagram. When tracing is completed, label all points from A to L as
illustrated.
Dotted lines show procedure. The dimensions given below are suitable for a size 14 or 16
skirt.
M—Locate this point one inch to the right of

point H.
N—Locate this point three-fourths inch from

point G. (This straightens the curve of new
side seam slightly and enlarges waistline one-
fourth inch.)
M-N—Draw new front side seam N-M.
O—Place this point one inch from point I.
O-M—Draw the new back section side seam O-M.

P—Locate point P one inch to right of point J.
Q—Locate point Q one inch to right of point K. (This reduces size of normal back darts
and moves them out slightly for better proportion.)
R—Locate point R one and one-half inches from point L. (This reduces size of back dart
one-half inch.)
R-Q-P—Draw in new dart R-Q-P.
In locating point N, waistline was enlarged one-fourth inch.
In locating point R, you reduced width of the dart one-half inch.
S—Hence, locate point S three-fourths inch from point A.
T—Extend line from S through point B equal to original center back skirt length of
original skirt sloper A-B-C. Note that the extra walking room appears between points T
and C. Square hemline T-C from point T to C.
U—This point marks the normal amount of walking room which extended beyond the
notch in tracing your back section.
M-U—Connect point U with the new side hip point M. This makes the dotted line O-M-
U the side seam of the back section of your new draft.
M-D—The new front section side seam is established by connecting point M with point
D. Line N-M-D becomes the new side seam of the front section.
On another piece of pattern paper, trace off the following front and back sections:
Front: E-F-N-M-D-E.
Back: T-B-S-R-Q-P-0-M-U-D-C-T.
Trace along perforated lines with blue pencil to observe shape of the new pattern when
compared to basic sloper.
Establish grain from center back and center front edges of pattern. Note that, due to the
extra sweep being centered at the back, skirt hem does not appear on a parallel with hip
level.
Complete pattern by adding symbols shown and produce the muslin proof for the entire
skirt so you may notice the resulting silhouette. Study it from every angle and compare it
with muslin from a basic skirt sloper. If you have recorded grain lines at the hip, you will
see the results if this pattern were to be used for pronounced plaids or stripes. It has its
limitations as most patterns have.
Multiple Darts
When you design skirts for women having a large back hip
measurement and a small back waist measurement, the back
dart must necessarily be very large to provide the shaping for
the pronounced curve. In such cases, it is advisable to divide
the basic control dart as was suggested in bodices. The method
used would be just like that which you have previously studied
in sleeves and bodices.
When striped fabrics are being used, dividing the control in this manner will also aid in
concealing the control somewhat. The result will bring further emphasis upon the pattern
of the fabric and will reduce the obvious appearance of the necessary darts required to
shape the fabric to the badly proportioned figure.
Skirt Patterns Cut According to Fabric Width
The skirts included in this group are usually designed "according to the cloth." On some
occasions, the fabric being too narrow to use lengthwise without seams, it may be used
crosswise. Wholesale designers arrange position of pleats to aid in hiding the piecing
seams when possible.
All of these skirts are based upon the methods used for making your basic sloper. The
measurements which you took for that problem could be used for these. When a basic
sloper has been fitted to an individual, it may serve as the basis for making any one of
these skirts as it will give the information as to skirt length, front and back hip
measurements and the best position for the basic darts as well as the amount of drop to
the front waistline.
Wrap-Around Skirt (Pencil Silhouette)
The hemline of the true wrap-around skirt equals the hip circumference. The
little walking room is provided by the lap which is left open for expansion.
This same type skirt is simulated, occasionally, with the minimum amount of
expansion added at the side seams and the remaining expansion provided by
the lap. The degree of lap is a matter of choice. More may be added to the
under portion than on the upper portion, if desired.
Obviously, this is not a skirt for the woman with heavy thighs and small hips.
But it may be used successfully for the woman having heavy hips and tapering
limbs, because her excessive hip measurement provides plenty of walking room in the
lower portion of the skirt.
NOTE: All dress model forms, except those designed for bathing suit designers, are so
shaped as to provide necessary walking room below hip level. For this reason, this type
of skirt cannot be tested on a model form. Yet it may be successfully worn by an
individual having suitable proportions.
1. Use pattern paper equal to desired skirt lengths plus 3

inches. It should be equal in width to half hip circumference
plus desired amount of lap.
2. Follow previous instructions given for making basic skirt

sloper but eliminate steps used to establish points P and Q. As
there are no side seams in this skirt, no walking room will be
added at that point.
3. To establish lap, extend lines A-F, C-G and B-E a distance

equal to desired amount of lap. Connect points Q-P-R with straight vertical line.
4. Fold pattern paper on line F-E. Trace along line J-K. This establishes curve of
waistline in lap portion.
5. Label pattern for fold in center back and vertical grain indicator squared from
hip line. Allow normal seam at waistline. Edge of lap S-P-Q may be selvedge of
fabric or it may have a hem.
6. Complete muslin proof. Trace in position of normal hipline and normal position
of side line H-D so these blue lines will aid in judging results. The hip-line and
normal side seam position should always be traced into muslin proofs.
Peasant Skirts
The "peasant" skirt is so called because it is so typical of that worn by the

lower classes in Europe. It has reappeared in fashion again and again and
the persistently popular "dirndl" of Swiss origin will be recognized as being
merely a revival of the peasant skirt.
Though the skirt appears to be elementary as to cut, to meet the standard of

good fit, it should be carefully cut to conform to the requirements that
appear in a basic skirt sloper. Obviously, it is a skirt to be worn by the
youthful slender figure as the closely fitted bodice reveals the actual size of
the wearer and the exaggerated skirt provides a charming contrast.
The following diagram illustrates how a tracing is made from the basic skirt sloper in a
similar manner to that used for the "wrap-around" skirt except that no lap is added.
This construction pattern is then divided into sections. Note that the
front and back sections, which allow for a fold at that point, are just
half the width of the remaining sections. Number the sections.
The back hip dart and side seam shaping are ignored. Hip level line
is clearly marked. Also the position of the side seam.
On a new piece of final pattern paper, a horizontal guide line should

be drawn. The construction pattern should be cut apart and the
sections should be spread apart, as for balanced fullness, with the
original hip level line resting squarely upon the guide line.
NOTE: Experiment has proved that, because the fabric of the skirt must be gathered into
a closely fitted waistline, it is best to proportion the degree of fullness according to the
waist measurement. A three to one proportion, which makes the new skirt waist
measurement three times that of the basic skirt measurement is nice for average fabrics.
There is no set rule, of course. Because the hip measurement on the sloper is larger than
that of the waistline, this will make the finished skirt slightly less than three times the
normal hip measurement.
Blend in the normal curve at the top of the skirt. Record the position of the normal side
seam and the grain indicators should be at right angles to the guide line. Label back and
front for fold of fabric. Cut skirt pattern apart on side seam line I-D and notch for
assembling.
NOTE: 2 lengths of 39 inch fabric would provide a waist

circumference of 78 inches. A person having a 26 inch waist
measurement would need only two lengths of such fabric and the seams
would be placed at the side. If a narrow fabric is being used, the
position of the seams would be placed accordingly. When two and one
half widths of fabric are used, usually the narrow section is used at the
front, the two wider sections then meet at a seam in the center back.
When this skirt is being designed to attach to a bodice which has a

shaped lower edge—a point at the front, or a dropped waistline at the
back the construction pattern should first be shaped accordingly and then cut apart and
spread in usual manner. See diagrams below.
Simulated Peasant Skirts
The true peasant skirt discussed

previously obviously produces
an oblong silhouette which has
a hemline equal to that gathered
into the bodice at the waist.
Hence, designers sometimes
introduce a semblance of a circular sweep, thereby exaggerating the sweep at the hem
and reducing the bulk in the area of the waistline. This makes the skirt more suitable to
women of less slender measurements.
Again the proportion may vary with the fabric being used. If you are using a full length
skirt sloper, then the width at the hemline should be increased to that used at the waistline
to give the final silhouette a pleasing balance. For example: If the waistline measurement
in the skirt will be double that provided in the sloper, the hemline should be four times
that provided in the sloper. On short, daytime length skirts, the sweep at the hemline may
be only three times that provided in the sloper.
The method for making the construction pattern is like that used for making the true
peasant skirt. The diagram shows a three-to-one proportion of spreading the sections.
Usually such skirts are cut in four sections, with the grain of the fabric centered in each
section. Occasionally, the center back and front are cut on a fold, but this throws the side
seams on a more pronounced bias of the fabric and gives the skirt less balance. It will
have a tendency to give a flat appearance to the front and back of the skirt when worn.
When experimenting with this skirt it is a good plan to mark the muslin on the grain into
stripes and then observe the results.
If desired, this skirt may have an increasing amount of gathers at the back, merely by
spreading the sections more in that area. In such cases, notches should be carefully placed
at the waistline to indicate the position of center front, side seams and center back so that
gathers will be intensified as planned in the pattern. It is most successful in crisp fabrics.
Full Circular Skirts
The true circular skirt—cut on the basis of a circle—is not

becoming to some women as it will necessarily increase the
appearance of the wearer's hip measurement. For that reason, it is
not found in average day-time dresses but is found more frequently
in housecoats or evening gowns. It is the basis for many skating
skirts as it is particularly flattering when the figure is in motion and
is flattering to the exposed thighs in motion. Bouffant evening
gowns of net, chiffon or tulle may be made of several circles.
The diagram shows how to plan a skirt

on the basis of a single circle. A-B-C,
the waistline, is a true half circle equal
to half the waistline less two inches. By
cutting the waistline a little small, this
makes allowance for the natural
tendency of the fabric to stretch when
final garment is assembled. A-D and C-
F should equal the desired side skirt length. B-E is the center front skirt length. B-G is the
back skirt length.
Note the dotted line showing position of piecing. Although the skirt might be pieced on
D-A and C-F, usually designers prefer to place the piecing, carefully matched, down into
the ripples of the skirt where it will be less obvious. Wherever possible, the piecing
should be made with the grain, as if to widen the fabric.
The skating skirt, when made of more than one circle will ripple gracefully at the edge
instead of assuming a disc-like silhouette when the figure is whirling rapidly. The plans
for skirts involving more than one circle are as follows:
For a circle and a half: Divide the waist measurement, less two inches, into thirds. Use
two thirds for the waistline of a complete circle and the remaining one third for the extra
half circle.
For two full circles: Divide the waist measurement, less two inches into halves. Use one
half for the basis for making a circular section. Make a duplicate pattern from that. Adjust
front length in that area.
Full circular skirts are best planned on the basis of a circle or more, or a circle and a half.
To introduce a third of a circle would cause some seams to be partially on a bias and
would affect the hang of the skirt.
Semi-Circular Skirts
This semi-circular skirt, based upon but a

half circle of fabric is more generally
found in day-time dresses when this
silhouette is in fashion. The waistline
measurement is reduced proportionately,
and by stretching it slightly when
constructing the garment, the area
immediately below the waistline is made
to fit more smoothly and the points of the ripples will be lower by so doing. Nevertheless,
this skirt breaks above the hip level and has the tendency to increase the appearance of
the wearer's hip measurement. For this reason, it is a choice of many women and girls
who have small waistlines and broad hips and thighs. It hides a defect which would be
otherwise revealed in a skirt of more vertical silhouette!
The diagram shows how to make the pattern for the front section of the skirt. Line A-E-B
is a quarter circle equal to normal waistline less one inch.
E-F equals center front length
A-C and B-D equal the side length

A similar quarter circle pattern is made from the back measurements with the line E-F
equaling the center back length.
NOTE: This skirt may be cut with the four seams and the bias grain of the fabric placed
in the center of each section in stiff fabrics that do not have a tendency to sag. However,
it is most popularly cut as indicated in the diagram, with the grain of the fabric placed at
the side seams and the center front seam (or fold) falling on a bias. When hung in this
manner, the center front and back will have a tendency to sag slightly and thereby bring
the fabric to that point. It will then ripple at the center front and back more intensely than
at the sides and will be more slenderizing when worn. This is a popular skirt with
manufacturers' designers, as it is so adaptable for many fabrics. It also adjusts nicely on
figures of varying hip proportions.
The Simulated Circular Skirt
This simulated circular skirt produces a silhouette which is actually fitted

down to the hip level and then the ripples break into a soft modified
movement around the thighs, increasing in sweep to the hemline. To
produce this pattern, a new method is used which introduces the use of a
"working dart."
As illustrated here, it is shown as a two-pieced skirt with seams at the sides

only. The center front and back of the skirt are on the straight, vertical grain
of the fabric. But because the side seams are cut on a straight line, it would be possible to
place the straight grain of the fabric at the sides and the side seam might even be
eliminated entirely. This would throw the bias towards the center front seam and, like the
semi-circular skirt previously discussed, the ripples would naturally shift to the center
front and back position.
The accompanying diagram shows how the pattern is made from the basic skirt sloper
pattern after it has been traced, including the normal walking room at the side seams. The
problem is to so shape the pattern to provide for an equal distribution of the sweep
around the skirt to simulate a circular skirt.
The dotted line from hemline

to back basic dart indicates
position of slash when dart
has been folded and pinned.
This throws a flare at that
point. By extending the side
seam down in a straight line,
additional flare is added at the
side.
The side of the "working dart" in the front section may equal that of the back section, or
be slightly smaller, which will lessen the degree of flare slightly. When the working dart
has been established, the amount used for the dart is restored at the side seam to maintain
the necessary waistline measurement. B-C must equal the original line B-A.
Cut out the construction pattern, fold and pin the darts permanently and slash from
hemline to dart points. Make final pattern, placing grain at center front and back. Try out
results in muslin and then try another muslin with pattern laid on straight grain at the side
seams. Compare your results.
Multiple Gored Skirts
Gored skirts may provide a close fit to any desired point for establishing the break in a
skirt. As the fashion changes, the level of the break may be raised or lowered but the
proportion established through the vertical seams may remain the same. The principle of
cutting remains the same.
When planning a gored skirt for an individual, great care should be taken in placing the
panel seams. Additional top stitching of the seams will aid further in slenderizing the
wearer. Because the limbs move forward and backward while the figure is in motion,
more fullness is added to the sweep of the front and back of the skirt than at the side. This
is not noticeable when the skirt is on the figure and it may appear to have an equal
distribution of movement throughout, but when the sides are widened to equal the
movement at the back and front, they will appear to have a greater amount than the back
and front. This silhouette is not a flattering one.
The amount of movement must be dependent upon the draping qualities of the fabric to
be used. A winter weight tweed suit would appear bunglesome if the movement were to
be the same as that used in a pattern for a light weight wool flannel. When you have
made several skirts out of varying fabrics, you will soon know just about how much
sweep the skirt can have for the texture of fabric. If you will clip out photographs of
garments showing gored skirts, worn on the figure, you will learn much about the draping
qualities of fabrics. Sort them according to the fabric and according to the amount of
movement which appears.
One must remember that all gored skirts are actually hung from the hip-line. Shaping
above and below that point may vary as desired. But usually, when the sections have
been assembled, the silhouette follows the figure down to, or nearly to, the hip level.
Observe the importance in placement of fabric grain.
Four-Gored Skirts
There are two examples of four-gored skirts which are favorites in ready-to-wear. One is
cut on the bias and is suitable for average and light weight soft woolens, silk crepes or
rayons. The other has less sweep and the sections are cut on the straight grain. It is best
suited to heavy woolens and worsteds, corduroys or suede leathers.
Bias Four-Gored Skirt
Because the fabric molds to the figure when cut on the bias, this skirt
produces a silhouette which appears to have a lower break than it actually
has. It may also be cut on the straight grain of fabrics having elasticity, such
as crepes, and it hangs equally well although the break will appear in the
normal position.
1. Trace around your front and back skirt slopers as indicated in Fig. 2
on next page.
2. Introduce two small darts in the back which equal the amount of the control dart
plus one-fourth inch.
3. Build out the back

side seam that one-
fourth inch.
4. Draw in two small

darts in the front
section which equal the
shaping of the curve at
the side seam from hip
to waist. Straighten the
side seam accordingly to retain original waist measurement.
5. Fold and pin in these darts permanently. Slash from hem to hip level, to point of
darts.
6. Spread the construction pattern on a piece of final pattern paper as illustrated.
7. Pin the sections down securely. Build out the center back and front seams an
amount equal to one spread between sections as shown in Fig. 3. This will intensify
the movement at the center back and front seams where it is most needed for
walking room.
8. Because the minimum walking room provided in your basic sloper was included
when the slopers were first traced, the pattern need not be built out at the side
unless you have a desire to add width at that point for some reason.
9. Complete the pattern, establishing a true bias grain in the center of each section.
Cut your muslin proof and make an entire skirt to observe result.
When extending a pattern like this into a full length skirt for an evening dress, it
beautifies the silhouette to intensify the movement at the center back. This can be done
by increasing the amount built on the center back seam. Skirts having trains should
always have an increased amount of movement at the center back. When the figure is in
motion, the skirt will then drag and produce a graceful line at the back of the skirt.
Narrow Four-
Gored Skirt
The second type on

next page should
produce a silhouette
which is cone shaped
with little or no rippled
movement at hemline.
It is more frequently found in tweeds that have no draping qualities in which pleats might
prove too bunglesome.
This skirt pattern is used as the basis for the semicircular culottes and semi-circular
shorts explained later. It is an important silhouette to study.
The diagrams show proportions found to be satisfactory on average size 14 figures. If

finished muslin indicates too much movement in center back and front, reduce the
amount of shaping at those points above hip line and the flare at hemline will be reduced
proportionately in second muslin.
As normal walking room is included when first tracing is made of the sloper, side seams
need not necessarily be straight. The amount taken off front and back center seams can
vary, but the finished silhouette of the skirt should appear to be merely an extension of
the normal widening of the figure from waistline to the hip, plus a slight increase flare at
the center front where the figure is normally quite flat. When using a sloper having
shaping darts at the front, they may be used as working darts to produce the flare at the
lower edge. The straight grain of the fabric should fall in the center of each section.
Six-Gored Skirt
The six-gored skirt is sometimes called the

"panel skirt." It is a universal favorite as the
position of the seams permits expert fitting
and proportioning of the sections to suit any
type of figure.
In this case, flares have been provided and

the level of the break of the movement varied
to drop slightly at the back. This same type of skirt may be designed to have limited
sweep and then pleats or godets inserted as desired. These instructions also demonstrate
the method for moving the basic back control dart slightly to make it fall in the position
for the panel.
1. Place slopers together as shown in diagram and
eliminate normal walking room when tracing
them.
2. Draw vertical lines A-B, C-D and E-F indicating

sectional seam positions at hip level.
3. Establish varied level of break at front, side and

back as shown by points I, H and G.
4. Describe dart J-K equal to one half distance from C to L.
5. Straighten side seam in amount as shown by LL.
6. Establish pleasing proportion for back panel using hip level line as basis for
establishing pleasing proportions. Move dart M-N as desired.
7. Establish points S and R three inches from B. Make lines I-R and I-S equal to line
I-B.
8. Establish points U and V three inches from F. Make lines G-U and G-V equal to
G-F.
9. Establish points W and X one inch from point D. Make lines H-W and H-X equal
to H-D.
10. Label for center back and front folds and notch.
11. Trace off sections as follows:
• Back Panel: O-M-R-P

• Side Back: N-S-Q-X
• Side Front: J-V-W-LL
• Front Panel: SS-T-U-K
Allow seams at waistline and on sections as needed and cut out patterns. Be sure that all
notches are recorded. If muslin is basted and seams pressed, results will be shown more
clearly.
NOTE: When cutting this skirt for individuals, sweep, point of break and the width of
panels should be adjusted to height and size of the wearer.
Designers frequently eliminate the normal side seam in this skirt. The pattern is made as
directed here and then the front and back side section patterns are placed together to the
level of the hips. This will leave a "dart" above the hip level which would be sewed in
like any other dart. This permits this skirt to become a skirt having only four sections,
with the vertical grain of the fabric placed in the center of the side section. In factories
where hundreds of garments are being assembled, this reduces operation costs. And, too,
it gives the garment more semblance of complication of cut, making it more difficult to
be copied except by an expert in pattern designing. When a garment is being cut from a
limited amount of fabric, this method proves very practical.
Eight-Gored Skirt
In the foregoing skirt designs the movement was added equally on

each side of the seams to the adjacent sections. This resulted in
producing a ripple upon which the seam fell on the top. In this design
you will learn a way of distributing the movement in such manner as
to make the seam fall down straight and be partially hidden by the
ripple at the hemline. In this design, too, the degree of sweep has been
increased towards the back for greater interest.
This skirt, with the same proportions, was designed for a suit of wool twill which had
pleasing draping quality. The multiple gores slenderized the hip area and also gave the
appearance of increased height to the wearer. It accompanied a "torso" length jacket of
French lining cut, and the seams in both jacket and skirt coincided.
As the lower edge of the jacket was level, the position of the skirt "break" was made
level; had the jacket hem dipped at the back, the "breaks" would have followed that line
to give a good silhouette. These little details are overlooked by many designers.
Remember, you must have relationship in horizontal and vertical or diagonal divisional
lines, as to design and form—in the silhouette. In dark fabrics, divisional lines lose
importance; silhouette is seen first. In light fabrics, divisional lines catch the eye, but in
good design the finished silhouette should also be made as beautiful as possible.
1. Trace around back and

front skirt slopers to
eliminate normal walking
room at sides.
2. Erase back control dart

and curved front side seam.
3. Draw vertical guide line

OH shown in diagram.
4. Draw vertical guide line B-G half way between A-F and C-H. Establish break
three inches below hipline.
5. Draw vertical guide line D-I half way between E-J and C-H.
6. Divide area normally used for back control dart plus side seam shaping into
fourths. Use one fourth each for shaping gores, shown by points K-L-M-N.
7. Point O shows one half normal side front seam shaping in sloper.
8. Points P and Q each mark off the two remaining fourths.
9. Add sweep at hemline as follows:
• Y to J . . . 1 inch
• X to I . . . 1 1/2 inches
• W to I . . . 2 1/2 inches
• V to H . . . 1 1/2 inches
• U to H . . . 3 inches
• T to G . . . 1 1/2 inches
• S to G . . . 3 1/2 inches
• R to F . . . 3 1/4 inches
Establish vertical grain indicators at right angles to hip level line on each section.
Complete final patterns by tracing off sections as in previous problems. Allow seams and
make sure all notches are recorded. Trace off hip level position on each gore when
making muslins. Assemble by basting.
Ten-Gored Skirt
The ten-gored skirt is made on the same principle as the other

multiple-gored styles but, due to the number of sections, the back and
front sections are cut on the fold. In planning the draft, these sections
should be half as wide as the remaining full sections. The amount of
normal shaping on the side seam of the front sloper block would be
divided into fifths, each one of which would be used to shape each
gore and the last would be used to shape the side seam.
Likewise, the total amount of shaping provided by the basic control dart in the back
section, plus any shaping which might be at the back side seam in the sloper would be
divided into fifths and that amount would be distributed in shaping each of the gores in
the back portion of the garment.
NOTE:
When
cutting
such skirts
for
individuals who are of irregular proportions, judgment must be used. A woman having a
large abdomen would have little shaping at the side of the front sloper. Hence, the
sections would have relatively little shaping.
This skirt is most attractive in a full length garment. It permits distribution of movement
as well as variety in the level of the break. Great care should be taken in the placing of
grain indicators and the notches to avoid errors when cutting and assembling the muslin.
In the writer's opinion, the wise designer or hobbyist will devote plenty of time in
developing several becoming gored skirt patterns. Like basic blocks, they can be the basis
for designing many interesting frocks all of which will include skirts which have proved
to be becoming and flattering. As the level of the break may change from one season to
the next, these minor changes can be made in the new patterns, but if the vertical
divisional lines have been pleasingly established, they never should change. They may
create the illusion of slenderness to the wearer and they also serve to establish the definite
position for the folds of the flares which will emphasize these vertical divisional lines.
The gored skirts have continued to be fashion favorites, year after year because they are,
when properly proportioned and cut, truly flattering to the majority of women.
Variations of Gored Skirts
Gores may be
introduced in any
portion of the skirt
as desired. A gored
front may be
combined with a
straight skirt back.
The only precaution
should be to observe
the point at which
the side seams meet. On some occasions, some of the normal walking room should be
increased or reduced to "balance" the back and front and give a symmetrical appearance
to the finished garment.
Shifting Darts and Eliminating Seams
As you continue your study of

skirts, you will become conscious
that certain silhouettes are
produced with each diagram.
Many times, the same design of
cut may be used to produce any
silhouette which might be in
fashion favor with the addition of
width to the lower edge. You will
also become aware that the same elementary principles of cutting which you learned in
previous chapters are repeated in the cutting of skirts. In this instance, this yoke-panel
design skirt shifts the basic control darts into the seam of the yoke which is placed in just
the right position to cross the point of the control dart. The front is then made to repeat
the functional design of the back section. Because these panels form the major design
interest in the skirt, the remaining side sections are cut as one. The seams of the design
become construction seams as well as decorative seams. If fashion favored pleats, they
might be added under the edges of the panel sections. If flared skirts were fashionable,
flares might be added as desired.
Because no extra walking room is being added at the new seams, the normal walking
room is included when tracing is made of skirt sloper. The panels should widen just a
little at the lower edge to conform to the side silhouette of the skirt. The upper portion of
the curved side seam becomes a dart as was the case in the Dolman cape design.
If pleats or flares were to be added at panel edges, then the walking room would not be
included when slopers were being traced. The finished skirt would have front and back
movement only.
Front Fullness
Here we have a skirt design

which gives pronounced interest
to front fullness in the
silhouette. The design of the
back yoke gives a flat effect to
the back. The added flare
introduced at the points of the
yoke and center front seam give
the focal point of interest to the skirt, both through design of yoke and silhouette. By
leaving in the normal walking room, the skirt has a slight amount of sweep when viewed
from the back, but, if a more extreme effect is desired, and the wearer had a figure
permitting such extremity of design, the normal side width would be left out and this
would place still greater emphasis upon the front of the skirt where movement is placed.
If wide fabric were to be used, the skirt might be so cut as to have no vertical seams
except at center front. Otherwise seams would be in normal side position. Note that flared
section is on a semi-bias.
Flounces
Flounces frequently return when fashion favors the slim

silhouette. They relieve the severity of the straight skirt and
may provide fullness all around the hemline or in certain areas
as desired. In the year 1940, they reappeared after several
seasons of the "swing skirt" which broke from the waistline or
the hip. When the "torso" silhouette gradually appeared and the break of the fullness was
lowered generally, flounces naturally appeared to provide another means of producing
that same silhouette with the use of a different cut. A flounce may have balanced fullness
at top and bottom or it may be cut on the circular principle which will create quite a
different silhouette. The position may be varied as to the breaking level by the use of
diagonal lines illustrated below.
The principles of cutting used to produce jabots and

collars should give you an immediate cue to the
procedure which would be used to produce these
flounced skirts. The same muslin top may be used to
test the three styles for daytime wear. It is important
to render these problems in order that you may learn
the value of good proportions.
Movement may be intensified merely by varying the

space between the sections when you are spreading
them.
Godets in Skirts
A section of fabric set into a skirt area is called a Godet, pronounced "go-day." Godets
may be set into seams to introduce more movement; they may be set in or upon a slit
made in the area; or they may be set over an area which has been cut away from the body
of the garment.
Godets which are cut upon the principle of the circle are usually cut on the straight grain
when the godet is less than a quarter of a circle. When it is a quarter, half or full circle,
the seam edges can then be on the straight grain of the fabric.
The fullness produced by the godet must first be dependent upon the fabric being used
and secondly upon the length of the skirt itself. A street length garment might appear
awkward if the godet is cut too full, especially when using a firm fabric, such as taffeta or
tweed. The evening length skirt would appear skimpy if the godet were not generously
cut in width to balance the length.
The first skirt shows the

godet in a seam. The
original skirt pattern might
have been a modified six-
gored pattern. By the
addition of the godet,
fullness is provided
without making a new
pattern.
The second style is a shaped godet. Because it is laid on the bias, it has ripples appearing
throughout area. Note how skirt is cut lower to retain close hip line under top portion of
godet. If this godet were cut on the straight it would not ripple and to introduce a ripple,
the section would be slashed.
The third style shows the godet set into a slit made in the body of the
skirt. Note diagrams showing methods of constructing garment. A
normal inside seam might be used in the first style. By keeping the
seam edges of the godet on the grain of fabric, it won't have a
tendency to pucker when set in. This requires careful stitching as
garment is constructed.
On certain occasions, the use of a godet will save fabric. On other

occasions, it will provide opportunity for greater design interest when
using lace and fabric et cetera.
These patterns should be carefully worked out to observe possibilities

for using godets in designing.
Pleats in Seams
Pleats may be used to provide

walking room to an established
silhouette without adding
movement when figure is not in
motion. They remain popular from
year to year. There are many types
—knife pleat, box pleat, inverted
pleat and many others known by
various names. Principle used for cutting depends upon how the fabric will be folded to
produce some certain style of pleat.
This first skirt shows the pleat added to the center front. The upper portion is reduced to a
seam and the lower portion provides the material for the pleat. Draw a vertical guide line
for center of the pleated section. Locate points A and B equidistant from this line,
according to depth of the pleat. Place sloper a like distance from point A and trace around
it. Reverse and do same for point B. Complete pattern by allowing seams. Dotted lines A
and B will be the back fold of the inverted pleat. The visible fold will follow line of
center front seam. Seams could be provided by making extra allowance for same after
cutting pattern on lines A and B.
Note the method shown for constructing this skirt. In some cases, a slight fitting is taken
off at center front above hip line and side seam is straightened proportionately. This
throws slight flare to center front and the visible fold will be slightly off grain. Pleat
could then be produced as shown above.
Pleats in Gored Skirts
In many cases a pleat may be introduced at

any existing seam position, such as at the side
seam in skirts, seams in slightly flared skirts
made from the narrow four-gored skirt pattern
or any other gored pattern to which no rippling
flare has been already added.
The procedure for this pattern would be to

trace around the four-gored front section and fold pattern paper on center front line. Extra
fabric required for desired pleat would be traced in as shown. Usual seam allowance
would be added to the skirt section and then a pattern of the invisible portion would be
taken off portion enclosed by A-B and C. This would automatically provide seams at the
back of the pleats. The finished skirt would resemble the original skirt pattern except that
extra walking room would have been provided. During 1939 and 1940, when the
modified bell silhouette was used in many tweed suits, the suits showed the use of this
pattern repeatedly.
The back section of the pleat need not be cut on the straight, but could be cut on a bias to
introduce a little fabric manipulation which would appear only when figure is in motion.
These patterns may be tested in muslin by using the front section only.
Study garments shown in stores. Observe how the designers employ these principles of
cutting in countless ways.
Many designers use ingenuity in saving fabric and thereby cut manufacturing costs.
When fashion decrees a slim silhouette, functional pleats may be provided, but when the
figure is not in motion the silhouette is slim. When fashion favors the bell-shaped
silhouette, designers use the circular cuts in countless ways to create new interest.
The additional styling or finish added to seams must depend upon production limitations
and upon the fabric employed as the medium. The above skirt is a success when cut from
suede, wool tweed, denim, taffeta or cotton-back velvet, fabrics that have practically no
draping qualities but retain the silhouette produced by the cut. The same skirt pattern,
attempted in a gingham, light-weight wool or soft crepe, would collapse at the hem
disappointingly. Likewise, the depth of a pleat should be sufficiently generous in firm
fabrics like wool— to balance the weight of the fabric itself. A very shallow pleat laid in
a tweed skirt would not remain in press after wearing. In lighter wool, pleats may even be
laid double, one upon the other, with no excessive appearance of bulk.
Pleats in Godets
When pleats are set into cut-out areas such

as godets, seam edges must be carefully
planned to make a neat job when the garment is constructed. If you will fold a piece of
paper into box pleats and then study the second diagram, you will visualize the
procedure. As no seam should fall on a visible folded edge, when the godet section has
been cut away, the back of the first pleat which is to be part of the garment is established
first.
The back center, where the two visible edges will meet are shown by dotted lines, the
back folds with broken lines and the visible folds with straight lines. As a preliminary
step, plan a godet which is straight at the top. Then complete the pattern and muslin for
one which has the shaped top shown. Pleat a section of paper and trace across it with
diagonal line. Observe the resulting notches which must result when pattern is flat.
Pleats Adjoining Yoke Panels
In this case entire skirt front is cut in one

section. This can be done only when the shape
of yoke makes it possible. In other cases seam
would be planned at back of the first pleat
which forms panel effect. Note that this
silhouette is straight. The same design could be
used to produce a simulated circular skirt by
using the plain skirt front produced in that
problem. In such a case, the panel would be
planned slightly wider at the hemline to
conform to entire form of the silhouette. This would cause folded edges of the pleats to
fall slightly off grain. This problem should be tried in various ways, using varied lines of
yokes to visualize its limitations.
Pleats in Asymmetric Design
Pleats can be used as a part of an

asymmetric design. They are
illustrated here in the form of simple
knife pleats. Normal seams must be
provided on sections 1 and 2. Note
diagram showing the method for
mitering point. As shape of yoke
varies, this detail must be carefully
worked out. Obviously this design
involving stitching close to fabric
edge should not be used on materials having a tendency to ravel easily.
The lines established to produce informal balance in a skirt are usually first established in
the bodice and then continued on down around the body into the skirt. Review the
discussion of formal and informal balance given on pages 50 and 51. Use thin paper and
trace over the above illustration and then, within that silhouette, experiment with diagonal
lines from which pleats might be suspended to provide walking room in the skirt. Select
examples of informal balance used in blouses-including the surplice styles—and try to
complete the design for the skirt through repetition of the line established in the bodice
portion. If you have a model form with which to experiment, make several construction
patterns of back and front bodices and front and back skirt sections. These may be made
of muslin or paper. They should be pinned up against the model form and then, by
working around the figure, lines which are established in the front may be continued on
into the back to establish a feeling of unity. View the results of these experiments from
front, back and profile views.
Assemble many clipped examples of pleated skirts for observation. You will find some
that employ asymmetric design involve the use of drapery instead of pleats. On pages 202
and 203 an explanation is given for methods for making such types of patterns, some of
which employ both.
Pleats at an Angle—Off Grain
During 1939 and 1940, when the bell

shaped silhouette was favored for
skirts, this design appeared
frequently in dresses and suits. It is
also made from the narrow four-
gored skirt pattern but in this case,
the center front seam has been placed
on the straight grain fold. A similar
skirt could be designed, however,
using a series of inverted pleats, one
of which would be located at the center front as diagramed previously.
Note that the dotted lines have been placed to conform to the silhouette of the skirt, being
spaced wider at the hemline than waistline. Also, when the sections are spread, a similar
proportion is used.
To study the final result when using a striped fabric, mark your muslin for stripes. As
some pattern designers prefer to place a seam at the back fold of each pleat and then
establish the grain on each pleat identically with that of the panel, a second such pattern
should be made from the first and the muslin again marked for stripes. It is then possible
to compare the results of the two methods in finished muslin. Because the edges of the
pleats have a tendency to curl slightly when worn, this design is often produced for
"unpressed" pleats. This of course, adds slightly to the bulk of the silhouette. If sections
are spread sufficiently, center front can be placed on bias fold and side
seams will fall on straight of fabric. This is frequently done in light weight
plaids.
Fitted Full Pleated Skirts

The shaped pleated skirt which is made from several straight lengths of fabric is usually
sent to a pleating company for steam pleating. The fabric should be planned and seamed
except for the last seam so that it will reach the pleater flat. The hem should be previously
basted into position also.
Pleats should be planned according to measurement of size being made. A 40 inch hip
could have twenty 2 inch pleats. A 36 inch hip could have eighteen 2 inch pleats and so
on. The depth of the pleat itself determines how many lengths of the fabric will be
required. Fig. 1 shows the shallow pleat which requires twice the finished hip
measurement. Fig. 2 shows the deep pleat which requires three times the finished hip
measurement. When planning a skirt which will have a low break, at least 2 extra inches
should be added to normal hip measurement to provide walking room from hip level to
break.
When fabric is returned from pleater, a strong basting

thread should be back stitched across the skirt on the hip
level and down to break. The open seam should be
finished. Skirt must then be fitted in the normal amount
provided for in original sloper at side seams and basic back darts. This shaping must be
done in those same areas to produce a smooth fit. In manufacturing plants, this is
estimated by measurements taken from the model form. For individuals, a personal fitting
would be requested. This is done by lapping over the visible edges of the pleats and the
area re-pressed into position. The front waistline is then shaped to the normal curve as
provided in basic sloper so that the skirt will not drop downward at the front to cause
pleats to spread at hemline. Similar procedure would be used when using group pleatings
spaced evenly.
Simulated Circular Pleated Skirt
Here we have a design for a skirt which was also popular from 1938 to
1940 when the bell shaped silhouette was in fashion. Many similar
designs were produced those years all of which produced a somewhat
similar finished form. The method for preparing the construction
pattern is quite similar to that used for producing the first type of four-
gored skirt except that in this case the normal walking room at side
seam is eliminated when sloper tracing is made. The final amount
added at the side seam of each section equals half the amount of area
which is produced when darts have been folded into position and the
pattern has been slashed from hemline to point of dart.
Note that the center front and back seams have not been used in this instance, but the
center front has been placed on a true bias fold. These pleats might be inverted instead of
pleated and if a greater number were desired, the method would be the same only that
more working darts would be established from the waistline to hip level. The proportions
given here produced a shapely garment when cut from light weight wool.
Because normal walking room was not included, these pleats will not lie flat as might be
the case in the former straight skirt. The fan-like pleats therefore produce quite a different
silhouette. This design would not be practical for use for material which does not take a
press easily.
Circular Pleated Godet
An interesting variation of the flared

godet is that which is "sunburst" pleated
and set into slash in the garment. As such
a godet might lead to construction
difficulties in a finished garment, the
designer foresees this difficulty and plans
a bit of ornamental interest which
becomes a part of the design but which at
the same time will give the garment a neat
appearance when finished. A similar
theme could be introduced in the sleeves and upper portion of the garment to produce a
feeling of unity through repetition.
Circular skirts may be designed to use sunburst effects and this service is available at the
pleating companies. It is wise to consult them on the preparation of the fabric to insure
satisfactory results based upon their mechanical methods.
After studying these basic methods which are common to certain silhouettes, you should
be prepared to originate several interesting designs of your own.
NOVELTY SKIRTS
The following illustrations and diagrams show the possibility for producing the various
silhouettes —with or without drapery—through the block system. In former years, most
of such skirts would have been draped upon the model in muslin. The muslin would then
be opened, placed upon the table, corrected and the paper pattern made and tested once
more.
Space prevents illustrating many of these more complex designs, but our student,
ambitious to become an expert, should spend hours reproducing complicated cuts by
recognized designers. The music student eagerly observes the works of master musicians,
attends concerts to study the rendition of compositions—not to imitate, but rather to chart
his own limitations and to spur him to emulation. Such effort encourages the student
pattern designer to present his own work, certain that his good creations eventually will
bring him recognition as an expert.
Back Fullness
Peplum patterns should be traced off first. Darts are folded in and final pattern made for
each as shown in diagram.
A portion of the normal back dart is then moved to center back and same amount restored
to dart area. Lines A-B and A-C will meet in a seam and must be of equal length.
By lengthening line D-E, a train is added which must be balanced by ample width at the
hemline. Short darts substituting for side seam shaping arc hidden under peplums.
The Cowl Skirt
In previous pages, the principle of cutting the

cowl bodice and cowl sleeve was shown. The
illustration shown below presents a version of
the cowl skirt which has additional movement
added at the center front and back seams. This
skirt is sophisticated and graceful and because
of the heavy drapery at the sides and the
vertical folds of fabric intensified at the front
and back, it gives the wearer a tall, slender appearance.
Notice that the amount folded into the back basic dart has been restored and the fitting
removed at center back and the side seam. This would be possible only by cutting the
upper portion on a true bias. The weight of the drapery causes the fabric to adjust to the
average size figure. Points A and C may be located at any distance from the side seam to
place drapery at any desired level. When pattern has been completed, A-B and C-D are
placed together on the vertical grain of the fabric and the seam eliminated. This throws
the sections on a true bias. The center front and back flares may be on a partial bias. In
the soft silk crepe fabric used, this produced a beautifully hung skirt. Weights were sewed
at points A-C and this caused the cowl to collapse heavily at the sides.
"Peg-Top" Silhouette
From 1912 to 1916 this novelty skirt (rather

ungainly, grotesque garment of uncertain origin)
held the fashion spotlight. While experimenting
with the possibility of producing this silhouette
through the block system, the following diagram
resulted. The curved line starts below the hip level,
and should be placed in the position desired. The
curved slash lines require careful pinning of the
curved pleats to form the drapery. This is best accomplished by holding the fabric over
the hand while pinning and starting at the waistline and pinning downward about an inch.
Obviously, such pleats fall into drapery and would not be stitched down like a straight
pleat. Records show that they were treated like folds of fabric. If desired, the center back
can be cut on a fold and this will throw the side and front on a more pronounced bias.
A similar silhouette can also be produced through the use of the cowl principle but the
drapery would fall from a single point at the waistline.
As this book goes to press, fashion trade papers are hailing the trend towards a revival of
the "peg-top" silhouette in afternoon and dinner dresses. As 1942's skirt is short,
designers are arranging the folds of material differently for proportion's sake. In some
cases, a high cowl cut starting from the waistline is employed. Hemlines are kept narrow;
all drapery is placed at the front.
Peg-Top, 1942 Style
Inserted pleats below a cowl drapery provide the

walking room and yet maintain a slender silhouette. A
skeleton lining to which the point B-F might be
attached would keep the skirt from sagging with
prolonged wear. Side darts might be substituted for
side seams.
Draped Skirt
To allow for fabric stretching on the bias, as it

will be at the center front when sections have
been spread for drapery, the waistline is
reduced slightly.
Notice how vertical flare is first added to

construction pattern to provide walking room
and to invite further interest to the point of
interest in the skirt. To make the finished
silhouette less tubular, the normal walking
room could be used when making construction pattern.
Draped Asymmetric Design
Sketch in the design with pattern on the

form to establish pleasing proportions. Note
that movement is greater at back than front.
Trace off gore patterns and then cut away
remaining segments. Fold in the darts and
slash.
Normal walking room might be retained if

desired.
Draped Peplum-Jabot-
Wrap-Around Skirt
The name merely denotes

principles employed in
producing the pattern.
Peplum sections are traced off

first and assembled as shown, in
one continuous piece. Lower
portion 1 of skirt front is discarded. Necessary laps for wraparound added last.
http://www.vintagesewing.info/1940s/42-mpd/mpd-08.html
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pencil skirt pattern
Make a tulip skirt pattern from a pencil skirt pattern

Added Mar 26, 2009
by theclosetsea...
Hiawatha, Iowa, ...

Views
23052
I recently made a tulip skirt pattern from my pencil skirt block. It was a lot easier than
you would think, so I thought others may benefit. Larger pictures can be found on <a
href="http://megannielsen.com/?p=158" target="_blank">my blog</a>
• Intro
• 1
• 2
• 3
• 4
• 5
• 6
• 7
• 8
http://www.burdastyle.com/techniques/make-a-tulip-skirt-pattern-from-a-pencil-skirt-
pattern
a line skirt texture

Jacquard A-Line Skirt
Style: KICOjacqSkirt
A beautiful mixing of textures, this skirt has a champagne colored a-line jacquard skirt
with a cotton rib panel along the waist/hip line. By Kicokids.
2 Hidden pockets. Elastisized waistband along the back. Partially lined with a cotton
striped woven fabric.
Jacquard: 56% polyester, 44% silk
Panel & Lining: 100% Cotton
what tipes of fabric are use in a line skirt fabric & care
• 100% Polyester.
• Machine wash.
• Imported.
overview
• High-quality woven skirt.

• Sits below the waist.
• Pleated at banded waist.
• Side hidden zipper with hook & eye closure, and sash that connects to side bow.
• Hits above the knees.
• Petite Fit Guide
• Tall Fit Guide
pleat
fabric & care
• 100% Polyester.
• Machine wash.
• Imported.
overview

• Tall Fit Guide
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Skirt
Denim Skirts
Womens Skirts
Long Skirts
White Skirts
Pleated Skirts
Cotton Skirts
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Skirts are an important part of women's fashion. Extremely versatile, skirts can be
dressed up or down to look fancy or casual for every occasion from a business meeting to
a dinner date. Some of the many different shapes of skirts include bias cut, full, mini, A-
line or princess, tulip, and pencil.
The pencil skirt, shaped long and straight like a pencil, was inspired by the hobble skirt of
1910. The hobble skirt was designed by Paul Poiret and was unpopular due to its overly-
tight, leg constricting shape. The hobble skirt was modified into the straighter, looser
pencil skirt by 1915 and the pencil skirt, both short and long, is still popular today.
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Shorter versions of the classic pencil skirt reach just above the knee and can be worn
anywhere such as to work with a blouse and pumps, to a party with fancy sandals and a
glitzy top, and on the weekend with tights, flats or boots, and a sweater. Long versions in
cashmere or jersey are especially comfortable. Pencil skirts can be flattering to all figure
types. A dark pencil skirt worn with a dark or medium-colored top that rests just above
the hips can be visually slimming to a fuller figure.
Tulip skirts have more fabric around the hips than pencil skirts, giving them the shape of
an inverted tulip. Tulip skirts look good on most figure types, especially slender figures
as tulip skirt fabric tends to add a little extra bulk around the hips. A-line skirts, also
called princess skirts, can be especially flattering to plus-size figures, but can be worn
well by all figure shapes. An A-line skirt is shaped like a capital letter "A", with a snug
waist spreading out into a triangular shape. A-line/princess skirts are considered a
wardrobe staple, especially in a neutral color and a season-spanning fabric such as
lightweight wool.
Miniskirts hit the fashion scene in London in 1966 and the ultra-short miniskirt is still
worn by those who "dare to bare." The miniskirt is often considered the sexiest skirt
shape. Miniskirts can be a very simple shape or can be pleated, but are always very short,
and are available in a wide range of materials including denim, cotton, leather, and wool.
Full skirts have even more fullness in their fabric than tulip skirts and can overwhelm a
petite figure or add more fullness to a full figure. Full skirts often balance out a slim-
waisted, full-busted figure. Drop-waisted full skirts with fabric that flows from the hips
into soft pleats can be very flattering to a plus-sized figure type.
Skirt
Denim Skirts
Womens Skirts
Long Skirts
White Skirts
Pleated Skirts
Cotton Skirts
Bias cut skirts are cut across the fabric's grain on the diagonal. Cutting on the bias creates
a flowing hemline that can seem ultra-feminine and romantic. Bias cut skirts can be long
or short and have panels or multi-layers.
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Discuss this Article

3
I hate pleated anything, but especially pleated skirts -- I think that the pleat has got to be
the least flattering fashion technique ever invented.
Seriously, does anybody look good in pleats? It you're skinny it draws attention to your
concave-ness, and if you're larger you look like you have a balloon belly.
That's why I've never understood why so many school uniforms make use of pleated
skirts. As far as I'm concerned, that's just one more way to make kids unhappy at school,
and one that could be easily avoided.
- StreamFinder
2
Ah, the skirt. Staple of many ladies' wardrobes.
As far as ladies skirts go, I prefer a long, wrap skirt. I think that those are just so
flattering, no matter who is wearing them.
You could have the biggest (or smallest) hips in the world, but a good wrap skirt can
make a flattering waistline for you.
The one thing I hate are pleated skirts, especially those little pleated white mini skirts
they make for women to play tennis in. Talk about an unflattering waste of material.
If I'm going to play a sport, the last thing I want to worry about is how my legs look, or
whether I'm going to inadvertently show off my undies.
- closerfan12
1
I have to say, I've never been a fan of denim skirts. I think there are just so many nicer
types of womens skirts out there, why do you have to try and make your jeans into a
skirt?
I really prefer a nice cotton or silk skirt, but I'll take anything over denim!
http://www.wisegeek.com/what-are-different-shapes-of-skirts.htm
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NanoTextiles - Facts Behind The Fabrics
Nano-Stealth. Nano-textiles are to organic clothing as GMO crops are

to organic foods. Both nano-textiles and GMO crops are the results of scientific tinkering
at subtle layers of matter without a complete understanding of the consequences, and
according to their ardent proponents both have an almost unbounded potential for
improving life on Earth, and according to their equally passionate opponents both
technologies have been recklessly released upon consumers without adequate testing and
understanding of potential consequences.
To understand nano-textiles, we must first explore nanotechnology which enables the

manipulation of fibers at the level of atoms and molecules to alter their properties and
qualities. The prefix nano is derived from the Greek word for dwarf. According to
WikiAnswers, “nano” essentially means “really small. Divided into a billion parts. A
nanometer is one billionth of a meter. A nanosecond is one billionth of a second. A
nanocraig would be one billionth of some guy named Craig.”
Nanotechnology operates on nanomaterials which are particles such as molecules having

a size of 100 nanometers (nm) or less. A meter is approximately 39 inches so a
nanometer is one billionth (1/1,000,000,000) of a meter or really, really small. The width
of the typical human hair is about 80,000 nm so nanotechnology – and the nanomaterials
that they create – operate in a world that is about 1,000 times smaller than the width of a
hair. Nanotechnology begins at the level of creation where elements of chemistry,
physics, biology and engineering converge.
Nano-materials are engineered at the atomic and molecular level and when they are
integrated into fabrics can fundamentally alter the physical properties of a textile.
According to a recent article on nano-textiles, Solefresh socks from JR Nanotech are
“peppered with silver nanoparticals natural antibacterial and antifungal properties mean
that the socks combat infections, sores, and, yes stinky feet.” Nanotechnology can be
used to give fabrics a wide range of properties such as being:
• Resistant to spills and stains;

• Create superior temperature moderation when the wearer moves between hot and
cold external temperatures;
• Really permanent press and wrinkle resistance;
• Able to oxide smog;
• Antibacterial and antifungal;
• Color fast without dyes because the color is a function of the nanoparticle;
In our last posting, we looked at how formaldehyde derivative are used to finish
permanent press fabrics. The “permanent” in permanent press is relative because the
formaldehyde used to cross-link the cellulose hydrogen bonds in cotton clothes will wash
out after repeated washings. Lands End advertises their super duper “No Iron Original
Oxford” to withstand 50 no-wrinkle washings but even they will eventually lose their
permanent press because their wrinkle-free property is gained on the chemical level.
Nanotechnology companies such as Nano-Tex claim that their fabrics are really, truly
permanent-press because their wrinkle-free quality is embedded in the molecular level
and not at the chemical level.
Chemists like to build new compounds by putting lots of molecules and substances
together and creating a new reaction to give new compounds. Physicists like to break
atoms apart by colliding them together to expose subatomic matter. Nanotechnologists
like to build new and very, very small materials one atom or molecule at a time because
at this very tiny level of creation, atoms and molecules actually exhibit different
properties than they do when many of them are glombed together in a big chunk of
matter.
In his fascinating article “Atomic Masonry” which appeared in the Autumn 2007 issue of
Oregon, Jon Palfreman reports on a conversation with Universary of Oregon (Go Ducks!)
nanotechnology chemist Jim Hutchison who describes how ordinary gold is chemically
inert. Ordinary gold is chemically inert, it never rusts and it always maintains its gold-
colored luster. But a gold nanoparticle of only a few dozen atoms in size is “different; it’s
not only very chemically reactive, it also changes color, from yellow to ruby red,”
according to nano-chemist Hutchison.
Creation is very different for particles fabricated at the nano-scale because the surface
area is proportionally much greater than the overall size for a nano-particle than for a
conventional, ordinary particle that is composed of thousands or millions of atoms rather
than just a few dozen. This proportionally greater surface area of a nano-particle imbibes
the nano-particle with properties and characteristics which larger particles of the same
material often do not have such as the ruby color of gold nano-particles or the ability of
nano-particles of grapheme to attract stem cells for repairing bone fractures.
The Concern With NanoTechnology. But not all the properties,
characteristics and side-effects of a nano-particle are known, and the unpredictable and
unknown side-effects of nano-particles concerns some scientists, environmentalists, and
health advocates. For example, nano-particles used in cosmetics or clothing may create
toxins that are easily absorbed into the skin and circulatory system and, because of their
very small size, be carried throughout the entire body and into all the organs, including
the brain, with unknown consequences. Because of their extremely small size, the
possibility of nano-particles escaping and leaking into the environment during
manufacturing processes also increases with unknown results.
A report by the British Government in 2005 cautioned companies and consumers on the
unknown effects of nano-particles. The report concluded “The Government accepts that
chemicals in the form of nanoparticles or nanotubes can exhibit different properties to the
bulk form of the chemical. Safety testing on the basis of a larger form of a chemical
cannot be used to infer the safety of the nanoparticulate form of the same chemical.”
For example, zinc oxide in its common non-nanoparticulate form has been widely used in
creams and ointments to treat minor skin burns and also in sunblocks. Manufacturers
have been releasing a bevy of sunblocks containing zinc oxide in its nanoparticulate form
because the nanoparticles of zinc oxide are more easily absorbed into the skin without the
chalky film of conventional sunblocks.
Review by the Australian Government’s Department of Health

& Ageing of the scientific research concerning nanoparticles of zinc oxide used in
sunblocks reported that “There is evidence from isolated cell experiments that zinc oxide
and titanium dioxide can induce free radical formation in the presence of light and that
this may damage these cells (photo-mutagenicity with zinc oxide).” Of course, this is
dependent upon how deeply the zinc oxide penetrates the skin. Their research revealed
that zinc oxide nanoparticles, because of their tiny size, penetrate the deeper dermis
layers of the skin more easily than common zinc oxide especially around hair follicles.
The effects and consequences of common chemicals in nanoparticulate form are still
unknown and require more research before they can be labeled safe.
Research is beginning to be published that indicate that nanoparticles can cause cellular
damage in ways not previously expected. Nature Nanotechnology, an excellent scientific
journal published by the Nature Publishing Group and dedicated to basic nanotechnology
research, has recently published two research studies, “Nanotoxicology: Damaging DNA
from a distance” and “Nanoparticles can cause DNA damage across a cellular barrier”
reporting on previously unexpected … and unwelcome … side effects of nanoparticles
used in medical treatments.
Because of all the unknowns and the unpredictability of this new branch of science, many
scientists, environmental activists and health advocates are concerned about the rapid
mushrooming of nano-technology products.
NanoProducts: Here, There & Everywhere. Worldwide, consumers can find more than
800 products manufactured by more than 440 companies in more than 20 countries
containing nano-particles which are silently infiltrating everything from cosmetics,
sunscreen, food additives, tennis balls which bounce higher, computer products such as
flash memory and processor chips, cleaning products such as degreasers and window
cleaners, bedding and sheet sets, high performance carbon bike frames, high performance
golf club shafts, wound and cut salve with powerful antimicrobial and bactericidal
protection, adhesive for McDonald’s burger containers, germicidal toothpastes, air
sanitizers and purifiers, deep penetrating sunscreens which last all day, non-sticking
aluminum foil, and a broad range of food and beverages from a canola oil to a slim shake
chocolate with nano-particles “designed to carry nutrition into your cells.”
One of the new nano-technology products that I found disturbing is the Ain Supplio
Pencil from Pentel. This pencil for children has nano-particles in the pencil lead which
“release allegedly mind-expanding aromas, letting you smell your way to smartness while
you scribble your meandering prose on a piece of paper. The fragrance is encapsulated
using nanotechnology, where microscopic bubbles containing the fragrance are blended
in with the lead. When you write, the fresh fragrance pops out of those tiny nanocapsules,
filling the room with sweetness and enlightenment for all within noseshot.”
For balanced information on nanotechnology and to browse a near-complete database of

commercial nano-products, visit the Project on Emerging Nanotechnologies which was
founded in April 2005 as a partnership between the Woodrow Wilson International
Center for Scholars and the Pew Charitable Trusts. Estimating that nanotechnology will
become a trillion dollar industry by 2015, the Project on Emerging Nanotechnologies is
dedicated to helping ensure that as nanotechnologies advance, possible risks are
minimized, public and consumer engagement remains strong, and the potential benefits
of these new technologies are realized.
What has many scientists, environmentalists and community and personal health
professionals concerned is that, currently there are no regulations or controls concerning
the research, manufacturing or use of nano-particles in food, clothing or consumer
products. The U.S. Food & Drug Administration (FDA) controls and regulates the
introduction of new chemicals into consumer products but not the introduction of new
nano-particles. Consumers are basically relying upon nanotechnology manufacturers to
be self-regulating and to thoroughly understand and test their products containing nano-
particles before releasing them to the public.
Let’s see if you recognize this tune. Tinkering at subtle layers of creation. Significant
possibility for unforeseen consequences and side effects which could have disastrous
consequences for environmental and personal health. Government regulations inadequate
or lacking completely. Sounds familiar? This is all very similar to the way GMO foods
and agricultural products have been slyly released into unsuspecting consumer markets.
The Soil Association is the only organization that has taken a stand concerning the health
and welfare of the public and the environment with regard to nano-products. The Soil
Association is the major non-governmental organization in England that “exists to
research, develop and promote sustainable relationships between the soil, plants, animals,
people and the biosphere, in order to produce healthy food and other products while
protecting and enhancing the environment.” The Soil Association has developed an
extensive set of standards for certifying products that ensure the integrity of organic,
healthy products and has banned products containing nano-particles for two reasons:
1. Not Organic. The basic physical structure of synthetic nano-particles has been
modified at a very fundamental level. Because synthetic nano-particles do not
exist in nature they can not be considered organic and are incompatible with this
important organic principle.
2. Unknown Side Effects. Nanotechnology also violates the precautionary organic
principle of safety first because nano-materials can have unpredictable and
unknown risks, and most nano-materials are unnecessary because safer
alternatives exist.
The Soil Association is the first and only standards organization to tackle the nano-
products situation. The Organic Trade Association (OTA) in the U.S. has not taken a
public position on nano-technology and consumer products with nano-particles. We hope
that the OTA acts soon and responsibly and stops their dithering. This is especially true
for clothing made from nano-particles. Sufficient concerns are swirling around nano-
textiles at nano-speed that the time to act is yesterday.
The tiny size of nano-particles makes it possible for nano-particles in cosmetics or

textiles to bypass the body’s natural protective barriers such as the skin and the blood-
brain barrier. The health consequences are unknown but just the thought of tiny little
nano-particles of some metal like gold or silver or heaven-knows-what kind of molecules
surreptitiously entering my blood system from clothing made with nano-particles makes
me uneasy. Of course, nano-textiles are not required to list what nano-particles they
might contain.
The Scoop Behind Nanotextiles. The science of the very, very small is quietly sliding
into the textile industry. Nanotextiles are not itty bitty socks and shirts but fabrics from
natural, synthetic and regenerated fibers that have been embedded with nanoparticles for
specific properties. Science is cooking up nanotextiles to increase protective and easy
care properties such as:
• UV Protection,
• Antibacterial and antifungal,
• Anti-odor,
• Insect repellent,
• Stain resistant,
• Wrinkle resistant,
• Waterproof,
• Anti-static,
• Color-permanent,
• Fire resistant,
• And even the ability to oxidize smog.
Let’s look more closely at some of the nanochemicals that are

empowering ordinary fabrics with these new super powers. Embedded nanoparticles of
zinc oxide (ZnO) is a favorite for increased UV protection in swim wear. Zinc Oxide
nano-particles are water soluble and very toxic to aquatic organisms … which might not
be the type of effect that you want your swim wear to have. See Z-MITE product
information. Also, nanoparticles of zinc oxide have ben shown to be photoactive which
causes them to produce free radicals that can cause DNA damage to skin cells when
exposed to UV light.
Silver is one of a number of active chemicals supposed to have natural antimicrobial

properties that have been reduced to nanoparticles for incorporation into textiles and
clothing. SmartSilver, a nanomaterial developed and manufactured by NanoHorizons Inc,
is embedded in clothing, medical devices and textiles to control bacteria. Based on
information and test reports provided by NanoHorizons, the International Oeko-Tex
Association has certified NanoHorizons’ SmartSilver as an active chemical additive that
does not contain harmful levels of substances believed to be dangerous to human health.
Questions remain as to whether the independent testing has been sufficient to guarantee
the safety of nanoparticles of silver. Oeko-Tex certification in clothing just means that the
garments do not contain levels of chemicals that Oeko-Tex deems harmful … not that the
clothing is chemical-free
Again, SmartSilver from NanoHorizons Inc is one of a number of nanoparticles which

are supposed to endow fabrics used in clothing with anti-odor properties. Undergarments,
hats, gloves, socks, T-shirts, sweaters, shoe linings and other garments made of wool,
polyester, nylon, polypropylene, cotton and rayon are impregnated with SmartSilver’s
nanoparticles during the dyeing process to give them anti-odor properties.
Nano-Tex, a leading provider of “nanotechnology-based textile enhancements”, is

partnering with JC Penney with a variety of home textiles and clothing.
Studio® 350TC Wrinkle-Free Sheet Set
The Making of NanoTextiles. Nanotextiles can be made from almost

all fibers – natural fibers like cotton, hemp, jute, ramie, silk, mohair or wools;
regenerated fibers like bamboo rayon and Tencel / lyocell; and synthetic fibers like nylon,
olefin, acrylic, polyester and spandex. Nanotextiles are created not by itsy bitsy teenie
tiny looms and spinning wheels but by taking ordinary fibers and embedding them with
nanoparticles.
The most common method of embedding nanoparticles in fibers and fabrics is by using a
variety of strong and weak acids and bases and other chemicals to chemically or
electrostatically bond the nanoparticles to molecules in the fibers of the fabric. The acids,
bases, chemicals and processes used to bond nanoparticles to the fibers depend upon
which nanoparticles are being bonded to which fibers. Some of the chemicals being used
to bond nanoparticles into natural and synthetic fibers are ammonium, epoxy, and
crosslinkable polysiloxane.
Which nanoparticles are being used depend upon which properties the
lab wishes to add to the fabrics. Textile scientists can dip into a wide range of organic and
inorganic nanoparticles that will give textile the properties that they wish to create.
The image is of Nicole Grospe and Andrea Clark, both of the Department of Fiber
Science & Apparel Design in the College of Human Ecology at Cornell, modeling nano-
fashions by Olivia Ong. The nano-textiles were fabricated by Cornell University science
fiber assistant professor Juan Hinestroza using negatively charged silver and palladium
nano-particles embedded into positively charged cotton. These nano-fashions will guard
the wearer against bacteria, repel stains, fight off allergies, and oxidize smog. Oh, yes.
These nano-textiles cost about $10,000 per yard to make.
The Concern With NanoTextiles. The commercialization of nanotechnology into the

fabrics surrounding us is blasting ahead without any oversight or regulation or even
comprehensive understanding of side effects and consequences. Consumers, scientists
and doctors have raised a mega-basketful of concerns about nanotextiles covering the
entire lifecycle of any garment or fabric which contains nanoparticles.
The potential for health and environmental hazards begin with the manufacturing of
nanoparticles, to the manufacturing of textiles and clothing embedded with nanoparticles,
to the wearing and care of nanotextiles, to the final discarding and trashing of
nanotextiles in landfills. During manufacturing, the potential dangers are to workers
accidentally inhaling nanoparticles, the inadvertent release of nanoparticles into the
environment in waste waters and other waste products and airborne fumes, and the
inevitable equipment and process failures and accidents which will allow zillions of
nanoparticles to flood into the environment via air, waterways or seep into the earth.
During the wearing and cleaning of nanotextiles, some nanofibers will break off and be
inhaled or washed down the drains of washing machines. Some will work their way into
the wearer’s skin and perhaps through a cut or sore into the subcutaneous part of the skin
where it can infiltrate even further into the body and possibly into the blood stream.
When laundering textiles embedded with nanoparticles, some of those nanoparticles will
break off and wash down drains. Sewage treatment plants are not prepared for tiny
nanoparticles and they will be discharged into rivers and lakes where fish and other
aquatic life will be exposed. Research published in the Scientific American has already
found that silver nanoparticles, commonly used as an anti-bacterial and anti-fungal agent
in socks and workout clothing, can kill and mutate fish embryos.
And how do you throw away a garment or bedding that is saturated with nanoparticles?
Just toss them into the garbage to be trucked to landfills where they will enter the eco-
system?
Here’s what I believe. OK, technology has been a cornerstone of my career for more
than 30 years and it has contributed loads to my personal and family life.
Nanotechnology has great potential for good but, as a society, we must also be concerned
about the health of all life, including the environment. We can not rush willy nilly into
nanotechnology and rush untested and unlabelled nanoproducts into every corner of
consumerism – children’s toys, bedding, clothing, skin care products, who-knows-
whatnot. The "healthy" that is offered by nano-textiles is a long way from the healthy
provided by organic clothing. This is what I believe. What do you believe?
Enjoy.
-Michael
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Technorati Tags: nanofashion, nanoparticles, nanotextiles, organic clothing, sustainable

clothing
Clothing, Fashion and Fiber Glossary
The following apparel glossary contains terms that are generic to clothing and the
garment industry and some that are specific to sustainable and organic clothing and eco-
fashion. We are working to create a reference that explains many terms that you might
encounter when purchasing clothing to help buyers better understand what they are
purchasing. This is especially important when buying over the Internet where you have
to rely more on descriptions.
Fabric and Fashion Glossary Index
|A|B|C|D|E|F|G|H|I|J|K|L|
|M|N|O|P|Q|R|S|T|U|V|W|X|Y|Z|
Abaca – A vegetable leaf fiber derived from the Musa textilis plant. It is mainly
grown in the Philippines but is also found, in smaller amounts, in Africa,
Malaysia, Indonesia and Costa Rica. The fiber is obtained from the outer layer of
the leaf. Processing occurs when it is separated mechanically into lengths
varying from 3 to 9 feet. Abaca is very strong and has great luster. It is very
resistant to damage from salt water.
Abrasion Resistance - The ability of a fiber or fabric to withstand surface wear

and rubbing.
Absorbency - The ability of a fabric to take in moisture. Absorbency is a very

important property, which effects many other characteristics such as skin
comfort, static build-up, shrinkage, stain removal, water repellency, and wrinkle
recovery.
Acetate - A manufactured fiber formed by a compound of cellulose, refined from

cotton linters and/or wood pulp, and acetic acid that has been extruded through a
spinneret and then hardened.
Acrylic - A manufactured fiber derived from polyacrylonitrile. Its major properties

include a soft, wool-like hand, machine washable and dryable, excellent color
retention. Solution-dyed versions have excellent resistance to sunlight and
chlorine degradation.
A-line gown - Form fitting bodices that flare out from the waistline to a full skirt.
These gowns have a seamless waist.
A-line skirt - A skirt that is fitted at the waist and flares out in an A-line or tulip
shape at the hem.
Alpaca - True alpaca is a hair fiber from the Alpaca animal, a member of the
Ilama family of the South American Andes Mountains. Alpaca is imitated in wool,
wool and alpaca blends, rayon, mohair and rayon or cotton blends, and in
synthetics fabrics. Alpaca is fine, silk-like, soft, light weight and warm. It is very
rich and silky with considerable luster and resembles mohair. If guard hairs are
used, it is inclined to be "boardy". It is strong and durable. True alpaca is
expensive and is often blended with other fibers or imitated by synthetic fibers.
Alpaca is found in white, black, fawn or gray. The fibers are less coarse than
those of the llama but are higher in tensile strength. Alpaca is most commonly
used in fabrics made into sweaters, dresses, coats, and bedding batting.
Alpaca (Organic) - Free range roaming, pasture rotation, distribution of the

Alpaca’s manure as fertilizer, fed no hormones, no chemical dipping for ticks and
parasites, no chemicals ingredients are permitted on the land or animals. Finer
than cashmere, smoother than silk, softer than cotton, stronger than mohair,
warmer than goose down and synthetic fabrics, and breathes better than thermal
knits. The fibers do not have lanolin or other oils. Luxuriously soft on your skin.
Hypoallergenic and naturally fire resistant and dust mite resistant.
Alpaca (Undyed) - The Natural Alpaca fiber comes in the whitest white, to the
most intense black, including around twenty brown and gray tones. Therefore,
undyed color combinations are very plentiful. By using undyed Natural Alpaca a
step is made to decrease the amount of chemical runoff into the world’s water
tables.
Angora - The hair of the Angora goat or the Angora rabbit. The clipped fiber from
a living animal is also known as Angora mohair. Scoured mohair appears
smooth and white. It varies in fineness and is highly resilient, very strong and has
high luster. Its value is determined by its luster and not its softness. The Angora
rabbit is indigenous to Asia Minor and Turkey. It is often blended and mixed with
wool to lower the price of the finished. Angora rabbit hair is long, very fine, light
weight, extremely warm and fluffy. It has a tendency to shed and mat with time.
According to the U.S. Federal Trade Commission, any apparel containing Angora
rabbit hair must be labeled as "Angora rabbit hair" on the garment.
Appliqué - A cutout surface decoration that is sewn or embroidered to a larger

piece of material.
Armure - Cotton, silk, wool, rayon, synthetics, and blends. The weave can be
plain, twill, or rib, background often has a small design either jacquard or dobby
made with warp floats on surface giving a raised effect. Design is often in two
colors and raised. The name was derived from original fabric which was woven
with a small interlaced design of chain armor and used for military equipment
during the Crusades. Often used in elegant evening gowns, draperies, or
upholstery.
Art Linen – A linen woven with even threads that are especially good for
embroidery. It is very easy to "draw" the yarns for drawn thread work. Comes
bleached, or colored. Has a soft finish. Has been use for needlework.
Return To Top Index
Back Coating - Fabric treated with sizing on the back only to give added weight,
strength and opacity.
Back Drape - A length of material attached either at the shoulder or the waist
that flows over the back to floor length. In some cases it is removable.
Back yoke - A fitted or shaped piece at the top of a skirt or at the shoulder of
various garments.
Ball Gown - Characterized by a very full skirt that begins at the waist and
continues to a formal length. The skirt waist is seamed and can be of various
styles.
Ballerina Neckline - This is a low neckline that usually occurs with strapless or
spaghetti strapped dresses.
Bamboo - A natural, renewable resource that can be made into fabrics. Bamboo
grows very quickly and does not require fertilizers or pesticides.
Barathea – A broken ribbed weave from silk, rayon or acetate. The fabric has
granular texture achieved by the short broken ribs in the filling direction. It is a
rich soft-looking, fine fabric.
Basket Weave - A variation of the plain weave construction, formed by treating

two or more warp yarns and/or two or more filling yarns as one unit in the
weaving process. Yarns in a basket weave are laid into the woven construction
flat, and maintain a parallel relationship. Both balanced and unbalanced basket
weave fabrics can be produced. Examples of basket weave construction includes
monk cloth and oxford cloth.
Basque waist / V-waist - This dropped waist starts at or just below the natural
waistline and dips in the center creating a "V" shape.
Bast Fiber - Strong, soft, woody fibers, such as flax, jute, hemp, and ramie,
which are obtained from the inner bark in the stems of certain plants.
Bateau Neck / Boat Neck - A high, wide, straight neckline that runs straight
across the front and back, meeting at the shoulders with the same depth in the
front and back.
Batiste – A medium-weight, plain weave fabric. Generally made from cotton, but
can also be made from rayon and wool. Named after Jean Baptiste, a French
linen weaver. Light weight, soft, semi-sheer fabric which resembles nainsook, but
finer. It belongs to the lawn family; almost transparent. It is made of tightly
twisted, combed yarns and mercerized finish. Sometimes it is printed or
embroidered. In a heavier weight, it is used for foundation garments and linings
in a plain, figured, striped, or flowered design. Considered similar to nainsook but
finer and lighter in weight. Now usually made of 100% polyester distinguished by
slubs in filling direction.
Bayadere – Silk in a crosswise rib (plain or twill weave). Has brightly colored
stripes in the filling direction. Often black warp. The color effects are usually
startling or bizarre. Mostly produced in India. Name derived from the Bajadere
dancing girl of India, dedicated from birth to a dancing life. The Bayadere
costume includes the striped garment, a flimsy scarf or shawl, jeweled trousers,
spangles, sequins, anklets. Used in blouses, dresses, and evening wear.
Beaded - This refers to any style of fabric that has beads embroidered into the
design. Beading can be done at the time the lace is made or can be re-
embroidered after the lace is made.
Bengaline - A fabric with a crosswise rib and warp faced made from silk, wool,
rayon, synthetics and cotton, often in combination. Bengaline was first made of
silk in Bengal, India. Ribs are round and raised. Often has wool or cotton dilling in
the ribs which doesn't show. It is difficult to make bound buttonholes in it. Has a
tendency to slip at the seams if too tightly fitted. Grosgrain and Petersham is
bengaline cut to ribbon widths.
Besom Pockets - A pocket sewn inside the garment with access through a
welted slit-type opening.
Bias Cut - Cut diagonally across the grain of a fabric. Used to create garments
that follow the body curves closely. A bias cut is any direction in the fabric which
does not exactly flow in the direction of the weft yarn (vertical yarns) or warp
yarns (horizontal yarns) of a fabric. A true bias makes an angle of 45 degrees
across the length and width of a fabric. Fabric cut on a bias has maximum
stretch.
Bike Tards - A close-fitting, one-piece garment from the top of the torso to be
hem of the shorts.
Birdseye - Cotton and Linen or blend of rayon staple and cotton, usually in a
dobby weave with a smooth, clear finish and small diamond-shaped figures with
a dot in the center of each. The pattern suggests the eye of a bird. It is very soft,
light-weight, and absorbent. Birdseye is woven with a loosely twisted filling to
increase absorbency and launders well. No starch is applied because the
absorption properties must be of the best. Material must be free from any foreign
matter. It is also called "diaper cloth" and is used for that purpose as well as very
good toweling. Often used as a summer dress fabric.
Blanket Stitch - A closely spaced stitch that forms a line of closely spaced loops
at the edge. It is used in embroidery for purely decorative purposes.
Blazer - A long-sleeved sports jacket with labels.
Bleaching - Necessary process to remove the natural and artificial impurities in

fabrics to obtain clear whites for even dyeing and printing. Bleaching with
hydrogen peroxide is the most environmentally friendly way to whiten fabrics.
Hydrogen peroxide can help produce a white fabric but not a bright white fabric.
Blend - A term applied to a yarn or a fabric that is made up of more than one
fiber. In blended yarns, two or more different types of staple fibers are twisted or
spun together to form the yarn. Examples of a typical blended yarn or fabric is
polyester/cotton.
Bolero Jacket - A loose, waist-length jacket open at the front.
Boot-Cut - Cut below the belly button and slightly flares from the knee to the
ankle.
Boucle - A knit or woven fabric made from a rough, curly, knotted boucle yarn.
The fabric has a looped, knotted surface and is often used in sportswear and
coats. Made from wool, but also in rayon, silk, cotton, linen, blends, and some
hair fibers. The name is French for "buckled" or "ringed". A drawn out or ringed,
looped yarn is used to give it a kinky appearance at intervals. Boucle yarns are
usually in both the filling and the warp. The fabrics are usually springy to handle
on account of the highly twisted yarns used to achieve the boucle effect. Often
ravels easily.
Bourdon Stitching - A close, narrow row of decorative raised stitching such as a

monogram, finished edge or accent.
Box-pleated - Two folds of fabric brought together to form a pleat.

Broadcloth – Can be manufactured from cotton and silk, and rayon which are
very different than wool broadcloth. A plain weave tightly woven fabric,
characterized by a slight ridge effect in one direction, usually the filling. Most
cotton broadcloths are made with a very fine crosswise rib weave. In cotton it is
made from either carded or combed yarns. The filling is heavier and has less
twist. It is finer than poplin when made with a crosswise rib and it is lustrous and
soft with a good texture. Thread count ranges from high quality 144 x 6 count
down to 80 x 60. Has a smooth finish. May be bleached, dyed, or printed; also is
often mercerized. Broadcloth tends to wear very well. If it is not of a high quality
or treated it wrinkles very badly. The finest quality is made from Egyptian or
combed pima cotton - also sea island. Uses include shirts, dresses, particularly
the tailored type in plain colors, blouses, summer wear of all kinds.
Brocade - A heavy, exquisite, jacquard-type fabric with an all-over raised pattern

or floral design, generally made from silk, rayon, and cotton in a Jacquard and
dobby weave.. Cotton brocade often has the ground of cotton and the pattern of
rayon and silk. Pattern is in low relief. Rich, heavy, elaborate design effect.
Sometimes with colored or metallic threads making the design usually against a
satin weave background. This makes the figures stand out. The figures in
brocade are rather loose, while in damask the figure threads are actually bound
into the material. The pattern may be satin on a twill ground or twill on a satin
ground and is often reversible. The motifs may be of flowers, foliage, scrollwork,
pastoral scenes, or other designs. The price range is wide. Brocade is believed
to come from the Latin name "brocade" which means to figure. It is used in all
types of evening wear, church vestments, interior furnishings, and state robes.
Brocatelle - Originally supposed to be an imitation of Italian tooled leather.

Brocatelle, made from silk, rayon, cotton, and synthetics, has a satin or twill
pattern on plain or satin ground. It has a Jacquard weave on double or backed
cloth. It is recognized by a smooth raised figure of warp-effect, usually in a satin
weave construction, on a filling effect background. True brocatelle is a double
weave made of silk and linen warp and a silk and linen filling. Present-day
materials may have changed from the 13th and 14th century fabrics, but they still
have the embossed figure in the tight, compact woven warp-effect. While
brocatelle is sometimes classed as a flat fabric, it shows patterns which stand out
in "high relief" in a sort of blistered effect.
Broomstick - A skirt or dress that is characterized by numerous pleats and

crinkled material.
Buckram – Made from cotton, linen, and synthetics in a plain, cheap, low-
textured, loose weave that is heavily sized and stiff. Also, two fabrics are glued
together. One is an open weave and the other much finer. Buckram is also
made in linen in a single fabric. Buckram is also called crinoline book muslin or
book binding. Named from Bokhara in Southern Russia, where it was first made.
It softens with heat and can be shaped while warm
Burn-out - A brocade-like pattern effect created on the fabric through the
application of a chemical, instead of color, during the burn-out printing process.
(Sulfuric acid, mixed into a colorless print paste, is the most common chemical
used.) Many simulated eyelet effects can be created using this method. In these
instances, the chemical destroys the fiber and creates a hole in the fabric in a
specific design, where the chemical comes in contact with the fabric. The fabric is
then over-printed with a simulated embroidery stitch to create the eyelet effect.
However, burn-out effects can also be created on velvets made of blended fibers,
in which the ground fabric is of one fiber like a polyester, and the pile may be of a
cellulosic fiber like rayon or acetate. In this case, when the chemical is printed in
a certain pattern, it destroys the pile in those areas where the chemical comes in
contact with the fabric, but leave the ground fabric unharmed.
Butcher Linen – Plain weave. It was originally made with linen but is now
created with cotton or manufactured fibers. It launders well, sheds dirt, and is
exceptionally durable.
Return To Top Index
Calendering - A process for finishing fabrics in which such special effects as

high luster, glazing, embossing, and moiré are produced.
Calico – Cotton fabric with a low-count, plain weave. It originated in Calcutta,

India, and is one of the oldest cottons. Calico is rather coarse and light in
weight. The pattern is printed on one side by discharge or resist printing so it
generally isn’t color fast. It is often sized for crispness but washes out and
requires starch each time. Designs are often geometric in shape, but originally
elaborate designs of birds, trees, and flowers. Calico is usually inexpensive and
similar to percale. Very little true calico is on the market to-day, but the designs
are still in use on other fabrics and sold as "calico print".
Cambric - A fine, thin, white linen or cotton fabric that is soft, closely woven, and
light and has been treated to give it a slight gloss. It is either bleached or piece
dyed and is highly mercerized and lint free. It is calendered on the right side with
a slight gloss. Lower qualities have a smooth bright finish. It is similar to batiste
but is stiffer and with fewer slubs. Cambric launders very well, has good body,
and sews and finishes well. It was originally made in Cambria, France of linen
and used for Church embroidery, table linens, handkerchiefs, underwear, slips,
nightgowns, children's dresses, aprons, shirts and blouses. Normally used for
pillow and duvet shells.
Camisole - A short, sleeveless garment for women.

Camocas – Another largely historic fabric that was popular in the 14th and 15th
centuries. It was a very beautiful fabric which was often stripped with gold or
silver. It had a satin base and was diapered like fine linen.
Camp Pockets - Pockets that are sewn to the outside of the garment, usually
squared off and characterized by seaming.
Candlewick Fabric - Made from cotton and sometimes wool. An unbleached

muslin bed sheeting (also called Kraft muslin) used as a base fabric on which a
chenille effect is formed by application of candlewick (heavy plied yarn) loops,
which are then cut to give the fuzzy effect and cut yarn appearance of true
chenille yarn. True chenille is a cotton, wool, silk, or rayon yarn which has a pile
protruding all around at slight angles and stimulates a caterpillar. Chenille is the
French word for caterpillar. Used in bedspreads, drapes, housecoats, beach
wear.
Canton Flannel – made from cotton with a four harness warp-faced twill weave.
The filling yarn is a very loosely twisted and soft and later brushed to produce a
soft nap on the back, the warp is medium in size. The face is twill and the fabric
is heavy, warm, strong and absorbent. Named for Canton, China where it was
first made. Comes bleached, unbleached, dyed, and some is printed. Used in
interlinings, sleeping garments, linings, coverings, work gloves.
Canvas - A strong, durable, closely woven cotton fabric.
Cap Sleeve - A small, short sleeve which sits on the shoulder, either forming a
stiff cap or falling on to the arm to provide minimal coverage.
Capri Pants - Fairly straight-cut pants, tapered to the mid-calf.
Cardigan Jacket - A usually collarless sweater or jacket that opens the full
length of the center front.
Carding - A process of cleaning fibers by separating and laying them parallel to

each other.
Cargo - Characterized by sporting a large pocket usually with a flap and a pleat.
Carpenter pants / shorts - Five-pocket pants characterized by a "hammer

holder," a stretch of material connecting the outside seam to the back pocket.
Cashmere (Kashmir) - A luxury fiber obtained from the soft, fleecy undergrowth
of the Kashmir goat of Tibet, Mongolia, China, Iran, Iraq, and India. Most
commonly used in sweaters, shawls, suits, coats, and dresses. The fiber is
cylindrical, soft and silken and is more like wool than any other hair fiber. Has a
very soft silky finish and is very light in weight. It doesn't stand up to hard wear
because of its extremely soft downy finish. The natural fiber is white, black,
brown or gray but can be died a variety of shades. It comes in different weights.
Cathedral Train - Also known as a monarch train. A cascading train extending

six to eight feet behind the gown. Often used on wedding dresses.
Cellulose - A material derived from the cell walls of certain plants such as hemp,
flax, bamboo and also trees. Cellulose is used in the production of many
vegetable fibers, as well as being the major raw material component used in the
production of the manufactured fibers of acetate, rayon, triacetate, and lyocell.
Chambray - A plain woven fabric that can be made from cotton, silk, or
manufactured fibers, but is most commonly cotton. It incorporates a colored warp
(often blue) and white filling yarns. Typically has a plain weave or dobby
designs on a plain-weave ground and is made with a dyed warp and a white or
unbleached filling. Both carded and combed yarns used. Has a white selvedge.
Some chambray is woven with alternating white and colored warp. Naturally has
a "faded" look and very soft coloring. Some is made with stripes, checks or
embroidered. Smooth, strong, closely woven, soft and has a slight luster. It
wears well, is easy to sew, and launders well. It wrinkles easily. Chambray
riginated in Cobrai, France, where it was first made for sunbonnets and is used
for children's wear, dresses, shirts and blouses, aprons, all kinds of sportswear.
Chamois Cloth – A plain woven cotton fabric that is napped, sheared, and dyed
to simulate chamois leather. It is stiffer than kasha and thicker, softer and more
durable than flannelette. Must be designated as "cotton chamoise-color cloth".
Chamoisette – A fine, firmly knit fabric made from cotton and sometimes rayon
and nylon in a knitted, double knit construction. It has a very short soft nap and
wears well. Nylon chamoisette is more often called "glove silk" and often used in
gloves.
Chantilly lace - This lace has a net background, and the pattern is created by
embroidering with thread and ribbon to create floral designs. The pattern has
areas of design that are very dense, and the pattern is often outlined with heavier
cords or threads.
Chapel Train - The most popular of all train lengths. It flows from three to four
feet behind the gown.
Charmeuse - A lightweight, drapey fabric with is woven with a satin weave

where the warp threads cross over three or more of the backing weft threads.
This causes the front side to have a shiny, satiny finish and the back side to be
more dull. Finer quality charmeuse is made of silk and rayon or polyester are
used in lesser quality charmeuse. Originated as a French lightweight silk that
was recognized for it's supreme luster and drapability. It is found in a variety of
solids and prints.
Cheesecloth – Plain woven cotton fabric originally used as a wrapping material

for pressing cheese. It is loosely woven, thin, light in weight, open in construction,
and soft. Carded yarns are always used. It is also called gauze weave. When an
applied finish is added, it is called buckram, crinoline, or bunting.
Chemise / Skimmer - Simply a straight unbelted dress with varying sleeves and
length.
Chenille - Soft, fuzzy yarns stand out around a velvety cord on this fabric, whose
name comes from the French word for caterpillar and the fabric looks "hairy."
Generally made from cotton but can also be made from other fibrics. Filling of
chenille yarns (has a pile protruding all around at right angles). Do not confuse
with tufted effects obtained without the use of true Chenille filling.
Cheviot – Originally made of wool in a twill weave from the Cheviot sheep but
now it is also made of blends, spun synthetics, crossbred and reused wools. It is
very rugged with a harsh, uneven surface that does not hold a crease and sags
with wear. It resembles serge but is much more rugged and coarse and will not
shine because of the rough surface. Cheviot is often sold as a homespun but
true homespun has a plain weave and very heavy. Cheviot is also sold as a
tweed.
Chinchilla – Usually made from wool but can also be made in cotton, and some
manmade and synthetics. It has a sateen or twill construction with extra fillings
for long floats. Thankfully, it does not resemble true chinchilla fur but has small
nubs on the surface of the fabric which are made by the chinchilla machine. It
attacks the face and causes the long floats to be worked into nubs and balls.
Cotton warp is often used because it cannot show from either side. Chinchilla
takes its name from Chinchilla Spain where it was invented,
Chiffon - A plain, woven, lightweight, extremely sheer, transparent, airy, and soft
silk fabric, containing very fine, highly twisted filament yarns. The fabric, used
mainly in evening dresses and scarves, can also be made from rayon and other
manufactured fibers. The tightly twisted yarns could be either in the filling or the
warp or both. It is very strong, despite filmy look. Wears very well. It is very
difficult to handle when sewing and it is best to baste the pieces over tissue to
make it easier. It has slightly bumpy look. It is best suited to shirring, draping,
gathering, tucking, etc., because it is so limp. Chiffon is French for "rag".
China Silk - Originally hand woven in China of silk from the Bonabyx mori.
China silk is very soft and extremely lightweight but fairly strong. Irregularities of
threads caused by the extreme lightness and softness are characteristic of the
fabric.
Chinchilla – A cotton, wool, and even synthetic fabric of a sateen or twill
construction with extra fillings for long floats. Thankfully, it does not resemble
true chinchilla fur. It has small nubs on the surface of the fabric which are made
by the chinchilla machine. It attacks the face and causes the long floats to be
worked into nubs and balls. Cotton warp is often used because it cannot show
from either side. It is made in medium and heavy weights and is a very warm and
cozy fabric. It takes its name from Chinchilla Spain where it was invented.
Chino – A cotton fabric of a left-handed twill. Combined two-ply warp and filling.
Has a sheen that remains. Fabric was purchased in China (thus the name) by the
U.S. Army for uniforms. Originally used for army cloth in England many years
before and dyed olive-drab. Fabric is mercerized and sanforized. Washes and
wears extremely well with a minimum of care. Now you know the history of the
popular chino slacks.
Chintz - A usually glazed printed cotton fabric with bright figures, large flower
designs, birds and other designs. It also comes in plain colors. Chintz can use
several types of glaze. This glazed cotton is often printed with figures and large
flower designs. The wax and starch glaze produced by friction or glazing
calendars will wash out. The resin glaze finish will not wash out and withstand
dry cleaning. Also comes semi-glazed. Unglazed chintz is called cretonne. It is
named after the Indian word "Chint" meaning "broad, gaudily printed fabric".
Used widely in upholstery fabric.
Chite - Painted linens that originated in Chitta (India) in the 17th century.
Column skirt / straight skirt - Also referred to as a pencil skirt, this skirt is a
straight line with no flare or fullness at the hem or waistline.
Combing - A process for removing short fibers. The process enables cotton to
be spun into very fine, lustrous yarns for high quality fabrics.
Comfort Stretch - The term given to the freedom of movement experienced in

the wearing of a garment that contains spandex, or has stretch engineered into a
yarn through mechanical stretch construction.
Composite Fabric – In performance garments, an engineered fabric made from

two or more components. One component is often a strong fiber such as
fiberglass, Kevlar®, or carbon fiber that gives the material its tensile strength,
while another component (often called a matrix) is often a resin, such as
polyester or epoxy that binds the fibers together.
Compression Fabric – In performance garments, high tenacity stretch fabric

which, when in a close fitting garment, provides muscles with a firm compression
fit that lessons vibrations, reduces fatigue, and keeps muscles energized. The
fabric is usually made in a knit construction, using a series of gradient fibers with
an open knit inner surface to create a moisture transfer environment.
Compression Stretch - The name given to the expansive stretch that is created
by the spandex fibers used in the development of a compression fabric for
performance garments.
Convertible Collar - A rolled collar that can be worn open or closed. Sewn
directly to the neckline.
Cool Colors Blue, violet and green are cool or light colors. They are reducing in
nature, as seen by the eye they move away from the object thereby increasing its
size. Cool colors have a calm and restful effect.
Corduroy – Typically made of cotton but can be made of rayon and other
textiles. It has a filling pile with a plain or twill back and is made with an extra
filling yarn. Corduroy is in the velvet family of fabrics and it has narrow medium
and wide wales, also thick and thin or checkerboard patterns. Wales have
different widths and depths. Corduroy has to be cut all one way with pile running
up. Most of it is washable, wears very well, and has a soft luster.
Corset top / boned bodice - a form-fitting, usually strapless bodice with boning
and either laces or snap closures, styled in the fashion of the ladies
undergarment of the same name.
Cotton - A unicellular, natural fiber that grows in the seed pod of the cotton plant.
Fibers are typically 1/2 inch to 2 inches long. The longest staple fibers, longer
than 1-1/2 inch, including the Pima and Egyptian varieties, produce the highest
quality cotton fabrics. It is one of the world's major textile fibers. There are four
main types of cotton: American Upland, Egyptian, Sea Island and Asiatic. The
flowers from which these different types of cotton are obtained vary in color and
texture, thus providing each type of cotton with varying characteristics. Cotton, in
general, is very elastic. It can withstand high temperatures, is very washable and
is very susceptible to dyes.
Cotton (Color grown) - Cotton plants that are specifically bred to take
advantage of their natural coloring in shades of white, brown and green. Fabrics
are then created that use the natural coloring and are completely free of dyes.
Color grown cotton can be grown in beautiful natural colors such as honey, sage,
and mocha. Ancient Indians in South America were known to have used color
grown cotton. In the past decade, these color grown cotton fibers have become
available once again for apparel manufacturing. With the limitations of lower
yields and shorter, weaker fibers, color-grown cotton varieties have had to go
through an extensive breeding program to improve their yield, fiber quality, color
intensity and color palette. Color grown fabrics may contain certain natural
variations in color, light fastness and shrinkage.
Cotton (Green) - A marketing term referring to cotton that is unbleached and
undyed but grown using toxic pesticides. Green cotton has not been subjected to
the harsh, toxic chemicals used during the processing period. Because green
cotton has been grown using toxic insecticides, herbicides and fertilizers, it is still
a contributor to the environmental damage and the damage done to the health of
the farm workers and those that live in the nearby areas.
Cotton (Organic) - Cotton grown without any harmful pesticides, herbicides or

artificial fertilizers using biologically based and sustainable growing methods
such as crop rotation rather than with highly synthetic and destructive fertilizers.
Organic cotton is grown using biologically based growing methods rather than
toxic synthetic fertilizers, soil additives or defoliants. It is also free of
formaldehyde finishes. Organic Cotton wears well and is extremely breathable,
unlike synthetics that pill, emit static electricity, prematurely age, and trap
perspiration. Cotton is commonly portrayed as natural, yet conventional cotton is
cultivated in a highly toxic process, which contaminates groundwater and
ultimately drinking water and poisons the food chain. While it takes approximately
one pound of chemicals to grow three pounds of conventional cotton, organic
cotton is grown chemical free.
Cottagora - An extremely soft and environmentally sound material made from a

combination of Angora rabbit hair and organic cotton. Unlike traditional Angora,
cottagora can be machine washed and dried. It is also the warmest natural fiber
available and more durable than any other elite wool. This is because the Angora
rabbit itself has three to four times as many hairs per weight unit as sheep's wool.
Cottagora is also a breathable fabric, allowing the body to maintain its natural
temperature. It is ideal for travel, as it is both versatile and wrinkle free.
Cowl Neck - A neckline featuring a piece of material attached to a garment at the

neck, which may be used as a hood or draped loosely in a swag from shoulder to
shoulder at the front neckline or back.
Crash – A linen that is very rugged and substantial in feel. Comes in white or
natural shades or could be dyed, printed, striped, or checked. The yarn is strong,
irregular in diameter but smooth. Has a fairly good texture.
Crepe - Used to describe all kinds of fabrics--wool, cotton, silk, rayon, synthetics
and blends-that have a crinkle, crimped or grained surface. Made from worsted
cotton, wool, silk, man-made synthetics. Has a crinkled, puckered surface or soft
mossy finish. All crepes have a pebbled, rough feel and appearance due to the
yarns having a high twist in the filling or the warp or both. Crepe comes in
different weights and degrees of sheerness. Dull with a harsh dry feel. Woolen
crepes are softer than worsted. If it is fine, it drapes well. Crepe has very good
wearing qualities and a slimming effect in garments. Most crepes launder well
with care.
Crepe back satin - A satin fabric in which highly-twisted yarns are used in the
filling direction. The floating yarns are made with low twist and may be of either
high or low luster. If the crepe effect is the right side of the fabric, the fabric is
called satin-back crepe. Satin weave on the face and a crepe effect on the back
obtained with twisted crepe yarns in the filling - 2 or 3 times as many ends as
picks per inch. It is a soft fabric which is reversible. It is usually piece dyed. Very
interesting effects can be obtained in a garment by using both sides in different
parts of the garment, such as using the crepe side for the body and trim or
binding with the satin part up.
Crepe de Chine - Silk warp and crepe twist silk filling with more ends than picks
per inch. Has a soft hand, considerable luster, launders well, and is fairly sheer.
Made of raw silk or rayon, it is easy to manipulate and handle and very long
wearing. Could be piece dyed or printed. Has a slight rippled texture. Heavy
crepe de chine is called "Canton crepe" which is slightly ribbed and now mostly
made in rayon.
Crepe (Georgette Crepe) - Lightweight, sheer fabric that is more stiff and with
body giving an exellent wear. Has a dull, crinkled surface achieved by alternating
S and Z yarns in a high twist in both warp and filling directions. Georgette has a
harder, duller, more crinkled feel and appearance than crepe de chine.
Crepe (Flat Crepe) - Also called French Crepe or Lingerie Crepe but not exactly
the same. It is the flattest of all the crepes with only a very slight pebbled or
crepe effect hard twist alternating 25 x 22 in filling; warp has ordinary twist. It is
very soft and pliable, which makes it good for draping. It is very light weight - 2
times as many ends as picks. Most of it launders well and is often used in
accessories, blouses, dress goods, negligees, pajamas and other pieces of
lingerie and linings.
Crepe (Moss Crepe or Sand Crepe) - Has a fine moss effect created by plain
weave or small Dobby. Made with a spun-rayon warp and a filament rayon filling.
The two-ply warp yarn is very coarse and bulkier than the filling. Mostly made in
rayon and synthetics but some in silk.
Crepon - Crepe effect appears in direction of the warp and achieved by alternate
S and Z, or slack, tension, or different degrees of twist. Originally a wool crepe
but now made of silk and rayon. It is much stouter and more rugged than the
average crepe. Has a wavy texture with the "waves" running in a lengthwise
direction. Mostly used for prints in dresses and ensembles.
Crettone – Made from cotton, linen, rayon in a plain or twill weave. Quality and
price vary a great deal. The warp counts are finer than the filling counts which
are spun rather loose. Strong substantial and gives good wear. Printed cretonne
often has very bright colors and patterns. The fabric has no luster (when glazed,
it is called chintz). Some are warp printed and if they are, they are usually
completely reversible. Designs run from the conservative to very wild and often
completely cover the surface.
Crew Neck - A round neck with ribbed banding that fits close to the base of the
neck.
Crinkled - Forming many short bends or ripples.
Crinoline - A very loosely woven fiber with high rigidity. It is smooth, stiff, and
has excellent strength. It's comes in a variety of shades from white to black.
Crocheted - Loose, open knit made by looping thread with a hooked needle.
Used for light, summer sweaters.
Cropped top / jacket - Hem is cut just above the waist.
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Damask - Made from linen, silk, rayon, cotton, synthetics, wool, worsteds and is
woven on a Jacquard loom that has an alternating satin and matte texure.
Originally made of silk, that came to us from China via Damascus. In the XIII
Century, Marco Polo gave an interesting tale about it. It is one of the oldest and
most popular cloths to be found today. Very elaborate designs are possible.
Cloth is beetled, calendared and the better qualities are gross-bleached. It is
very durable, reversible fabric that sheds dirt. In Damask fabric, the firmer the
texture, the better the quality. It launders well and holds a high luster -
particularly in linen. The quality of Damask depends on the yarn used and the
thread count. - If the same quality and thread count are used, single is better
than double because the shorter floats are more serviceable and the yarns hold
more firmly. Double damask with less than 180 thread count is inappropriate for
clothing. LotusOrganics.com has some excellent pajamas made from Damask
manufactured by Fisher-Henney.
Denier - A system of measuring the weight of a continuous filament fiber. In the

United States, this measurement is used to number all manufactured fibers (both
filament and staple), and silk, but excludes glass fiber. The lower the number, the
finer the fiber; the higher the number, the heavier the fiber. Numerically, a denier
is the equivalent to the weight in grams of 9,000 meters of continuous filament
fiber.
Denim - True denim is a twill-weave, cotton-like fabric made with different

colored yarns in the warp and the weft. Due to the twill construction, one color
predominates on the fabric surface. Name derived from French "serge de
Nimes". Long wearing, it resists snags and tears. Comes in heavy and lighter
weights.
Diamond Neck - A diamond-shaped cutout that fastens at the front or back

neckline.
Dimity – Cotton fabric made of combed yarn that comes in a plain weave with a
crosswise or lengthwise spaced rib or crossbar effect. A thin sheer with corded
spaced stripes that could be single, double or triple grouping. Has a crisp texture
which remains fairly well after washing. It is easy to sew and manipulate and
launders well. Dimity will crease unless treated to become crease-resistant. May
be bleached, dyed, or printed and often printed with a small rose-bud design. It is
mercerized and has a soft luster.
Dobby - Woven on a dobby loom, this fabric can be made with a dot or
geometric design. A decorative weave, characterized by small figures, usually
geometric, that are woven into the fabric structure. Dobbies may be of any weight
or compactness, with yarns ranging from very fine to coarse and fluffy. Standard
dobby fabrics are usually flat and relatively fine or sheer. However, some
heavyweight dobby fabrics are available for home furnishings and for heavy
apparel.
Doeskin – Made from wool and also rayon in a harness satin weave or a twill
weave that is napped on one side. Doeskin has a very smooth, lustrous surface
made with a slight short nap and compact weave to look like fine leather. The
weave is not visible because of napping. Very high quality wool is used.
Doeskin needs care in handling. Generally applied to a type of fabric finish in
which a low nap is brushed in one direction to create a soft suede-like hand on
the fabric surface. End-uses include billiard table surfaces and men's'
sportswear.
Dolman Sleeve - Cut as an extension of the bodice, the dolman sleeve is

designed without a socket for the shoulder, creating a deep, wide armhole that
reaches from the waist to a narrowed wrist. Also called a batwing sleeve.
Domett Flannel – A cotton fabric in a plain or twill. Can also be spelled domet.
Generally made in white. Has a longer nap than on flannelette. Soft filling yarns
of medium or light weight are used to obtain the nap. The term domett is
interchangeable with "outing flannel" but it is only made in a plain weave. Both
are soft and fleecy and won't irritate the skin. Any sizing or starching must be
removed before using. Outing flannel is also piece-dyed and some printed and
produced in a spun rayon also.
Donegal Tweed – A medium to heavy of plain or twill weave fabric in which

colorful yarn slubs are woven into the fabric. Made from wool but can also be
made from rayons and cottons. It is mostly made from a plain weave but can
also be made in twill. Donegal was originally a homespun woven by the
peasants in Donegal, Ireland and is a rough and ready fabric that stands much
hard wear. End-uses include winter coats and suits. Yarns are coarse with thick
slubs and colored nubs. Now made in other places as well - particularly England.
Dotted Swiss – A lightweight, sheer cotton or cotton blend fabric with a plain
weave with a small dot flock-like pattern either printed on the surface of the
fabric, or woven into the fabric. Dots could be a single color or multicolored.
Placed regularly or irregularly on a semi-sheer usually crisp fabric which may or
may not be permanent. First made on hand looms in Switzerland and some still
is. It is made in 32" widths. The lappet is the most permanent. When hand woven
with a swivel attachment the dots are tied in by hand on the back of the cloth.
End-uses for this fabric include blouses, dresses, baby clothes, and curtains.
Double-Breasted - Having one-half of the front lapped over the other. Usually
has a double row of buttons and a single row of buttonholes.
Double Cloth - A fabric construction, in which two fabrics are woven on the loom
at the same time, one on top of the other. In the weaving process, the two layers
of woven fabric are held together using binder threads. The woven patterns in
each layer of fabric can be similar or completely different.
Doubleknit - A woven fabric construction made by interlacing two or more sets

of warp yarns with two or more sets of filling yarns. A weft knit fabric in which two
layers of loops are formed that cannot be separated. Made from cotton, wool,
worsted, silk, rayon, and synthetics with a circular or flat-needle bar type. A two
faced cloth, either face may be utilized as the right side. The fabric originated in
Milan and Florence. Can be stabilized for shrinkage control and dry cleans
satisfactorily. A double knit machine, which has two complete sets of needles, is
required for this construction.
Double-Tee Top - A layered look with one T-shirt over another.
Double Weave - The most common double weave fabrics are made using a total
of either four or five sets of yarns.
Doupion, Douppioni - Silk yarns made from the cocoon of two ilk worms that
have nested together. In spinning, the double strand is not separated so the yarn
is uneven and irregular with a large diameter in places. The fabric is of silk made
in a plain weave but is very. It is imitated in rayon and some synthetics, and one
such fabric is called "Cupioni". Dupion yarns also used in shantung, pongee. It
tailors very well.
Draped Bodice - An extra piece of material is draped over the bustline.
Drill – Cotton twill. Left-hand twill. It has closer, flatter wales that ganardine.
Medium weight and course yarns are used. Also made in some other weights.
Some left in the gray but can be bleached or dyed. When dyed a khaki color, drill
is also called "khaki".
Dropped Shoulders - Characterized by the shoulder / sleeve seam falling off the
shoulder.
Dropped Waist / Low Waist - A waistline that is sewn below the body's natural
waistline.
Duck - A tightly woven, heavy, plain-weave, bottom-weight fabric with a hard,

durable finish. The fabric is usually made of cotton, and is widely used in men's
and women's slacks, and children's playclothes.
Dupioni - Similar to shantung, this textured fabric is recognized by irregular-

sized, thick fibers woven into the base fabric. Fibers that create the texture, are
thicker and heavier than those used in shantung.
Durability - The ability of a fabric to resist wear through continual use.
Durable Press - A treatment applied to the fabric in the finishing process in

which it maintains a smooth attractive appearance, resists wrinkling, and retains
creases or pleats during laundering.
Duvetyn(e) – A good quality wool. If it is made in cotton, it is usually called

suede cloth. Duvetyn has a close satin weave that is brushed, singed, and
sheared to conceal the weave. It has a smooth plush appearance resembling a
compact velvet and is similar to wool broadcloth but heavier and thicker. Has a
good draping quality, soft and wears well if looked after. Spots easily and care
must be taken when handling it. Back is often slightly napped also. Name derived
from the French word "duvet" meaning "down".
Dyes (Fiber Reactive) - The molecules of fiber reactive dyes actually react and
bond to the fiber molecules. These dyes are the best quality and most
ecologically sound synthetic dyes available. They contain no heavy metals or
other known toxic substances. The colors are brighter, richer, and exhibit
superior colorfast properties. Very little residual dye comes out in the waste
water. Significantly more costly than using conventional direct dyes but the
quality and ecological benefits are far superior.
Dyes (Low Impact) - Dyes that are more environmentally friendly than
conventional dyes because they contain no metals, low salt, AZO & dioxazines
compound free. Called "Low Impact" because they use less water to disperse
the dye, so less dye is used and waste water is carefully filtered to remove as
many of the dye particles as possible. Low impact dyes require significantly less
water for the dyeing process so there is much less polluted runoff than from the
conventional dye process. Organic cotton and most other fabrics can be
successfully colored with all natural or fiber-reactive low impact dyes. They are
the highest quality, most ecologically friendly dyes available, producing colors
that are both richer and brighter than conventional dyeing practices. These dyes
reduce water and electricity consumption and discharge 60% less toxic runoff
into the waste stream. They promote healthy ecosystems by using fewer
resources and less energy while providentially allowing greater adherence of the
dye to the garment.
Dyes (Natural) - Pigments are derived from organic materials such as

vegetables, berries, bugs, clay, indigo, and other plant extracts to dye fabric.
The weakness of natural dyes has been that many natural dyes are not color-
fast and wash out of the garments quickly. Clay dyes are some of the best in
retaining their color across repeated washings.
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Eco Fashion - The term has been coined to refer to fashionable and stylish
clothing that has been manufactured using environmentally- friendly processes
under Free Trade conditions. Eco fashion clothing can use recycled clothing and
even recycled materials such as eco-fleeced produced from recycled plastic
soda bottles. Eco fashion is not necessarily made from organic fibers and is not
necessarily healthy for people with chemical sensitivities.
Eco-fleece - A nubby, soft fabric made from recycled soda bottles. Every time
you purchase something from eco-fleece you are contributing to saving another
piece of the earth, which would otherwise be used as landfill. Of course, you are
also wearing plastic from old soda bottles.
Eco Wool – Sheared from free range roaming sheep that have not been
subjected to toxic flea dipping, and have not been treated with chemicals, dyes,
or bleaches. Eco wool comes in natural tones of white, grey and black.
Elasticity - The ability of a fiber or fabric to return to its original length, shape, or
size immediately after the removal of stress/tension.
Elastin - A protein that is similar to collagen and is the chief constituent of elastic
fibers.
Embossing - A pressure process using engraved rollers and heat application to

produce raised or relief patterns on the surface of the fabric.
Embroidered - An embellishment of a fabric or garment in which colored threads
are sewn into the fabric to create a design. Embroidery may be done either by
hand or machine.
Embroidery - An embellishment of a fabric or garment in which colored threads

are sewn on to the fabric to create a design. Embroidery may be done either by
hand or machine.
Empire Bodice - A bodice that ends just below the bust, sometimes low-cut and
gathered.
Empire Seams - A seam that is sewn directly below the bustline.
Empire Waist - This waistline begins just below the bust.
Eolienne - It's name comes from the term Eolus, which is Greek for God of
Winds. This airy fiber has a low thread count and is very delicate. It is lightweight
and is very lustrous.
Eponge (Souffle) – A fabric of wool, also of rayon and silk. The name is derived
from the French term eponge for "spongy". It is a very soft and sponge-like fabric
in a variety of novelty effects with loose weave. It is also known as ratine in
cotton. The fabric in rayon and silk is soft, loose, and spongy, something like
terry cloth. It does not have surface loops. Many stores now call eponge
"boucle".
Etamine – A twill originally made of wool, cotton or linen and used for sifting. It is
now a worsted fabric with a very short nap and light in weight used for clothing.
Eyelet - A style of decorative fabric stitched with small cut out openings. A type
of fabric which contains patterned cut-outs, around which stitching or embroidery
may be applied in order to prevent the fabric from raveling.
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Face - The right side or the better-looking side of the fabric.
Facing - A piece of fabric that is sewn to the collar, front opening, cuffs, or arms
eye of a garment to create a finished look.
Faconne - Silk or rayon with a figured weave or "burnt-out" finish. Faconne in

French, means fancy weave. It has small designs all over the fabric. Fairly light
in weight, and could be slightly creped. Background is more sheer than the
designs, therefore the designs seem to stand out. It is very effective when worn
over a different color and it drapes, handles, and wears well.
Fagotting - an embroidery produced by pulling out horizontal threads from a

fabric and tying the remaining cross threads into groups of an hourglass shape.
Faille - A glossy, soft, finely-ribbed, silk-like woven fabric made from cotton, silk,
or manufactured fibers, especially rayon. It has a crosswise rib weave and the
soft material drapes well. It is finer than grosgrain and with flatter ribs. It is
difficult to launder but will give good wear if handled properly. Has a lustrous
finish.
Faux fur - Artificial fur made from synthetic material.
Felt – Made from wool, reprocessed wool, reused wool, or scrap fiber, and can
be mixed with other such as fibers, cotton, or rayon. Felt fabric is not woven but
felted. It is a very compact fabric in various weights and thicknesses and has
grain so can be cut any way. Felt needs no hemming or finishing because it
does not fray. It has many industrial uses such as piano hammers and in the
printing industry.
Fiber - The basic entity, either natural or manufactured, which is twisted into
yarns, and then used in the production of a fabric.
Fiberfill - Specially engineered manufactured fibers, which are used as filler

material in pillows, mattresses, mattress pads, sleeping bags, comforters, quilts,
and outerwear.
Filament - A manufactured fiber of indefinite length (continuous), extruded from

the spinneret during the fiber production process.
Filling - In a woven fabric, the yarns that run cross the fabric from selvage to
selvage, and which run perpendicular to the warp or lengthwise yarns. Also
referred to as the weft.
Findings - Any extra items attached to a garment during the manufacturing

process. This can include trims, buttons, hooks, snaps, or embellishments.
Finished Fabric - A fabric that has gone through all the necessary finishing
processes, and is ready to be used in the manufacturing of garments.
Fishtail Train - Fitted around the hips and flares out from the knee to the
hemline.
Fitted Point Sleeve - A long, narrow sleeve that tapers to a point which rests
against the back of the hand.
Flame Resistant - A term used to describe a fabric that burns very slowly, or has
the ability to self-extinguish upon the removal of an external flame.
Flame Retardant - A chemical applied to a fabric, or incorporated into the fiber at

the time of production, which significantly reduces a fabric's flammability.
Flannel - A warm, soft fabric of wool, worsted, cotton or rayon made in tightly
woven twill or plain weave and finished with a light napping. Flannel originated in
Wales and has a soft, napped surface that partially cancels the weave. Has a
dull finish and is made in a variety of weights. It is more loosely woven than
worsted flannel with a higher nap and bulkier hand. Flannel shrinks if not pre-
shrunk and sags with wear, unless underlined. Does not shine or hold a crease.
Watch pressing - if pressed too hard, it flattens in the nap. Flannel comes in
many colors, weights, and fancy effects. Sometimes has a prickly feel when
worn.
Flannel (Worsted) – It has a twill weave a is made in a variety of weights. It is

more closely woven and harder than wool flannel and can have a very slight nap
on one side. It tailors and presses very well and holds a hard crease.
Flannelette - A heavy, soft cotton material with a napped finish, usually only on
one side. In cheaper qualities the nap comes off. Launders well, easy to
manipulate and is warm to wear. There are many types on the market. It may be
bleached, dyed, printed, or woven in colored stripes.
Flax - Flax is taken from the stalk of the Linum usitaatissimum plant. It is a long,
smooth fiber and is cylindrical in shape with a length varying from 6 to 40 inches
but averaging between 15 and 25 inches. The color is usually off-white or tan and
due to it's natural wax content, flax has excellent luster. It is considered to be the
strongest of the vegetable fibers and is highly absorbent, allowing moisture to
evaporate with speed. It conducts heat well and can be readily boiled. It is very
washable but has poor elasticity and does not easily return to its original shape
after creasing. When processed into a fabric it is called linen
Fleece - A soft, bulky, deep-piled knitted or woven fabric of wool or cotton in a

plain, twill, pile or knitted weave. Fleece has a deep, soft nap or pile obtained by
heavily napping with wire brushes or with a pile weave. This provides air space
giving good insulating properties without too much weight. The inter-lacing space
is covered by the nap. The nap wears out in time, but good quality cloth gives
good wear. Range from cheap to expensive clothes. Material is often
cumbersome and bulky, therefore it may be difficult to manipulate.
Flocking - A type of raised decoration applied to the surface of a fabric in which

an adhesive is printed on the fabric in a specific pattern, and then finely chopped
fibers are applied by means of dusting, air-brushing, or electrostatic charges. The
fibers adhere only to the areas where the adhesive has been applied, and the
excess fibers are removed by mechanical means.
Foil - A thin piece of material put under another material to add color or
brilliance.
Foulard – A twill weave in silk, rayon, or very fine, worsted cotton. A very soft,
light fabric that is noted for its soft finish and feel. It is usually printed with small
figures on a dark or light background and is similar to Surah and Tie Silk, but
finer. It was originally imported from India to be used in dresses, robes, scarves,
and neckwear of all kinds.
Frise – Often made from rayon but can also be made from mohair, silk and
synthetics. The ground or backing yarns are usually made of cotton. Sometimes
jute or hemp is combined with the cotton. It has a pile (looped) weave with uncut
loops. It can be patterned by shearing the loops at different lengths. Some made
with both cut and uncut loops in the form of a pattern. Typically used in
upholstery, Frise is also spelled Frieze but frieze really refers to a rough, fuzzy,
rizzy, boardy woolen overcoating fabric which originated in Friesland Holland.
Often used for overcoating material for soldiers. Irish frieze is quite popular and
more reliable and is called "cotha more".
Flat-Front Pants - Straight pants, often seamless and without pockets.
Form-Fitting / Slim Fit - Straight from waist to ankle except for a slight curve
around the hip.
Forte of a garment - The strong point of the garment.
Frey - Threads which come out from the fabric during handling.
Frog Closure - Chinese closing of decorative cording or braid. A soft ball of

cording or a button is used to complete the closure.
Fustian - Cotton or cotton with linen or flax in a cross woven weave. It was
originally made in Fustat near Cairo, from which it gets its name.
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Gabardine - A tightly woven, twilled, worsted fabric in cotton, rayon or a blend

with slight diagonal lines on the face and a raised twill. Wool gabardine is
known as a year-round fabric for business suits and wears extremely well. It has
a clear finish, tightly woven, firm, durable, rather lustrous, but it can be given a
dull finish. Inclined to shine with wear and is hard to press properly. Used in
men's and women's tailored suits, coats, raincoats, uniforms, and men's shirts.
Gattar – A satin made with a cotton filling and a silk warp. It is only found in solid
colors and is known for its elegant luster and excellent drapability. It is famous for
elegant evening wraps.
Gauge - A measurement most commonly associated with knitting equipment. It

can mean the number of needles per inch in a knitting machine. However, in full
fashioned hosiery and sweater machines, the number of needles per 1-1/2
inches represents the gauge.
Gauntlets - Dress gloves extending above the wrist.
Gaucho - Wide-legged pants or divided skirt reaching mid-calf and worn with
boots.
Gauze - A thin, sheer plain-weave fabric made from cotton, wool, silk, rayon, or
other manufactured fibers. End-uses include curtains, apparel, trimmings, and
surgical dressings.
Georgette - A sheer lightweight fabric, often made of silk or from such

manufactured fibers as polyester, with a crepe surface. End-uses include
dresses and blouses. It is characterized by crispness, body and outstanding
durability. It is sheer and has a dull face.
Geotextiles - Manufactured fiber materials made into a variety of fabric

constructions, and used in a variety civil engineering applications.
Gingham – A medium-weight, plain-weave fabric with a plaid or check pattern

made from cotton or synthetics fibers. The word is derived from Italian "Ging-
gang" meaning "striped". Medium or fine yarns of varying quality are used to
obtain the checks, plaids, stripes, and plain effects. The cloth is yarn dyed or
printed. The warp and the filling are usually balanced and if checks of two colors,
usually same sequence in both the warp and the filling. It is strong, substantial,
and serviceable. It launders well but low textured, cheap fabric may shrink
considerably unless preshrunk. Has a soft, dull luster surface that wrinkles easily.
Tissue or zephyr ginghams are sheer being woven with finer yarns and a higher
thread count.
Glass Fiber - An inorganic fiber which is very strong, but has poor flexibility and
poor abrasion resistance. Glass will not burn and will not conduct electricity. It is
impervious to insects, mildew, and sunlight. Today, the primary use of glass fiber
is in such industrial applications as insulation or reinforcement of composite
structures.
Grain - Another word used for the length-wise (weft yarn) or the cross-wise /
horizontal (warp yarn) threads of the fabric.
Granada – A twill whose name is derived from the Latin word Granum, which
refers to the grainy quality of the textile. This granular quality is achieved by a
broken twill weave. It is made of a cotton warp and alpaca or mohair filling. This
fiber is exceptionally fine.
Greige Goods (pronounced "gray") - An unfinished fabric, just removed from a

knitting machine or a loom. Loom state of cloth that has not received dry and wet
finishing.
Grenadine - A fine fiber originated in Italy. It can be made in various fibers such
as cotton, wool, silk or synthetics. It is well know for its stiffness and often used
women's clothing.
Gusset - Refers to mattress depth.
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Halter Top - A sleeveless bodice with a high choke or wrap neck that may be
backless.
Hand - The way the fabric feels when it is touched. Terms like softness,
crispness, dryness, silkiness are all terms that describe the hand of the fabric.
Handkerchief Style - The hem of a blouse or skirt that is gently jagged to form
flowing points.
Haute Couture - French (of course) that literally means "high fashion". Haute
couture garments are always one-off, one-of-a-kind. They're extravagant, often
irrational, always unique and totally unaffordable. Famous eco haute couture
designers include Linda Loudermilk, Katharine Hamnet, and Deborah Lindquist.
Heather - A yarn that is spun using pre-dyed fibers. These fibers are blended
together to give a particular look. (For example, black and white may be blended
together to create a gray heathered yarn.) The term, heather, may also be used
to describe the fabric made from heathered yarns.
Hemp - Hemp is a bast fiber that was probably used first in Asia. The fiber is
dark tan or brown and is difficult to bleach, but it can be dyed bright and dark
colorrs. The hemp fibers vary widely in length, depending upon their ultimate use.
Industrial fibers may be several inches long, while fibers used for domestic
textiles are about 3/4 inch to 1 inch (1.9 to 2.54 cm) long. The elongation (1 to 6
percent) is low and its elasticity poor. The thermal reactions of hemp and the
effect of sunlight are the same as for cotton. Hemp is moth resistant, but it is not
impervious to mildew. Coarse hemp fibers and yarns are woven into cordage,
rope, sacking and heavy-duty tarpaulins. In Italy, fine hemp fibers are used for
interior design and apparel fabrics. Hemp is a very durable fiber that holds its
shape. It grows without the use of pesticides, herbicides or chemical fertilizers
and can withstand harsh growing seasons. Hemp cultivation does not exhaust,
but rather continuously fertilizes the soil by shedding its leaves throughout its
growing period. In this way, it actually returns nutrients to the soil, helping to
reduce the energy demand on the Earth. It is also naturally UV resistant and
dries quickly.
Hem Stitching - A decorative stitching along the stitching lines of hems and
borders to create an open weave pattern.
Henequinn - It is obtained from the leaves of the Agave fourcroydes plant, which
is native to Mexico. It is produced by mechanically decorticating the leaves into
strands from 4 to 5 feet.
Henrietta – A twill originally consisting of worsted filling and silk warp. Today, it
can be found in a variety of blends. It has excellent drapability. Its weight and
quality vary with fibers, however, when created with silk and wool it is lustrous
and soft. Often used for dress goods.
Herringbone Twill - A variation on the twill weave construction in which the twill
is reversed, or broken, at regular intervals, producing a zig-zag effect. Named
after the skeleton of the Herring fish as this is what the fiber pattern resembles. It
is usually created in wool and has varying qualities. It is also known as
Arrowhead and is commonly used in suits, top coats and sport coats.
Hickory Cloth – A twill known for its excellent durability. It is warp striped and
comes in a variety of colors. It usually is created with cotton and found in work
clothes.
High Loft - General term for a fiber structure containing more air than fiber. In
general, higher loft retains more warmth.
Hip Pockets - Pockets sewn on the front of a garment at hip height.
Hollywood Waistband - Characterized by a full elasticized back and a side

zipper / button closure.
Homespun - Cotton or wool in plain weave with coarse, rugged yarn. Originally
an undyed woolen cloth spun into yarn and woven in the home, by peasants and
country folk the world over. Has substantial appearance and serviceable
qualities. Homespun is made with irregular, slightly twisted uneven yarns. Has a
spongy feel with a hand-loomed tweedy appearance. Genuine homespun is
produced in a very limited quantity and powerloom cloth is often sold as genuine
homespun. Many qualities of homespun cloth are made but the best is an ideal
rough-and-ready type of cloth.
Honey Comb A float weave made in many fabrics. The name comes from a
French word meaning birds nest. Its patterns are regular and open. Honey comb
fabric is also known as Diamond Weave. It is found in draperies, jackets and
women's clothing.
Hong Kong - A ribbed fabric usually found in plain colors. It comes in a variety of
qualities but the best type is made out of silk.
Hook & Eye Closure - a two-part fastening device consisting of a metal hook
that catches over a bar or into a loop
Hopsacking – Can be made from cotton, wool, linen, rayon, silk, hemp, or jute in
a basket weave and made with coarse yarn. Has a rather rough texture and is
quite durable and often bulky.
Houndstooth – Commonly made with wool with a broken twill weave that has
been woven into an irregular check of a four pointed star.
Houndstooth Check - A variation on the twill weave construction in which a

broken check effect is produced by a variation in the pattern of interlacing yarns,
utilizing at least two different colored yarns.
Huckaback – Made from linen or cotton in a dobby or basket weave. It is strong,

but rough in the surface finish. Has variation in weaves but most have small
squares on the surface that stand out from the background. The motif is made
from a series of floats, some of them rather long, which gives a loose effect in
certain areas. This, if well spaced, acts as a good absorbing agency. Mostly
used for towels.
Hydrophilic Fibers - Fibers that absorb water easily, take longer to dry, and
require more ironing.
Hydrophobic Fiber - Fibers that lack the ability to absorb water.
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Illusion Bodice - A bodice made of sheer material giving the illusion of no

bodice.
Illusion Sleeve - A sleeve made of sheer material giving the illusion of no
sleeve.
Intarsia - A colored design knitted on both sides of a fabric.
Interlining - An insulation, padding, or stiffening fabric, either sewn to the wrong

side of the lining or the inner side of the outer shell fabric. The interlining is used
primarily to provide warmth in coats, jackets, and outerwear.
Interfacing - Fabrics used to support, reinforce and give shape to fashion fabrics
in sewn products. Often placed between the lining and the outer fabric., it can be
made from yarns or directly from fibers, and may be either woven, nonwoven, or
knitted. Some interfacings are designed to be fused (adhered with heat from an
iron), while others are meant to be stitched to the fashion fabric.
Interlock - The stitch variation of the rib stitch, which resembles two separate 1 x
1 ribbed fabrics that are interknitted. Plain (double knit) interlock stitch fabrics are
thicker, heavier, and more stable than single knit constructions.
Ixtle - Made from linen or cotton with a dobby or basket weave. It is strong.
Rough in the surface finish but finer, shinier than cotton huckaback. Has variation
in weaves but most have small squares on the surface that stand out from the
background. It comes in white, colors, or colored borders, and stripes. The motif
is made from a series of floats, some of them rather long, which gives a loose
effect in certain areas. This, if well spaced, acts as a good absorbing agency.
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Jacquard - Woven fabrics manufactured by using the Jacquard attachment on

the loom. This attachment provides versatility in designs and permits individual
control of each of the warp yarns. Thus, fabrics of almost any type or complexity
can be made. Brocade and damask are types of jacquard woven fabrics. The
loom produces elaborate cloth weaves such as tapestries, brocades, and
damask fabrics.
Jacquard Knit - A weft double knit fabric in which a Jacquard type of mechanism
is used. This device individually controls needles or small groups of needles, and
allows very complex and highly patterned knits to be created.
Jersey - The consistent interlooping of wool, worsted, silk, cotton, rayon, and
synthetics yarns in the jersey stitch to produce a fabric with a smooth, flat face,
and a more textured, but uniform back. Jersey fabrics may be produced on
either circular or flat weft knitting machines. Right side has lengthwise ribs
(wales) and wrong side has crosswise ribs (courses). Jersey is very elastic with
good draping qualities and has special crease-resistant qualities due to its
construction. It is knitted plain or has many elaborate tweed designs and fancy
motifs as well as printed designs. It can look very much like a woven fabric.
Jersey wears very well and, if washable, it washes very well. Jersey was first
made on the Island on Jersey off the English coast and used for fisherman's
clothing. Stretch as you sew.
Jersey Fabric - The consistent interlooping of yarns in the jersey stitch to

produces a fabric with a smooth, flat face, and a more textured, but uniform back.
Jersey fabrics may be produced on either circular or flat weft knitting machines.
Jersey Stitch - A basic stitch used in weft knitting, in which each loop formed in
the knit is identical. The jersey stitch is also called the plain, felt, or stockinet
stitch.
Jewel Neck - A high round neckline resting simply at the base of the neck.
Jusi Banana Fabric - Not all Jusi is made out of banana leaves. Some Jusi is
made from silk worm cocoons.
Jute and Burlap

Jute is used in textiles for interiors, especially for wall hangings and a group of
bright, homespun-effect draperies and wall coverings. Natural jute has a yellow
to brown or gray color, with a silky luster. It consists of bundles of fiber held
together by gummy substances that are pectinaceous in character. It is difficult to
bleach, so many fabrics are bright, dark, or natural brown. Jute reacts to
chemicals in the same way as do cotton and flax. It has a good resistance to
microorganisms and insects. Moisture increases the speed of deterioration but
dry jute will last for a very long time. Jute works well for bagging, because it does
not extend and is somewhat rough and coarse. This tends to keep stacks of bags
in position and resist slippage.
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Kangaroo Pocket - A pocket formed by sewing a piece of cloth over the garment
leaving two open ends.
Kapok - A short, lightweight, cotton-like, vegetable fiber found in the seed pods
of the Bombocaceae tree. Because of its brittle quality, it is generally not spun.
However, its buoyancy and moisture resistance makes it ideal for use in
cushions, mattresses, and life jackets.
Kasha (Casha) - Made from either a blend of cashmere and wool or a very fine
wool.
Kenaf - A bast fiber obtained from the Hibiscus cannabinus plant. The stalk of
this plant varies in height from 8 to 12 feet and is about half an inch in diameter.
Kenaf is mostly produced in India and Pakistan but also grows in Africa, South
East Asia, Indonesia, Russia, Mexico, the Philippines, and Cuba. Used as a
substitute for Jute.
Keyhole Neck - A tear shaped or round cutout that fastens at the front or back
neckline.
Kimono - A long Japanese robe with wide sleeves traditionally worn with a broad
sash.
Knit - Fabrics made from only one set of yarns, all running in the same direction.
Some knits have their yarns running along the length of the fabric, while others
have their yarns running across the width of the fabric. Knit fabrics are held
together by looping the yarns around each other. Knitting creates ridges in the
resulting fabric. Wales are the ridges that run lengthwise in the fabric; courses
run crosswise.
Knit-de-knit - A type of yarn texturizing in which a crimped yarn is made by

knitting the yarn into a fabric, and then heat-setting the fabric. The yarn is then
unraveled from the fabric and used in this permanently crinkled form.
Knit Fabrics - Fabrics made from only one set of yarns, all running in the same
direction. Some knits have their yarns running along the length of the fabric,
while others have their yarns running across the width of the fabric. Knit fabrics
are held together by looping the yarns around each other. Knitting creates ridges
in the resulting fabric. Wales are the ridges that run lengthwise in the fabric;
courses run crosswise.
Knitted - Formed by interlacing yarn or thread in a series of connected loops

with needles.
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Lace - An ornamental braid for trimming.
Lambswool - This is the wool that is taken from sheep before they reach the age
of 7 months. It is soft, slippery, resilient and smooth and has superior spinning
properties. It is used in fine grade woolen fabrics.
Lame like glotique - A woven fabric using flat silver or gold metal threads to
create either the design or the background in the fabric.
Latex - Used to provide stretch to fabrics. 100% natural latex contains no
synthetic ingredients. Blended latex, also know as Styrene Butadiene Rubber
(SBR), is produced with petrochemicals and doesn't not have the resilience
properties that 100% natural latex has. In Europe, anything that has at least 20%
natural latex is considered natural.
Lawn - A light, fine cloth made using carded or combed linen or cotton yarns in a
plain weave. The fabric has a crease-resistant, crisp finish. The name derived
from Laon, a city in France, where linen lawn was manufactured extensively. It is
light weight, sheer, soft, and washable. It is crispier than voile but not as crisp as
organdy. When made with fine high count yarns, it has asilky feel. Comes in
white or may be dyed or printed. When made with combed yarns with a soft feel
and slight luster, it is called nainsook.
Leatherette - Simulated leather.
Leno Weave - A construction of woven fabrics in which the resulting fabric is

very sheer, yet durable. In this weave, two or more warp yarns are twisted
around each other as they are interlaced with the filling yarns; thus securing a
firm hold on the filling yarn and preventing them from slipping out of position.
Also called the gauze weave. Leno weave fabrics are frequently used for window
treatments, because their structure gives good durability with almost no yarn
slippage, and permits the passage of light and air.
Light Weight - Having an airy weave. Used as a light weight base layer in
apparel for aerobic activities and cool weather.
Linen - A fabric made from linen fibers obtained from inside the woody stem of
the flax plant. Linen fibers are much stronger and more lustrous than cotton.
Linen fabrics are very cool and absorbent, but wrinkle very easily, unless blended
with manufactured fibers.
Linen (Non-crushable) – A specially treated linen that is washable, durable and

highly resistance to wrinkling. This finish provides greater resilience and
elasticity.
Lining - A fabric that is used to cover the inside of a garment to provide a

finished look. Generally, the lining is made of a smooth lustrous fabric.
Llama – Llamas are found mainly in South America and the color of their hair
may vary from white to brown and black. This fiber has impressive luster and
warmth and is very light weight.
Lock Stitch - A type of stitch consisting of two threads that are interlocked at
short intervals. A lock-stitched terry does not pull easily.
Loft - High loft is thick and fluffy, low loft is thin and dense. The higher the loft,
the better the insulation characteristic.
Longcloth – A soft, high quality cotton and cotton blend fabric with a moderate
luster.
Loom - A machine used for weaving fabrics.
Lycra - A DuPont trademark for its spandex fiber. Any time you see this fiber
listed on a label, expect comfort, movement, and shape retention that won't wash
away. Lycra increases the life of a garment, making it more sustainable. It adds
stretch and versatility and contributes to a wider array of fashion fabrications.
Lyocell Fiber - A manufactured fiber composed of regenerated cellulose. Lyocell

has a similar hand and drape as rayon, but is stronger, more durable, and in
many cases machine washable. It has a subtle luster and is rich in color. Lyocell
possesses low shrinkage characteristics, as well as good absorbency and
wrinkle resistant qualities.
Luster Fabric - Created using warp threads of cotton or synthetic fibers with high
luster such as worsted or mohair yarn.
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Mackinaw – Historically, it was made from an ordinary grade of wool that often
had shoddy re-used or remanufactured wool mixed in. A twill weave where the
weave is concealed. Mackinaw is heavily fulled or felted and napped on both
sides to conceal the weave. Much of the fabric is in a plaid or large check design
or brightly colored, or with different colors on each side. Mackinaw is heavy and
thick, very similar to melton. It is named after MacKinac Island, Michigan and is
also called snow cloth. It was used by miners, lumbermen, hunters, trappers,
fishermen, and cowboys in jackets, mackinaws and coats. It was also used for
blankets, shirts, and some heavy sportswear, and windbreakers. Mackinaw is
another fabric that has been replaced by more modern, lighter and warmer
synthetics and blends.
Macrame – A hand woven and knotted lace originally made in Arabia but later
made in Italy. Macrame was popular during the ‘60s and early 1970s for pot
hangers, curtains, shawls and scarves.
Madras – A lightweight plain weave cotton fabric with a striped, plaid, or checked
pattern. A true madras will bleed when washed. This type of fabric is usually
imported from India. End-uses are men's and women's shirts and dresses.
Generally cotton although can also be made from rayon and silk. Plain weave or
can be a dobby or jacquard weave used for designs. Originated in Madras (now
called Chenia), India and it is a very old cloth. Much of it has a plain colored
background with stripes, plaid, checks, or designs on it. Has a high thread count.
Madras is made with combed or carded yarns depending on the quality. Some is
mercerized to make it lustrous and durable. Often the dyes are not fast and with
each washing, color changes take place.
Maillot - A woman's one-piece bathing suit.
Mandarin Collar - A short, stand-up collar, adopted from the close-fitting Asian
collar.
Marabou - A thrown silk usually dyed in the gum or a fabric made of this silk.
Marble Cloth - Originally made of silk and wool. Today it is produced with natural
and synthetic fibers
Marocain - A ribbed fabric from silk, wool or synthetics with a wavy look,
resembling crepe.
Marquisette - Silk, cotton, rayon, or synthetic fibers in a gauze or lino weave that
is a very lightweight, open, sheer, or mesh fabric. Wears very well and launders
very well. Typically has a swivel dot or clip spot (marquisette).
Marseilles - Named after it's city of origin in France. It is identified by its raised
woven pattern. This double-faced textile has a quilted appearance that is very
elegant. Usually found in white, but other colors can also be used.
Matelasse – French for "cushioned or padded" and is made on a jacquard or

dobby loom, in double cloth weave. This term refers to the type of weave. It is a
triple-woven medium to heavyweight luxury fabric fabric made in a double cloth
construction to create a blistered or quilted surface. The pattern stands out and
gives a "pouch" or "quilted" effect to the goods. Crepe yarn in double weave
shrinks during finishing causing a blistering effect. Gives good wear and drapes
well. If washable, it must be laundered with care. It is very attractive and suits
quite plain styles. Some cotton matelasse is used for bedspreads, dresses,
suits, or ensembles.
Matte - Lacks luster or gloss and has a usually smooth even surface free from
shine or highlights.
Melton - A heavyweight, dense, compacted, and tightly woven wool or wool

blend fabric used mainly for coats.
Mercerization – A finishing process of treating a cotton yarn or fabric, in which

the fabric or yarn is immersed in a caustic soda solution (sodium hydroxide) and
later neutralized in acid. The process causes a permanent swelling of the fiber,
resulting in an increased luster on the surface of the fabric, an increased affinity
for dyes, and increased strength.
Merino - A type of wool that originates from pure-bred Merino sheep. The best
Merino wool comes from Italy.
Mermaid - This skirt hugs the body until it reaches the knees or just below and
then ends in a dramatic flare.
Mesh - A type of fabric characterized by its net-like open appearance, and the
spaces between the yarns. Mesh is available in a variety of constructions
including wovens, knits, laces, or crocheted fabrics.
Metallic Fiber - An inorganic fiber made from minerals and metals, blended and
extruded to form fibers. The fiber is formed from a flat ribbon of metal, coated
with a protective layer of plastic, which reduces tarnishing. Metal used in apparel
fabric is purely decorative.
Microclimate - The temperature and humidity of the space between your skin
and the base layer of clothing.
Microfibers - Generic term for any synthetic fiber finer than silk. Fabrics made
with micro fibers are soft, lightweight, breathable and durable. Currently popular
in outdoor activewear. Fibers made using microfiber technology, produce fibers
which weigh less than 1.0 denier. The fabrics made from these extra-fine fibers
provide a superior hand, a gentle drape, and incredible softness. Comparatively,
microfibers are two times finer than silk, three times finer than cotton, eight times
finer than wool, and one hundred times finer than a human hair. Currently, there
are four types of microfibers being produced. These include acrylic microfibers,
nylon microfibers, polyester microfibers, and rayon microfibers.
Microfleece - A soft, luxorous fabric with a velvety feel.
Microporous - A coating on a fabric that breathes through microscopic pores.
Modacrylic Fiber - A manufactured fiber similar to acrylic in characteristics and

end-uses. Modacrylics have a higher resistance to chemicals and combustion
than acrylic, but also have a lower safe ironing temperature and a higher specific
gravity than acrylic.
Mohair - From the clipped angora goat. Some mohair fabric has a cotton warp
and mohair filling (sometimes called brilliantine). Imitation mohair is made from
wool or a blend. The weave can be plain or twill or knitted. The Angora goat is
one of the oldest animals known to man. It is 2 1/2 times as strong as wool.
Angora goats are raised in South Africa, Western Asia, turkey, and neighboring
countries. Some are in the U.S.A. but give a fabric that is smooth, glossy, and
wiry. The angora goat has long wavy hair. Mohair is also made in a pile fabric of
cut and uncut loops similar to frieze with a cotton and wool back and mohair
pattern. It is similar to alpaca.
Moire - Silk, rayon, or cotton in a plain or crosswise rib weave. It has a

watermarked finish that is fairly stiff with body in most cases. It is produced by
passing the fabric between engraved cylinders which press the design into the
material, causing the crushed and uncrushed parts to reflect the light differently.
The pattern is not permanent, except on acetate rayon.
Moisture Regain - The amount of water a completely dry fiber will absorb from
the air at a standard condition of 70 degrees F and a relative humidity of 65%.
Expressed as a % of the dry fiber weight.
Moisture Transport - The movement of water from one side of a fabric to the
other, caused by capillary action, wicking, chemical or electrostatic action.
Monk's Cloth – Made from wool, cotton, linen, silk, rayon, or synthetics. In a
basket weave. Monk’s cloth is heavy due to its construction. It is difficult to sew
or manipulate as the yarns have a tendency to slide, stretch and fray. It may sag
in time depending on the compactness of the weave. It can also be made in other
basket weaves. Monk’s cloth is rough in texture.
Monofilament - A single filament of a manufactured fiber, usually made in a

denier higher than 14. Monofilaments are usually spun singularly, rather than
extruded as a group of filaments through a spinneret and spun into a yarn. End-
uses include hosiery and sewing thread.
Montagnac - This luxurious textile is soft and lustrous. It is mainly created with
Cashmere or Camel hair.
Mousseline de Soie – A silk muslin that is sheer, open, and lightweight. It is

something like chiffon but with a crisp finish produced by sizing. It does not wear
well and it does not launder. Used in evening wear, and bridal wear.
Muslin - Cotton sheeting fabric with thread count of less than 180 threads per
square inch.
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Nainsook – A fine, lightweight cotton in a plain weave that is produced in the

finishing processes from the same gray goods as used for batiste, cambric, lawn.
Soft and has a slight luster in the better qualities (mercerization). It is slightly
heavier than batiste. Like lawn but not as crisp. Soft, lacks body. Usually found in
white but also comes in pastel colors and some printed. Often tucked or
embroidered, in blouses, night wear, lingerie, and infant's wear.
Nano-fiber - Nano refers to 1 billionth of a meter, or 1 x 10-8 centimeter. 150,000

strands of a nano-fiber can fit across a human hair.
Nano-technology - Complex technology that involves nano-size materials and

combines science such as biology, chemistry and physics and engineering.
Napped Fabrics - Cotton fabrics which have been dry finished by raising fibers
on the surface to produce a fuzzy fur-like feel and appearance created when fiber
ends extend from the basic fabric structure to the fabric surface. The fabric can
be napped on either one or both sides. Cotton flannel is an example.
Natural Fibers - Materials that grow in nature such as cotton, flax, hemp, alpaca,
wool and silk. The processing natural fibers into organic clothing is done with as
few chemicals and harmful impact on the environment as possible.
Natural Waist - A seam or waistband that secures or falls at the natural curve of
the body, which is the indentation between the hips and the ribcage.
Net - An open fabric of silk, rayon, cotton, synthetics, or nylon, that is created by
connecting the intersections in a woven, knitted, or crocheted construction to
form a mesh-like appearance that won't ravel. It is a knotted, mesh fabric made
on a lace machine or gauze or leno weaves in a variety of geometric-shaped
meshes of different sizes and weights. It is very open and light. It forms the
foundation for a great variety of laces, curtains, millinery, fancy pillows, trims,
evening and bridal wear.
Ninon - A lightweight, plain weave, made of silk or manufactured fibers, with an

open mesh-like appearance. Since the fabric is made with high twist filament
yarns, it has a crisp hand. End uses include eveningwear and curtains.
Nonwoven Fabric - Fabrics made directly from individual fibers that are matted
together by forming an interlocking web of fibers either mechanically (tangling
together) or chemically (gluing, bonding, or melting together).
Nylon - The first completely synthetic fiber developed in 1938. Known for its high
strength and excellent resilience, nylon has superior abrasion resistance and
high flexibility. Known for its high strength and excellent resilience, nylon has
superior abrasion resistance and high flexibility.
Nytril - A manufactured fiber, most often used in sweaters or pile fabrics, where
little or no pressing is recommended, as the fiber has a low softening or melting
point. However, it has also been successfully used in blends with wool for the
purpose of minimizing shrinkage and improving the shape retention in garments.
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Off-The-Shoulder Neck - A neckline that lies gently hovering across the top of
the bust-line with the shoulders uncovered or able to be seen through the sheer
yoke of net or organza attached to a high collar.
Oilcloth - Originally, textiles such as cotton were coated in oil to create

resistance to moisture. Now, resins from plastics are used instead of oil. Olefin is
a very versatile fiber with excellent flexibility. In the past, oilcloth was used for
waterproof garments. Oilcloth is another historical fabric that has been replaced
by synthetics and more modern fabrics.
Olefin (also known as polyolefin and polypropylene) - A manufactured fiber

characterized by its light weight, high strength, and abrasion resistance. Olefin is
also good at transporting moisture, creating a wicking action. End-uses include
activewear apparel, rope, indoor-outdoor carpets, lawn furniture, and upholstery.
Ondule - The name is derived from a French word meaning wavy. This wavy
effect is created by weaving the warp irregularly. It is created in silk, cotton and
manufactured fibers.
Organdy – Plain cotton made with tightly twisted yarns. Crispness is due to a
finish with starch and calendaring which washes out, or a permanent crispness
obtained with chemicals (Heberlein process). Organdy wrinkles badly unless
given a wrinkle-free finish (bellmanizing). May be bleached, dyed, printed,
frosted, flocked, embroidered, or plisse.
Organza - A crisp, sheer, lightweight plain-weave fabric, with a medium to high

yarn count, made of silk, rayon, nylon, or polyester. The fabric is used primarily in
evening and wedding apparel for women. It has a very wiry feel. It crushes or
musses fairly easily, but it is easily pressed. Organza is a dressy type of fabric
that sometimes has a silvery sheen.
Osnaberg - A medium to heavyweight coarse fabric that is characterized by its

strength and durability. May or may not be treated with a finish. If it is finished, it
is also know as Hopsacking or Crash.
Ottoman – Originated in Turkey, this is a tightly woven, plain-weave, ribbed

fabric with a hard, slightly shiny surface. The ribbed effect is created by weaving
a finer silk or manufactured warp yarn with a heavier filler yarn, usually made of
cotton, wool, rayon or waste yarn that is completely covered by the warp yarn,
thus creating the ribbed effect. It is characterized by horizontal ribs and is
heavier in weight and with a larger rib than both faille and bengaline. It has very
pronounced flat ribs in the filling direction. Ribs are made by a cotton, worsted,
silk, or rayon filling which does not show on either the face or the back, because
the warp covers the filling entirely. It is called Ottoman Cord or Ottoman rib when
a warp rib is employed. Fabric is stiff and cannot be gathered or shirred. Like
other ribbed fabrics, it has a tendency to slip at the seams and crack, so it cannot
be fitted too tightly. Another type of Ottoman with heavy ribbing is also found in
Satin Weave.
Oxford – Cotton, or sometimes rayon in a plain weave. Warp has two fine yarns
which travel as one and one heavier softly-spun bulky filling which gives it a
basket-weave look. Better qualities of oxford cotton are mercerized. It is a rather
heavy fabric that is usually all white but some has a spaced stripe in the warp
direction. Oxford launders very well but soils easily. When made with yarn dyed
warp and white weft, it is called oxford chambray. The one remaining commercial
shirting material made originally by a Scotch mill which bore the names of four
Universities - Oxford, Cambridge, Harvard, and Yale. Well known for men's
shirts, but is also used for summer jackets, shirts, skirts, dresses, and
sportswear.
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Paisley - A tear-drop shaped, fancy printed pattern, used in dresses, blouses,

and men's ties.
Panne - French word meaning plush. It resembles velvet but has a much longer
pile. It has high luster and is made in silk, silk blends or with synthetics.
Panné Velvet - A type of lustrous, lightweight velvet fabric, usually made of silk
or a manufactured fiber, in which the pile has been flattened in one direction.
Pearlized - Given a pearlescent surface or finish.
Peasant Top - Romantic style often characterized with a low neckline, ruffles, or
free flowing material.
Peau de Cynge - The name comes from a French phrase that means "swam
skin". Crepe yarns are woven to create a silk textile with high luster and a slightly
slubbed texture with good body.
Peau de Peche - The name comes from a French phrase meaning "skin of
peach". This textile has a soft nap that is acquired after a finishing process.
Peau de Soie - A heavy twill weave drapeable satin fabric, made of silk or a
manufactured fiber, and used for bridal gowns and eveningwear.
Peau Satin – Satin fabric of silk or a manufactured fiber that is woven in a heavy
twill weave. The fabric is easily draped and used for bridal gowns and evening
wear.
Peek-a-boo - Any part of the garment which has been cut out to reveal skin.
Pekin - A high quality fabric characterized by its vertical stripes of identical width
that have equal widths between them. It consists of cotton, wool, silk, or
elaborate velvet stripes that are separated by satin.
Percale – Plain, medium weight, cotton weave of a medium weight that is firm,
smooth, with no gloss. Warps and washes very well. It is made from both carded
and combed yarns. Percale sheeting is the finest sheeting available and is made
of combed yarns and has a count of 200 - carded percale sheeting has a count of
180. It has a soft, silk-like feel. The thread count ranges usually from 180-100.
Performance Fabrics - Fabrics made for a variety of end-use applications,

which provide functional qualities, such as moisture management, UV protection,
anti-microbial, thermo-regulation, and wind/water resistance.
Petticoat - An underskirt usually a little shorter than the outer clothing and often
made with a ruffled, pleated or lace edge.
Picot - A narrow row of dainty, woven loops along the selvage of fabric or lace
produced to create an edge or a finished flange.
Pieced - A look created by sewing several pieces of material together to form the
garment, much like a quilt.
Pile Knit - A type of knit construction which utilizes a special yarn or a sliver that
is interlooped into a standard knit base. This construction is used in the formation
of imitation fur fabrics, in special liners for cold weather apparel such as jackets
and coats, and in some floor coverings. While any basic knit stitch may be used
for the base of pile knits, the most common is the jersey stitch.
Pile Weave - A type of decorative weave in which a pile is formed by additional

warp or filling yarns interlaced in such a way that loops are formed on the surface
or face of the fabric. The loops may be left uncut, or they may be cut to expose
yarn ends and produce cut pile fabric.
Pill - A tangled ball of fibers that appears on the surface of a fabric, as a result of
wear or continued friction or rubbing on the surface of the fabric. Occurs as a
result of fibers loosening from the fabric surface to form balls of matted fiber
particles.
Pinafore - Originally used to protect dresses from dirt, it was adopeted as a

fashion piece and worn as a sleeveless dress or over a blouse.
Pique - Cotton, rayon, or synthetic fabrics in a lengthwise rib, English crosswise

rib or cord weave that creates a stiff, durable ribbed fabric with an embossed
pattern produced by a double warp thread. Originally was a crosswise rib but
now mostly a lengthwise rib and the same as bedford cord. Ribs are often filled
to give a more pronounced wale (cord weave). Comes in medium to heavy
weights and is generally made of combed face yarns and carded stuffer yarns. It
is durable and launders well, but wrinkles badly unless given a wrinkle-free finish.
It also comes in different patterns besides wales. Some of the patterns are
birdseye (small diamond), waffle (small squares), honeycomb (like the design on
honeycomb honey). When the fabric begins to wear out it wears at the corded
areas first.
Placket - The piece of cloth that reinforces a split or opening in a garment.

Usually also serves as the closure.
Plain Weave - A basic weave, utilizing a simple alternate interlacing of warp and
filling yarns. Any type of yarn made from any type of fiber can be manufactured
into a plain weave fabric.
Plaited Fabric - A narrow fabric made by crossing a number of sturdy yarns

diagonally, so each strand passes alternatively over or under one or more of the
other stands. Typically used in shoe laces and suspenders.
Plaited Yarn - A yarn covered by another yarn.
Plied Yarn - A twisting together of two or more single yarns in one operation.
Plisse - Cotton, rayon, and other fabrics that have been treated with a caustic
soda solution which shrinks parts of the goods either all over or in stripes giving a
blistered effect that is similar to seersucker in appearance. Produced by a wet
finishing treatment, this fabric has the look of woven seersucker, similar to crepe.
This crinkle may or may not be removed after washing. This depends on the
quality of the fabric. It does not need to be ironed, but if a double thickness, such
as a hem, needs a little, it should be done after the fabric is thoroughly dry.
Plush - Velvet or velveteen where the pile is 1/8" thick or more. e.g. Cotton
velour, hat velour, plush "fake furs".
Pointelle - Very feminine, delicate-looking, rib-knit fabric made with a pattern of

openings.
Point d'esprit – Cotton, and sometimes silk, in a Leno, gauze, knotted, or mesh
weave. First made in France in 1834, it has a dull surfaced net with various
sized holes. Has white or colored dots individually spaced or in groups.
Polyester - A manufactured fiber introduced in the early 1950s, and is second

only to cotton in worldwide use. Polyester has high strength (although somewhat
lower than nylon), excellent resiliency, and high abrasion resistance. Low
absorbency allows the fiber to dry quickly.
Polypropylene (also known as polyolefin and Olefin) - A manufactured fiber

characterized by its light weight, high strength, and abrasion resistance.
Polypropylene is also good at transporting moisture, creating a wicking action.
End-uses include activewear apparel, rope, indoor-outdoor carpets, lawn
furniture, and upholstery.
Pongee - Silk, cotton, or rayon in a plain weave that was woven "in the gum".
Originally from China and woven on hand looms in the home. It is light or
medium weight and tan or ecru in color. Some is dyed, but color is not quite
uniform. The warp is finer and more even than filling. The nubs or irregular cross
ribs are produced by uneven yarns. It is woven from wild tussah silk and it is a
"raw silk".
Poplin - A cotton or wool fabric made using a crosswise rib variation of the plain
weave. The construction is characterized by having a slight ridge effect in one
direction, usually the filling. The filling is cylindrical with two or three times as
many warp as weft per inch. Has a more pronounced filling effect than
broadcloth. It is mercerized and has quite a high luster. It may be bleached, or
dyed (usually vat dyes are used) or printed. Heavy poplin is given a water-
repellent finish for outdoor use. Poplin was originally made with silk warp and a
heavier wool filling. American cotton broadcloth shirting is known as poplin in
Great Britain.
Press Mark - Undesirable shining lines on the outside of the garment due to
incorrect ironing.
Princess Seams - Seams that can be found in the front or the back of a garment
that create a form-fitting shape.
Provence – This is a plain woven cotton with a typed style of printing which
characterizes the countryside of Provence in French country.
Puckered bodice - Usually associated with tube tops, it provides a scrunchy

look.
Puff Sleeve / Pouf Sleeve - A full sleeve of varying lengths, created by generous
gathering around the armhole.
Purl Stitch - A basic stitch used in weft knitting, which produces knit fabrics that
have the same appearance on both sides. The purl stitch is frequently used in
combination with the jersey and rib stitches to produce a knitted fabric design.
Sweaters, knitted fabrics for infants and children's wear, knitted fabrics for
specialized sportswear, and bulky knit fabrics are commonly made using the purl
stitch.
Pyrenees – A wool fabric made in France from the wool of Pyrenees’ flocks of
sheep. The Pyrenees are a mountain chain between France and Spain. The
fabric is well known because it is a high quality fabric which keeps warm.
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Quilting - A fabric construction in which a layer of down or fiberfill is placed

between two layers of fabric, and then held in place by stitching or sealing in a
regular, consistent, all-over pattern on the goods.
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Radium - Originated in Lyons France. It has high luster and is smooth and soft.
Ramie - A natural woody fiber, similar to flax, taken from the stalk of a plant
grown in China. Also know as rhea and China grass, it is obtained from a tall
shrub grown in South-east Asia. China, Japan, and southern Europe. The fiber is
stiff, more brittle than linen, and highly lustrous. It can be bleached to extreme
whiteness. Ramie fibers are long and very fine. They are white and lustrous and
almost silk-like in appearance. The strength of ramie is but elastic recovery is low
and elongation is poor. Ramie lends itself to general processing for textile yarns,
but its retting operation is difficult and costly, making the fiber unprofitable for
general use. When combed, ramie is half the density of linen, but much stronger,
coarser, and more absorbent. It has permanent luster and good affinity for dyes
and is affected little by moisture. Ramie is used as filling yarn in mixed woolen
fabrics, as adulteration with silk fibers, and as a substitute for flax. The China-
grass cloth use by the Chinese is made of Ramie.
Raschel Knit - A warp knitted fabric in which the resulting knit fabric resembles
hand crocheted fabrics, lace fabrics, and nettings. Raschel warp knits contain
inlaid connecting yarns in addition to columns of knit stitches.
Ratine - Originated in Italy but is a French word that means rough. This fiber has
an uneven, pebbled surface. It comes in solid colors and prints and is usually
made from silk, cotton or wool.
Rayon - A manufactured fiber composed of regenerated cellulose, derived from
wood pulp, cotton linters, or other vegetable matter.
Re-embroidered - To outline a design (as on lace) with embroidery stitching.
Repellency - The ability of a fabric to resist such things as wetting and staining
by water, stains, soil, etc.
Resiliency - The ability of a fabric to spring back to its original shape after being
twisted, crushed, wrinkled, or distorted in any way.
Rhinestoned - To attach a colorless imitation stone of high luster made of glass,

paste, or gem quartz.
Ribbed - To form vertical ridges in knitting.
Ribboned - Ribbon lace is made by stitching ribbon onto mesh or net fabrics.
The design is usually a random pattern rather than floral.
Rib knit - A basic stitch used in weft knitting in which the knitting machines
require two sets of needles operating at right angles to each other. Rib knits have
a very high degree of elasticity in the crosswise direction. This knitted fabric is
used for complete garments and for such specialized uses as sleeve bands, neck
bands, sweater waistbands, and special types of trims for use with other knit or
woven fabrics. Lightweight sweaters in rib knits provide a close, body-hugging fit.
Rib Weave - One of the plain weave variations, which is formed by using: 1)
heavy yarns in the warp or filling direction, or 2) a substantially higher number of
yarns per inch in one direction than in the other, or 3) several yarns grouped
together as one. Rib fabrics are all characterized by having a slight ridge effect in
one direction, usually the filling. Such fabrics may have problems with yarn
slippage, abrasion resistance, and tear strength. Examples of this construction
include broadcloth, poplin, taffeta, faille, shantung, and cord fabric.
Rip-stop Nylon - A lightweight, wind resistant, and water resistant plain weave
fabric. Large rib yarns stop tears without adding excess weight to active
sportswear apparel and outdoor equipment such as sleeping bags and tents.
Fabric woven with double thread at regular intervals to create small squares that
prevent tears from spreading. Usually made from nylon or polyester and used in
packs, sleeping bags, tent sand gear.
Romaine - A lightweight textile with a low thread count that is lustrous and has
an uneven textural appearance. It was originally made of silk but is found today
in wool, silk, rayon, acetate and other synthetics.
Romper - A one-piece garment with the lower part shaped like bloomers.
Ruche - Fluted or crimped lace or gauze, used as a trimming.
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Sailcloth - A strong canvas of cotton, linen, or nylon in a plain weave,

sometimes with a crosswise rib. The weights vary, but most often the count is
around 148 x 60. Able to withstand the elements (rain, wind and snow). Sailcloth
for clothing is sold frequently and is much lighter weight than used for sails.
Historically used in sails, awnings, and all kinds of sportswear for men, women,
and children.
Sanforized - A process to preshrink fabric. Fabrics with this trademark should

never shrink more than 1%.
Sanglier – French for wild boar. It was named for its texture which is compact
and wiry. It also has a very rough finish. It is usually created with mohair and
worsted fibers.
Saran Fiber - A manufactured fiber which has an excellent resistance to sunlight

and weathering, and is used in lawn furniture, upholstery, and carpets.
Sarong Skirt - Long cloth which is wrapped around the entire body.
Sateen – Cotton or rayon in a filling-face weave. A weave construction for

mercerized cotton fabrics, which produces a lustrous and smooth surface with
the sheen in a filling direction. Carded or combed yarns are used. Better qualities
are mercerized to give a higher sheen. Some are only calendered to produce the
sheen but this disappears with sashing and is not considered genuine sateen.
May be bleached, dyed, or printed. Difficult to make good bound buttonholes on it
as it has a tendency to slip at the seams. Used in dresses, sportswear, blouses,
robes, pijamas, linings for draperies, and bedspreads.
Sateen Fabric - A fabric made from yarns with low luster, such as cotton or other
staple length fibers. The fabric has a soft, smooth hand and a gentle, subtle
luster. Sateen fabrics are often used for draperies and upholstery.
Sateen Weave - A variation of the satin weave, produced by floating fill yarns
over warp yarns.
Satin - A traditional fabric utilizing a satin weave construction to achieve a

lustrous fabric surface. Satin is a traditional fabric for evening and wedding
garments. Typical examples of satin weave fabrics include: slipper satin, crepe-
back satin, faille satin, bridal satin, moleskin, and royal satin. Traditionally made
from silk, satin can also be made from rayon and synthetics. It originated in
China (Zaytoun, China - now Canton - a port from which satins were exported
during the Middle Ages). It became known in Italy during the XIIth, and XIIIth
Centuries and in England by the XIVth Century. It became a favorite of all court
life because of its exquisite qualities and feel. It usually has a lustrous surface
and a dull back. The luster is produced by running it between hot cylinders. It is
made in many colors, weights, varieties, qualities, and degrees of stiffness. A
low grade silk or a cotton filling is often used in cheaper cloths.
Satin (Double-Faced Satin) - Yarn woven with two warps and one filling, to
simulate a double satin construction. Has satin on both sides. Cotton filling is
often used in cheaper qualities.
Satin (Duchesse Satin) - This form of satin has a wonderful luster and a smooth
feel with a thread count is very high. As the name implies, it is used in fine
women's wear. Very fine yarns are used, particularly in the warp with more
ends/inch than picks. It is characterized by a grainy twill on back.
Satin (Peau de Soie) – A soft, satin-face, good quality cloth with a dull luster. It
has a grainy appearance, and is a characteristic in the cloth which may have a
single or double face construction. Fine close ribs are seen in the filling direction.
With the best grades, the fabric can be used on either side. Lower qualities are
finished on one side only. Name means "skin of silk". Some cloth sold as peau
de soie is really a de-lustered satin. It doesn't have the grainy appearance.
Because of crosswise rib, the fabric is difficult to ease. Also sold as "de-lustered
satin".
Satin-back
Satin on one side and anything on the other. For example, very good velvet
ribbon has velvet on one side and satin on the other.
Satin Faconne – A jacquard figured fabric with an all-satin weave background.

Various types of striping effects are obtained.
Satin Weave - A basic weave, characterized by long floats of yarn on the face of
the fabric. The yarns are interlaced in such a manner that there is no definite,
visible pattern of interlacing and, in this manner, a smooth and somewhat shiny
surface effect is achieved. The shiny surface effect is further increased through
the use of high luster filament fibers in yarns which also have a low amount of
twist. A true satin weave fabric always has the warp yarns floating over filling
yarns.
Scalloped Edge - A border that contains continuous curves finished with

bourdon stitching.
Scoop Neck / Round Neck - A low, U-shaped or round neckline.

Seamless Knitting - A unique process of circular knitting, done on either Santoni
or Sangiacomo knitting machines. This circular knitting process essentially
produces finished garments with no side seams, which require only minimal
sewisng to complete the garment. Seamless knitting can transform yarn into
complete garments in a fraction of the time it takes for traditional garment
manufacturing, by minimizing the traditional labor-intensive steps of sutting and
sewing.
Seersucker - A woven fabric of cotton, rayon or synthetics which incorporates

modification of tension control. In the production of seersucker, some of the warp
yarns are held under controlled tension at all times during the weaving, while
other warp yarns are in a relaxed state and tend to pucker when the filling yarns
are placed. The result produces a puckered stripe effect in the fabric. The term
is derived from the Persian "shirushaker", a kind of cloth, literally "milk and
sugar". Colored stripes are often used. It has a dull surface and comes in
medium to heavy weights. The woven crinkle is produced by alternating slack
and tight yarns in the warp for a permanent effect. The crinkle effect can also be
produced by pressing or the use of chemicals, which is not likely to be permanent
- called plisse. It is durable and will wear for years. It may be laundered without
ironing. Can be bleached, yarn dyed, or printed. Some comes in a check effect.
Often used in summer suits for men, women, and children, coats, uniforms, trims,
nightwear, all kinds of sportswear, dresses, blouses, children's wear of all kinds,
curtains, bedspreads, slipcovers.
Selvage or Selvedge - The thin compressed edge of a woven fabric which runs
parallel to the warp yarns and prevents raveling. It is usually woven, utilizing
tougher yarns and a tighter construction than the rest of the fabric.
Serge - A fabric with a smooth hand that is created by a two-up, two-down twill
weave.
Serging -An overcasting technique done on the cut edge of a fabric to prevent
raveling.
Serpentine Crepe – Has a filling with a twisted thread which creates a crepe
effect. The size of the crepe thread determines the texture.
Sequined - Ornamented with a small plate of shining metal or plastic.
Shantung - A medium-weight, plain-weave fabric in cotton, silk, rayon or

synthetics, characterized by a ribbed effect, resulting from slubbed yarns used in
the warp or filling direction. End-uses include dresses and suits. It is a raw silk
made from Tussah silk or silk waste, depending on the quality. It is quite similar
to pongee, but has a more irregular surface, heavier, and rougher. Most of the
slubs are in the filling direction. It wrinkles easily and abundantly. Underlining
helps to prevent this as well as slipping at the seams. Do not fit too tightly, if long
wear is expected. Comes in various weights, colors and also printed.
Shadowy Organdy – A lightweight, crisp and sheer fabric. The shadowy effect is
produced by printing one color repeatedly upon itself itself.
Sharkskin – A hard-finished, low lustered, medium-weight fabric in a twill-weave

construction. It is most commonly found in men's worsted suitings; however, it
can also be found in a plain-weave construction of acetate, triacetate, and rayon
for women's sportswear. Made from rayon (acetate) and synthetics (particularly
Arnel) in a plain or twill weave. It has a heavy, semi-crisp texture and is very
smooth and slippery with a flat look. It is mostly made in white but sometimes
colored. It wears well and launders well particularly in Arnel. It a tendency to turn
yellow with age, but the Arnel remains pure white. It has been used for summer
wear.
Shatush - This is one of the finest textiles. It is created from white, silver or gray
hair of wild goats. The supply of this hair is very limited so the textile is very rare
and it is one of the most expensive fabrics in the world.
Shawl Collar - A one-piece collar which is turned down to form a continuous line
around the back of the neck to the front.
Sheer - Any very light-weight fabric such as chiffon, georgette, voile, or sheer
crepe. They usually have an open weave and feel cool.
Sheers (Triple Sheers) - Heavier and flatter than sheers and almost opaque.
Many are made from "Bemberg", which wears, drapes, and washes well.
Shelf Bra - A bra that is built right into the garment. Used often in exercise
clothing for ladies.
Shrinkage - The contraction of a fiber, yarn or fabric after washing and drying.
All products made of natural fibers have a tendency to shrink 4%-8%.
Shrug - A woman's small, waist-length or shorter jacket.
Silhouette - Dark shaded profile portrait outline of any garment.
Silk – A fiber produced by the silkworm Bombyx mori, also known as the
mulberry silkworm, with which the worm weaves its cocoon. One of the finest
textiles, silk is soft, has a brilliant sheen, and is very strong and absorbent. A
luxurious fabric, silk is lush to the touch and drapes beautifully on the body. It is
sensitive to sunlight as well as perspiration and must be carefully laundered.
While silk is essentially organic, standards are being developed for organic
certification of silk.
Silk (Degummed Silk) - By boiling the silk in hot water, the gum (sericin) is
removed from the yarn/fabric. By doing this, the luster of the silk is enhanced. It
is very lightweight.
Silk (Honan) - The best grade of wild silk and is similar to "pongee" but finer. It
is made from wild silkworms raised in the Honan area of China and is the only
wild type that gives even dyeing results. Do not fit too tightly.
Silk (Illusion) - A gauze weave or made on bobbinet machine or knotted. It is a

very fine, all-silk tulle which originated in France. It has a cobweb appearance
and used in wedding gown veils and trimmings.
Silk (Lame) - Silk or any textile fiber in which metallic threads are used in the
warp or the filling. Lame is also a trade mark for metallic yarns. French for
"trimmed with leaves of gold or silver". Often has pattern all over the surface. The
shine and glitter of this fabric makes it suitable for dressy wear.
Sisal - A strong bast fiber that originates from the leaves of the Agave plant,
which is found in the West Indies, Central America, and Africa. End-uses include
cordage and twine. One of a group of fibers obtained from the leaves of a plant
that belongs to the Agave family and is raised in Mexico, especially in the
Yucatan peninsula. The fiber is also cultivated in Africa, Java, and some areas of
South America. Sisal can be dyed bright colors, by means of both cotton dyes
and acid dyes normally used for wool.
Skant - Pants that have a sweater-like attachment around the waist.
Skort - Shorts that have a front covering to resemble a skirt.
Smart Textiles - Textiles that can sense and react to changes in the
environment, such as changes from mechanical , thermal, chemical, magnetic
and other sources.
Solution-dyed - A type of fiber dyeing in which colored pigments are injected

into the spinning solution prior to the extrusion of the fiber through the spinneret.
Fibers and yarns colored in this manner are color-fast to most destructive agents.
Soy – A new fabric with a silky feel that is produced from the soy bean plant.
Spaghetti Strap - A thin tubular strap that attaches to the bodice. Named for its
likeness to a strand of spaghetti.
Spandex - A manufactured elastomeric fiber that can be repeatedly stretched

over 500% without breaking, and will still recover to its original length. Spandex
increases the life of a garment, making it more sustainable. It adds stretch and
versatility and contributes to a wider array of fashion fabrications. Lycra is the
same as spandex.
Spinneret - A metal nozzle type device with very fine holes used in the spinning
process of manufactured fibers. The spinning solution is forced or extruded
through the small holes to form continuous filament fibers. The holes in the
spinneret can vary in diameter to produce fibers of various denier.
Split Neck - A round neckline that looks like it have been cut in the center to
form a small "V".
Spot Weave - A woven construction in which patterns are built in at spaced

intervals through the use of extra warp and/or extra fill yarns are placed in
selected areas. These yarns are woven into the fabric by means of a dobby or
Jacquard attachment.
Spun Rayon – A rayon that is spun to look like cotton or wool. It is made with
staple fibers in a continuous strand to give this effect. It wears well and is
washable. Made in different weights and comes in plain colors and prints. Has
soft, fuzzy surface and blends well with cotton.
Spun Yarn - A yarn made by taking a group of short staple fibers, which have
been cut from the longer continuous filament fibers, and then twisting these short
staple fibers together to form a single yarn, which is then used for weaving or
knitting fabrics.
Square Neck - An open-yoke neckline shaped in the form of a half square.
Staple Fibers - Short fibers, typically ranging from 1/2 inch up to 18 inches long.
Wool, cotton, and flax exist only as staple fibers. Manufactured staple fibers are
cut to a specific length from the continuous filament fiber. Usually the staple fiber
is cut in lengths ranging from 1-1/2 inches to 8 inches long. A group of staple
fibers are twisted together to form a yarn, which is then woven or knit into fabrics.
Straight Legs - Pant legs cut an equal width from the waist to the ankle.
Suede – Suede leather with a napped surface. Suede fabric is made from wool,
cotton, rayon, synthetics and blends in a plain, twill, or knitted that is napped on
one side to resemble suede leather. The short, close nap gives a soft, smooth
hand. When made in cotton, it resembles duvetyne, but heavier.
Sunn – A bast fiber obtained from the Crotalaria juncea plant. The fibers grow
from 4 to 5 feet long and are retted and prepared like other bast fibers. Sunn
contains over 80% cellulose and is highly resistant to moisture and meldew. This
fiber is mainly produced in India although small amounts are grown in Uganda. It
is mainly used for cordage, rug yarns, and paper. In India it is also used for fish
nets and is sometimes used as a substitute for jute in bagging cloths.
Surah – A light weight, lustrous twill weave constructed fabric with a silk-like
hand. Surah is the fabric of ties, dresses, and furnishings. It is available in silk,
polyester, and rayon. A silk, rayon, or synthetic fiber woven in a twill (2 up and 2
down) that is soft and flexible, lightweight and lustrous. It has a noticeable twill
on the fabric and wrinkles easily. Underlining can help to prevent wrinkling, as
well as to prevent slipping at the seams. Some have a tendency to water spot. It
is very similar to "foulard", but heavier.
Sustainable Clothing - Sustainable clothing and sustainable fashion is very

subjective. Clothing that reduces the environmental impact. Clothing that
supports and nourishes the earth and the lives of all people involved in the
processes of growing, manufacturing and distributing the clothing. Reuse and
recycling, organic fibers, Free Trade worker conditions, and animal welfare are
important principles for sustainable clothing and fashion, but it isn't necessary to
have them all together.
Sweetheart Neck - A graceful, open yoke, shaped like the top half of a heart.
Synthetics – Fabrics that are not from natural origins. Synthetics include
manmade polyesters and polyvinyl fiber derivatives such as Acrylic, Nylon and
Spandex that have been synthesized from petroleum and carbon derivatives.
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Taffeta - A lustrous, medium-weight, plain-weave fabric with a slight ribbed

appearance in the filling (crosswise) direction made from silk, rayon or synthetics.
For formal wear, taffeta is a favorite choice. It provides a crisp hand, with lots of
body. Silk taffeta gives the ultimate rustle, but other fibers are also good choices.
It is a cloth supposed to have originated in Iran (Persia) and was called "taftah",
meaning a fine silk fabric. In the 16th century, it became a luxury for women's
wear. It is made in plain colors, fancy prints, watered designs, and changeable
effects. It is smooth with a sheen on its surface. The textures vary considerably.
They have a crispness and stiffness. Taffeta in silk will not wear as long as other
high quality silks, since weighting is given the fabric to make it stiff. If it is
overweighted, the goods will split or crack.
Taffeta (Faille) - Made with a crosswise rib weave and has a distinct rib effect
and is usually quite heavy and firm.
Taffeta (Paper) - Plain weave, very light in weight and treated to give a crisp,
paper-like finish.
Taffeta (Pompadour) - Originally executed in silk and often has large floral
designs in velvet or pile on a Taffeta ground. Occasionally stripes are used
instead of flowers. Today it is made with manufactured fibers.
Taffeta (Shot) - Usually plain weave in one color in the warp and another color in
the filling, which gives the fabric an iridescent look. This color changes as the
fabric is moved in the light. Shot taffeta is the silk version of chambray.
Taffeta (Tissue) - Plain weave, very light weight and transparent.
Taffeta (Warp-print) - Usually a plain weave, the warp yarns are printed before
the filling is inserted. The fabric has a very fuzzy design when design is distorted
as fabric is woven.
Tagua Nut - Used as a substitute for plastic buttons, the Tagua nut is a
sustainable commodity harvested by the indigenous people of the rainforest.
Tank Top - A short, sleeveless top with wide armholes.
Tankini - A two piece bathing suit with the upper portion resembling a tank top.
Tapered Legs - Pant legs that become progressively narrower toward the ankle.
Tea Length - A gown hemmed to end at the shin.
Tencel - A trademark of Courtaulds for a high-performance fiber used to make

soft, beautifully draping rayon fabrics. It is a strong, easy-care fabric made of
cellulose extracted from wood pulp that is harvested from replenished tree farms.
It's environmentally sensitive and washable. This elegant eco-fiber is derived
using a non-toxic process, which spins it into a buttery-soft machine washable
textile, both luxurious and upscale. Tencel is 100% biodegradable, durable,
dyeable, and machine washable/dryable. It is elegant and ultra-soft, offering an
incredible drape and versatility.
Tension Control Weave - A type of decorative weave, characterized by a

puckered effect which occurs because the tension in the warp yarns is
intentionally varied before the filling yarns are placed in the fabric.
Terry - A woven fabric, usually cotton or maybe linen, with loop pile on one or
both sides. Pile, also jacquard and dobby combined with pile. It has either all
over loops on both sides of the fabric or patterned loops on both sides. It is
formed with an extra warp yarn. Long wearing, easy to launder and requires no
ironing. May be bleached, dyed, or printed. Better qualities have a close, firm,
underweave, with very close loops. Terry is very absorbent, and the longer the
loop, the greater the absorbency. When the pile is only on one side, it is called
"Turkish toweling". Commonly used in towels, beachwear, bathrobes, all kinds of
sportswear, children's wear, slip covers, and draperies.
Terry Cloth - Type of cloth that has uncut loops on the pile. A typical uncut pile
weave fabric. This fabric is formed by using two sets of warp yarns. One set of
warp yarns is under very little tension; when the filling yarns are packed into
place, these loose yarns are pushed backward along with the filling yarns, and
loops are formed. Typical uses include towels, robes, and apparel.
Terry Velour - A pile weave cotton fabric with an uncut pile on one side and a
cut pile on the reverse side. Terry velour is valued for its soft, luxurious hand.
Typical uses include towels, robes, and apparel.
Thread Count - The number of yarns per square inch in a woven fabric (warp
yarn x weft yarn per sq. inch). The higher the count the finer the fabric.
Ticking - A tightly woven, very durable fabric, usually made of cotton, and used
for covering mattresses, box springs, pillows, and work clothes. The fabric can be
made by using a plain, satin, or twill weave construction.
Ticking - Cotton twill that is very tightly woven with more warp than filling yarns.
It is very sturdy and strong, smooth and lustrous. Usually has white and colored
stripes, but some patterned (floral). Tiking can be made water-repellent, germ
resistant, and feather-proof. Uses include pillow covers, mattress coverings,
upholstering and some sportswear. "Bohemian ticking" has a plain weave, a very
high texture, and is featherproof. It has a lighter weight than regular ticking and
is patterned with narrow colored striped on a white background or may have a
chambray effect by using a white or unbleached warp with a blue or red filling.
Tie-Cinched Waist - The waist is pulled tight around the body with a tie.
Tri-acetate - A manufactured fiber, which, like acetate, is made by modifying

cellulose. Tri-acetate is less absorbent and less sensitive to high temperatures
than acetate. It can be hand or machine washed and tumble dried, with relatively
good wrinkle recovery.
Tricot – A warp knit fabric of silk, rayon, or synthetics in which the fabric is
formed by interlooping adjacent parallel yarns. The warp beam holds thousands
of yards of yarns in a parallel arrangement, and these yarns are fed into the
knitting area simultaneously. Sufficient yarns to produce the final fabric width and
length are on the beam. Knit or warp knitted with vertical wales on surface and
more or less crosswise ribs on the back. It has a thin texture, made from very
fine or single yarns. Glove silk is a double bar tricot (very run-resistant). Used in
underwear, sportswear, bathing suits, gloves.
Tricotine – A fabric of worsted, wool, rayon, or blends with synthetics. It has a
double twill rib on the face of the cloth with a very clear finish. It drapes well, and
tailors easily and is medium in weight. It has exceptional wearing qualities and is
very much like cavalry twill, but finer. It is in the same family as whipcords,
coverts, and gabardines.
Trim - To cut off the ragged edges below the seam line to prevent the garment
from being bulky and to give the seam a neat finish.
Tropical Worsteds - 100% worsted. If it is just called tropical, it can be made up

in any fiber or blends of wool and synthetics. It has a plain and open weave.
The yarns are tightly twisted and woven to permit a free circulation of air. It is
lightweight ad is ideal for summer and tropical wear. It has a clear finish and
wears and tailors very well.
Tulle – Made from Silk, nylon, or cotton in a weave of guaze, knotted, or leno
and made on a lace machine. Its name is derived name from Tulle, France and
was first made by Machine in 1768. It has a hexagonal mesh and is stiff and
difficult to launder. It is very cool, dressy, delicate and is a stately type of fabric
when used for formal wear, and weddings. It is also used for ballet costumes and
wedding veils.
Tunic Style - A simple slip-on garment made with or without sleeves and usually
knee-length or longer, belted at the waist and worn as an under or outer garment.
Turtleneck - A high, close-fitting, turnover collar used especially for sweaters.
Tussah – A silk fabric that is usually plain but also in twill. It is made from wild or
uncultivated silkworms. It is coarse, strong, and uneven and has a dull luster and
is rather stiff. It has a rough texture with many slubs, knots, and bumps. It is ecru
or tan in color and it is difficult to bleach. It usually doesn't take an even dye
color. It wears well and becomes more rough looking with wear. It wrinkles a
little, but not as much as some.
Tweed – Generally made of wool, but can also be fabricated from cotton, rayon,
silk, linen, and synthetics. Tweed is the Scotch name for twill and originated
along the banks of the Tweed river, which separates England from Scotland. It is
sometimes known as "tweel" and is similar to homespun cheviot and shetland.
They are the same in texture, yarn, weight, feel, and use. Tweed was originally
only made from different colored stock-dyed fibers, producing various color
effects. The tweed fabric family consists of a wide range of rough surfaced,
sturdy fabrics. There are also some closely woven, smoother, softer yarn fabrics,
and many monotone tweeds. Tweed may also be plaid, checked, striped, or
have other patterns. It does not hold a crease very well. Typically used in a wide
range of suits, coats, and sportswear for men, women and children.
Tweed (Harris) - All are hand woven on the islands off the northern coast of
Scotland (Outer Hebrides). Harris Tweed was originally woven from hand-spun
yarn. When damp, it smells mossy and smoky.
Twill - A fabric that shows a distinct diagonal wale on the face such as denim,
gabardine, or tricotine.
Twill Weave - A basic weave in which the fabrics are constructed by interlacing
warp and filling yarns in a progressive alternation which creates a diagonal effect
on the face, or right side, of the fabric. In some twill weave fabrics, the diagonal
effect may also be seen clearly on the back side of the fabric.
Twist - A term that applies to the number of turns and the direction that two
yarns are turned during the manufacturing process. The yarn twist brings the
fibers close together and makes them compact. It helps the fibers adhere to one
another, increasing yarn strength. The direction and amount of yarn twist helps
determine appearance, performance, durability of both yarns and the subsequent
fabric or textile product. Single yarns may be twisted to the right (S twist) or to the
left (Z twist). Generally, woolen and worsted yarns are S-twist, while cotton and
flax yarns are typically Z-twist. Twist is generally expressed as turns per inch
(tpi), turns per meter (tpm), or turns per centimeter (tpc).
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Urena - This bast fibre comes from the Urena lobata plant. Wild, it grows 3 to 7
feet high and when cultivated can grow as tall as 13 feet. The fiber strands are
cream coloured and have a wonderful luster. This fiber is mainly grown in the
Congo area although small amounts are also raised in Brazil, India and the
Philippines. Urena has the same uses as jute.
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V-Neck / V-Back - An open yoke coming to a "V" shape midway down the
bodice.
Variegated - Having streaks, marks or patches of different colors. Distinquished

or characterized by a variety of different colors.
Velour - A medium-weight, closely-woven cotton, wool, or spun rayon fabric with

a thick, plush pile. It can be made using either a plain weave or a satin weave
construction. It resembles velvet, but has a lower cut pile. The pile is
characterized by two different lengths which gives it a rough look. The two
lengths of pile create light and shaded areas on the surface and give it a pebbled
effect. This type of velour was invented and made in Lyons, France, in 1844.
"Velours" is the French term for velvet. "Cotton velour" is simply cotton velvet.
Velvet - A medium-weight, cut-pile constructed fabric of silk, rayon, cotton or

sythetics in which the cut pile stands up very straight. It is woven using two sets
of warp yarns; the extra set creates the pile. Velvet, a luxurious fabric, is
commonly made with a filament fiber for high luster and smooth hand. Mostly
made with a plain back but some with a twill. Some are made with a silk pile and
a rayon or cotton back. The name comes from the Latin "vellus", meaning a
fleece or tufted hair and it comes in many types, qualities, and weights. Good
velvet wears fairly well and is inexpensive. The cheaper cloths give little service
and look well only a few times before beginning to deteriorate. Better velvet may
be crush resistant, water resistant, and drapes well but it has to be handled with
care, and pressed on a velvet board. Cut all one way. For the maximum amount
of depth in the color, cut it with the pile running up. It also wears better when cut
this way. Velvet should be cut with very simple lines in the garment, so not to
destroy the beauty of the fabric. It has the tendency to add weight to the figure.
Velvet (Cisele) - A velvet with a pattern formed by contrast in cut and uncut
loops.
Velvet (Faconne) - Patterned velvet made by burnt-out print process. The

design is of velvet with background plain.
Velvet (Lyons) - A stiff, thick pile velvet. Used for hats, coat collars, also for
suits, coats and dresses, when thick velvets are fashionable.
Velvet (Nacre) - The back is of one color and the pile of another, so that it gives
a changeable, pearly appearance.
Velvet (Chiffon Velvet or Transparent Velvet) - Lightweight, very soft, draping

velvet made with a silk or rayon back and a rayon pile.
Velvet (Panne) - Has a longer or higher pile than velvet, but shorter than plush. It
is pressed flat and has a high luster made possible by a tremendous roller-press
treatment given the material in finishing. Now often made as knit fabric.
Velvet (Utrecht) - Originated in Utrecht, Holland where it was made of silk. It

was pressed and crimped to produce a raised effect. Today both mohair and silk
are used.
Velvet Satin - A satin weave is used as the base for this luxurious figured silk,
made with a cut pile effect.
Velveteen - Cotton, sometimes rayon, with a very short filling pile. Woven with a
extra filling yarn with either a plain or a twill back (twill back is the best).
Velveteen is often mercerized with a durable finish. It is strong and takes hard
wear. Poor quality rubs off. Some velveteen can be laundered. It is a warm, cozy
fabric that comes in all colors, gradually piece dyed or may be printed.
Vetveteen has to be cut all one way. Press carefully, preferably on a velvet
board, or tumble dry after laundering (no pressing needed). Mostly used in
children's wear, dresses, coats, draperies, lounge wear, and a few special
Rabbits.
Venetian – A fabric of worsted, wool worsted and wool and cotton in a satin
weave, some in small repeat twill weaves with a clear finish. Has a very good
lustre finish which resembles satin. Some has a slight nap. Wears well - similar
cloth has worsted warp and woolen filling.
Venice lace - This lace often has a high profile, and is made using a needlepoint
technique rather than embroidery. A heavier weight lace, the patterns vary from
geometric to floral. Each pattern is attached to the others by bars made of thread.
Vichy - The cotton weave of this fabric is formed of horizontal bands and vertical
bands respectively in a light and strong variants of the same color.
Vicuna – The fleece is reddish brown, shading to white on the belly. The fibers
can be use to manufacture the softest coat cloth in the world … or at least that’s
the story from the vicuna growers industry.
Viscose - The most common type of rayon. It is produced in much greater

quantity than cuprammonium rayon, the other commercial type.
Viyella – A twill blend of 55% wool and 45% cotton that has the appearance of
very fine flannel. It is soft, fine, and warm that holds a good pleat. It is machine
washable.
Voile - A crisp, lightweight, plain weave cotton-like fabric, made with high twist
yarns in a high yarn count construction. It is similar in appearance to organdy
and organza. When it is made from wool, it is called "Voile de laine". Voile is
sheer and very light-weight. It is usually made with cylindrical combed yarns. To
obtain a top quality fabric, very highly twisted yarns are used. Voile drapes and
gathers very well. The clear surface is obtained by singeing away any fuzzy
yarns. It has a hard finish and a crisp, sometimes wiry, hand.
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W
Waffle Cloth - A honeycomb weave usually of cotton or wool, used mainly for
towels and robes.
Warm Colors - Colors like red, orange, and yellow are called warm colors. They
are advancing in nature because, as seen by the eye, these colors move closer
thereby reducing the size of an object. Warm colors are cheerful.
Warp Knit - A type of knitted fabric construction in which the yarns are formed
into stitches in a lengthwise manner. Warp knits are generally less elastic than
weft knits. Common examples of warp knits are tricot knits and raschel knits.
Warp Thread - The set of fixed threads that are set lengthwise across the
fabrics.
Waterproof - A term applied to fabrics whose pores have been closed, and
therefore, will not allow water or air to pass through them.
Water Repellent - A term applied to fabrics that have been treated with a finish
which causes them to shed water, but are still air-permeable.
Wedding-Band Collar - A collar featuring a yoke that is either open or of sheer

net with an ornate band fitting snugly on the neck, creating a choker effect.
Weft - The crosswise threads of any woven fabric.
Weft Knit - A type of knitted fabric in which yarns are formed into stitches in
widthwise manner. Common examples of weft knits are circular knits and flat
knits.
Whipcord - Cotton, rayon, worsted or woolen twill that is similar to gabardine,

but the yarn is bulkier and much more pronounced. It is very durable, rugged and
stands hard usage and wear. In time, it shines a bit with wear. Some times back
is napped for warmth. It is named because it stimulates the lash of a whip.
Wickability - The ability of a fiber or a fabric to disperse moisture and allow it to

pass through to the surface of the fabric, so that evaporation can take place.
Wicking - Dispersing or spreading of moisture or liquid through a given area by

capillary action in a material.
Wing Collar - A collar with projections which cover shoulder seams of bodices
and doublets.
Woof - The threads that cross the warp of a woven fabric; the weft.
Wool – A protein fiber usually associated with fiber or fabric made from the
fleece of sheep or lambs. However, the term "wool" can also apply to all animal
hair fibers, including the hair of the Cashmere or Angora goat or the specialty
hair fibers of the camel, alpaca, llama, or vicuna. Wool is very resilient and
resistant to wrinkling. It is renewed by moisture and well known for its warmth. It
absorbs and releases moisture slowly, which allows excellent insulating
capabilities and breathability. It can even hold 30% of its own weight without
feeling damp.
Wool (Eco Wool) – Sheared from free range roaming sheep that have not been
subjected to toxic flea dipping, and have not been treated with chemicals, dyes,
or bleaches. Eco wool comes in natural tones of white, grey and black.
Worsted Fabric - A tightly woven fabric made by using only long staple, combed
wool or wool-blend yarns. The fabric has a hard, smooth surface. Gabardine is
an example of a worsted fabric. A common end use is men's tailored suits.
Woven Fabric - Fabrics composed of two sets of yarns. One set of yarns, the
warp, runs along the length of the fabric. The other set of yarns, the fill or weft, is
perpendicular to the warp. Woven fabrics are held together by weaving the warp
and the fill yarns over and under each other.
Wrinkle Recovery - Similar to resiliency. It is the ability of a fabric to bounce

back after it has been twisted, wrinkled, or distorted in any way.
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Yarn - A continuous strand of textile fibers created when a cluster of individual

fibers are twisted together. These long yarns are used to create fabrics, either by
knitting or weaving.
Yarn Dyed - Yarns dyed in a bundle or package before weaving into fabrics like
ginghams, stripes and plaids. Also known as "color-woven" fabric.
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Z
Zephyr – The name comes from the ancient God of the Winds Zephrus. The
quality of the textile is airy and can be made in wool, cotton and synthetics
Return To Top Index
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Technorati Tags: clothing, clothing glossary, fiber glossary, fibers, glossary, organic
Permanent Press: Facts behind the Fabrics
Permanent press clothing and wrinkles. Permanent press –

aka crease resistant, crease proof, wrinkle-resistant, durable press, wrinkle free – is
another of those 1950s brain storms that seemed like a good idea at the time when we
were all infatuated with the promise of science to remove toil and strain from our daily
lives. We didn’t need balanced, nutritious meals; we just needed our one-a-day Flintstone
Multi-Vitamins. As the 1950s rocketed into the Age of Science, it seemed only right that
the Stone Age concept of using a hot chunk of iron to smooth wrinkles from clothes
should give way to scientific, easy-care garments. Science took aim at the prime culprit in
wrinkling - the weak hydrogen bond which cross-linked the cellulose polymers in cotton.
The cross-linked hydrogen bonds keep in place the cellulose polymers

in cellulose fabrics such as cotton, hemp and flax. The bad news is that the hydrogen
bonds are relatively weak and easily broken by moisture. Once the hydrogen bonds
holding the cellulose fibers in place are broken by moisture, then the fibers can shift place
and realign themselves and wrinkles are born in cellulose-based fabrics. The 1950s
attempt at good news came from Ruth Benerito, the Mother of Permanent Press, at the
Physical Chemistry Research Group of the Cotton Chemical Reactions Laboratory of the
USDA Southern Regional Research Center when she developed a process to replace the
weak hydrogen bonds with stronger bonds that were water-resistant. The bad news was
that the new cross-linking agent was formaldehyde – a toxic chemical that not only
smelled bad and made the fabric more brittle but was also carcinogenic and a health
hazard.
The bad news of using formaldehyde resins to create permanent cross-
linked hydrogen bonds for wrinkle-free clothing continues to this day even though the
processes have improved. The early formaldehyde-soaked permanent press garments felt
scratchy and stiff and smelled funny. The formaldehyde resins also weakened the fabric.
Oh, yes … and formaldehyde has also been recognized as a probable carcinogen that can
cause a wide variety of health problems such as burning and watery eyes, respiratory
complains such as coughing and difficulty in breathing, and allergic contact dermatitis
where permanent press clothing comes into contact with the skin.
Regardless of how we might feel about the ethics of dressing millions and millions of
people in clothes reeking with formaldehyde, the accomplishments of Ruth Benerito at
the U.S. Department of Agriculture in the 1950s and 60s are impressive. During her
many years as a research scientist at the male-dominated USDA, Ruth Benerito garnered
55 patents in creating easy-care cotton fabrics which “saved the cotton industry.”
As the Age of Science Infatuation in the 1950s and early 1960s gave way to the Summer
of Love and Age of Rebellion in the 1960s and 1970s and then to the Age of Excess
Consumerism in the 1980s and 1990s, process improvements were slowly being made in
manufacturing wrinkle-resistant cotton textiles to reduce – but not eliminate – the amount
of formaldehyde bound on the surface of the fabric.
How the permanent press processes work. There are two basic processes for finishing
cotton textiles with wrinkle-resistant properties: the procure process and the postcure
process. The procure process goes like this:
1. The conventional cotton or cotton blend fabric is dyed;

2. Garments are sewn together;
3. Formaldehyde resins are applied to the garments;
4. Garments are tumble dried at a low temperature to remove moisture but not cure
the formaldehyde resins and cause cross linking of formaldehyde and hydrogen
atoms in the cotton’s cellulose fibers;
5. Press the garments to create creases in the clothing were creases are wanted such
as pant legs and sleeves on shirts;
6. Oven cure the pressed garments at a high temperature to cross link the
formaldehyde and cellulose fibers to create the permanent press properties.
The postcure process is similar except that the formaldehyde resin is applied in step 2
after the fabric is dyed but before the garments are sewn together and made-up. The
postcure process goes like this:
1. Dye cotton or cotton blend fabric;

2. Apply formaldehyde resin;
3. Tumble dry to remove moisture;
4. Sew and garment make-up;
5. Press clothing to create creases where wanted;
6. Oven cure to cross link and create the permanent press properties.
Reducing the amount of formaldehyde in clothing. Two improvements were

developed in the 1990’s to reduce the amount of formaldehyde bound into clothing. One
method consists of soaking conventional cotton fabric in formaldehyde resins, rolling the
toxic fabrics between huge rollers to squeeze out excess formaldehyde resins, and then
baking in large ovens at 300° Fahrenheit to cure the formaldehyde resins into the fabrics
so that it becomes permanent and doesn’t eventually wash out. Some clothing
manufacturers, such as the large multi-national Nisshinbo Industries in Japan, will then
also treat the formaldehyde-laced fabric with liquid ammonia to reduce shrinkage.
The other permanent press technology improvement that is actively used today consists
of exposing garments to formaldehyde gases which permeate the fabric and then are
baked into the clothing. This is known as a vapor phase technology. Manufacturers have
their own variations of vapor phase treatment for crease resistance, but the basic
technology is composed of fabrics of cotton or other cellulose or regenerated cellulose
fibers like bamboo and Tencel / lyocell) or cellulose fabrics blended with synthetics like
polyesters, an airtight chamber or room, formaldehyde gas, sulfur dioxide gas, and
moisture.
Vapor Phase Technology. The basic process works like this. The clothing or fabric is
placed in the airtight chamber and is moistened with water or steam until the water
moisture in the fabric is about 5% to 20% of the fabric weight. Formaldehyde gas is
pumped into the chamber until the concentration of air in the chamber is approximately
40% to 60% formaldehyde gas and then sulfur dioxide gas is also pumped into the
chamber. The sulfur dioxide gas acts as a catalyst causing the formaldehyde gas to cross
link and bond with the hydrogen atoms in the cellulose polymers which help create not
only crease- and wrinkle-resistance but also help protect from fabric shrinking and
improved color retention and color fastness. The amount of formaldehyde that cross-links
with the cellulose fibers is 0.3% to 0.6% of the weight of the cellulose fibers. You can see
that there is a significant amount of formaldehyde bonded into each garment. Steam
seems to be the preferred method of moisturizing the fabric as the steam also forces the
formaldehyde gas and sulfur dioxide gas to penetrate the fabric which increases the cross-
linking of formaldehyde to the hydrogen atom in the cellulose polymers.
A variation on the vapor phase processing is by impregnating the fabrics with an aqueous
solution of a weak acid salt such as zinc chloride, ammonium chloride, sodium di-
hydrogen phosphate, magnesium chloride or phosphoric acid after exposure of the fabric
to formaldehyde and before garment fabrication to facilitate cross-linking. Manufacturers
may vary the chemicals used as a catalyst, the temperature in the gas chamber, whether
fabrics are gassed before or after being fabricated into garments, the moisture contents,
and other factors but the bottom line is that the finishing of easy-care garments is highly
chemical and technology-intensive.
Although Ruth Benerito invented permanent press technology in the labs at the USDA in
the 1950’s, it wasn’t until the 1990’s that permanent press popularity really took off.
Before then the brittleness, fabric yellowing, and unpleasant feel and smell of permanent
press clothes from the heavy formaldehyde discouraged wearers. The new and improved
finishing technologies were applied to men’s all-cotton trousers and revitalized the
industry. It is more than a little ironic that consumers were drawn to buy 100% cotton
slacks because they were perceived as being more natural but they also wanted the easy-
care low maintenance clothing even if it was impregnated with toxic and possibly
carcinogenic chemicals.
All in the (Formaldehyde) Family. Besides process improvements in the 1990’s,

chemical scientists at the large garment manufacturers also began scouting for other
chemicals which might reduce or eliminate the amount of formaldehyde baked into
wrinkle-free clothing. Clothes labeled permanent-press or durable-press have been dipped
in a chemical cornucopia of cross-linking resins such as isocyanates, epoxides,
divinylsulfones, aldehydes, chlorohydrins, polycarboxylic acids and N-methylol
compounds. Popular with today’s textile chemists are resins of N-methylol compounds
which include dimethylol urea, dimethylol ethylene urea, trimethylol trazine, dimethylol
methyl carbamate, uron, triazone, and DMDHEU.
The chemical DMDHEU (which you might know better as dimethyol dihydroxy ethylene
urea or 1, 2-Dimethylol-4, 5-dihydroxyethyleneurea … ever wonder how they make up
these names?) has become the most widely used cross-linking agent. The problem is that
DMDHEU, like all the other commonly used cross-linking agents, is still a member of the
huge formaldehyde family. The National Toxicology Program at the U.S. Department of
Health and Human Services still warn that even though formaldehyde off gassing
emissions in clothing have been reduced, DMDHEU has been found “to be causal agents
in textile-related dermatitis.” Research is continuing into other possible health hazards
from DMDHEU and its other formaldehyde-related cousins.
On a sidebar note: the National Toxicology Program is charged with

safeguarding public health by evaluating new chemicals released into the public
marketplace. More than 80,000 chemicals are registered for use in the U.S. Each year,
manufacturers inject an estimated 2,000 new chemicals into our society through all the
countless products that Americans buy each year. Many of these new chemicals have not
been adequately tested for potential health hazards.
Wrinkle-resistant fabrics are often treated with softeners such as polyethylene to improve
the hand and feel of the perma press fabric and for better wash durability. Some
manufacturers are also adding fluorochemical additives to increase stain-resistance.
Another formaldehyde resin currently popular with garment manufacturers is DMUG

(dimethylurea glyoxal) because it gives a smoother surface smoothness and greater
strength and abrasion resistance than DMDHEU but the crease retention of DMUG is not
as good as with DMDHEU so sometimes the two are blended together to create a
permanent press cocktail.
Fabric is typically dyed before being treated with formaldehyde resins for crease
resistance. Sometimes, sulfur-dyed fabrics impregnated with a formaldehyde resin finish
will deteriorate due to the generation of acid from the sulfur dye, especially if black
sulfur dye was used. Manufacturers use a slightly modified process to reduce the
possibility of acid being generated in people’s washing machines and dryers. But the
possibility still exists … it’s just been reduced is all.
The science and technology of chemical fabric finishes is astounding and most people
have no idea of the vast range of chemicals – some harsh and toxic – that are used to
create those easy care clothes that tempt busy consumers. Today’s easy care clothes are
the product of a total textile engineering that includes the selection of the fiber, the yarn
characteristics, the fabric construction, preparation, dyeing, finishing formulations, and
procedures.
While most conventional textile manufacturers would probably take umbrage at the
suggestion that their clothes could qualify as toxic Superfunds, there is no doubt that easy
care all-cotton clothing has become highly chemical intensive.
Chemicals in the laundry room. The chemical war on wrinkles

doesn’t end in the hi-tech fabric finishing labs of conventional garment manufacturers but
is also waged in ordinary laundry rooms everywhere. Beginning in the early 2000’s, the
large laundry care chemical companies launched an assault of wrinkle-attacking laundry
products such as Downy Wrinkle Releaser and Wisk detergent with Wrinkle Reducer
followed by a platoon of gimmicky wrinkle removing spray-on products such as Faultless
Wrinkle Remover spray-on, Apparel Press wrinkle-removing spray, and Wrinkle Out
Spray by Stanley Home Products.
The basic premise is that these detergents and sprays will cause
clothing wrinkles to melt away and “keep your casual clothes looking neat without all the
hassle of ironing.” Besides dissolving wrinkles in that crumpled cotton blouse, these
products are also supposed work their magic on wools, silks and dry-clean-only
garments. How do they do it? Chemicals … lots of chemicals. Manufacturers do not
reveal all the chemicals that are used in their products, only the “active ingredients” so
determining exactly what is in what is difficult.
Some of the chemicals commonly used in laundry products to reduce
wrinkles include: sodium alcohol ethoxy sulfate, alcohol ethoxylate, sodium linear alkyl
benzene sulfonate, propylene glycol, sulphated/sulphonated vegetable oils, zwitterionic
surfactants, curable aminosilicones, cellulase enzymes, polyalkyleneoxide modified
polydimethylsiloxane, ethoxylated organosilicones, linear aminopolydimethylsiloxane
polyalkyleneoxide copolymers, high molecular weight polyacrylamides, betaine siloxane
copolymers, alkylactam siloxane copolymers – PLUS tons of artificial fragrances and
perfumes to create the chemical illusion of “Morning Fresh”, “Spring Morning”, “Clean
Breeze”, “Mountain Spring”, Tropical Clean”, lavender, vanilla, and all the other
countless chemical smells that they use to saturate clothes.
Chemicals in the fragrances of consumer products have been identified

to the allergens and worse. The Scientific Committee on Cosmetic Products and Non-
Food Products (SCCNFP) issued a position paper highlighting the use of allergens in the
chemical fragrances often used in consumer detergents. Their position stated “A person
sensitised to a certain fragrance material will elicit an allergic response when exposed to
this fragrance from any product whether cosmetic or detergents under similar exposure
conditions. Thus, it is important that consumers have information on the presence of
fragrance chemicals in the respective products.”
Sidebar conversation: For a well done overview of chemicals used in laundry detergents
and laundry fragrances, check out the 5-part series in the Bright Hub reporting on the
environmental and health impact of conventional and environmentally responsible
laundry products. The Bright Hub is a good resource that attempts to "share knowledge
about how the simplest scientific idea evolves into tomorrow’s technology.”
Laundry products are often loaded with chemical ingredients that can
be unhealthy for people and the environment. A patent application by laundry product
giant Unilever on “Wrinkle Reduction Laundry Product Compositions” outlines
commonly used chemicals in laundry products such as liquid fabric softeners for reducing
wrinkles in cotton and cotton blend fabrics. The Unilever patent application mentions
“Additional materials typically used in these formulations include preservatives, pH
control agents, viscosity modifying salts, perfumes, optical brighteners, colorants and
color care agents.” Unilever is the maker of Wisk with Wrinkle Reducer laundry
detergent which spectacularly failed to live up to expectations and marketing hype.
Getting back to how chemists deal with wrinkles, laundry room

wrinkle removers reduce wrinkles by “relaxing” the fibers which actually means that
wrinkle-relaxing products penetrate fabrics and apply a find coat of lubricate to the fiber
surfaces so that the fibers can slide more easily relative to each other and can be pulled
straight, resulting in less wrinkles. The ingredients used to coat fabric fibers so that
wrinkles can be smoothed out are usually a polyolefine type softener such as
polyethylene and polypropylene or a curable amine functional silicone.
Many consumers have reported after using some of these wrinkle-relaxer and fabric
softening products that their clothes felt like they have a film on them that builds with
continued use. Consumer tests have also questioned the effectiveness at eliminating or
reducing wrinkles. Don’t expect these products to allow you to toss out that rusty old
steam iron.
The future of wrinkle-reducing textile manufacturing and laundry

products: Don’t expect the unnatural laundry products industry to rollover and give up.
The laundry care market is an $11+ billion industry and growing at a rate of more than
5% annually. The big names are spending big bucks to develop and roll out new chemical
additives and new technologies to improve the garment and textile markets. Proctor &
Gamble spent over $100 million just to build a new fabric and home care research and
development center. Proctor & Gamble also developed a new cellulosic Liquifiber
technology which is used in Tide Ultra powder under the trademark WearCare. Liquid
Detergents - Second Edition, edited by Kou-Yann Lai from CRC Press describes the
Liquifiber technology as hydrophobically modified cellulosic polymers that binds to
cotton fibers and effectively glues the cotton fibril in place so that they do not break lose
causing fraying, microscopic pills, color degradation, and wrinkling. Curiously, the basic
concept is the same as that used in Proctor & Gamble’s Pantene Pro-V Restoratives Time
Renewal shampoo and conditioner collection for hair. I guess that fiber is fiber in the R &
D labs.
The use of enzymes in all phases of textile manufacturing and especially garment
finishing will continue to grow. Expect enzyme use in detergents and laundry products to
also grow. GMO (genetically modified organisms) technology is also becoming more
prevalent as new enzyme cocktails are being developed for use in the textile and home
laundry product industries. Genencor is one of the largest of the biotechnology
companies providing textile enzymes for textile manufacturing and finishing.
Look also for growth in nano-technologies for textiles. Nanotech

textiles have quietly been infiltrating the textile manufacturing industry with new fabrics
which are touted as having anti-wrinkle, anti-static, anti-stain, and anti-bacterial. Because
nano-textiles have the potential to be a high tech tsunami on the textile industry we will
explore the potential impacts in the next post.Stay tuned...
Enjoy.
Michael
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Technorati Tags: chemicals in clothing, chemicals in fabrics, organic clothing, permanent

press
How to Keep Natural Fiber Clothes from Wrinkling

“WARNING! Never iron or steam clothes while they are being worn.”
– an actual warning in the operating instructions booklet for the high-end Rowenta
electric steam clothes iron.
Resist the urge! Even when you are frantically late and you slip on that freshly laundered
– but not ironed – organic cotton shirt or bamboo skirt and the wrinkles jump out like the
back side of the moon, don’t even think the thought that maybe you could just ever so
quickly iron out the more visible areas while just standing there. Some people obviously
have given in to the impulse which is why corporate liability lawyers now place the
warning prominently in their operating manuals. Never mind that anyone who would try
such a clueless feat would also never, ever read an operations manual.
While ironing and pressing are the avenue of last resort to remove wrinkles from natural
fiber and organic clothing, you do have a laundry basket of options which can greatly
reduce or eliminate wrinkles from your clothes before they ever reach the ironing board.
Here are some of the best.
In the store. The wild, woolly world of wrinkling woes begins in the store or recycled
and pre-worn clothing shops. Not only do some fibers wrinkle more than others but some
fabrics and weaves also so a greater propensity for wrinkles. If wrinkle-control is a big
issue for you when shopping for new or recycled natural fiber clothing:
• Choose fabric weaves that are more immune to wrinkles like knits for cellulose
fibers such as cotton, hemp, bamboo and Tencel / lyocell.
• Silk is a notorious wrinkler, but some silks are less prone to wrinkling. Chose silk
crepe de chine, habotai, noil and charmeuse silks to tame the wrinkle monsters.
Ahimsa silk – also known as Peace Silk because the silk worms are allowed to
live and are not destroyed as they are for conventional silk – is also reputed to be
more wrinkle resistant.
• Because of the elastic nature of wool fibers, wool fabrics are less likely to wrinkle
… but they still can and do. Worsted wools are more tightly woven and more
resistant to wrinkles while loosely woven woolens are more prone to wrinkling.
• Tightly woven garments with a high thread count are less susceptible to
wrinkling. This is true for most fibers including organic cotton and the cellulose-
derivatives like bamboo, Tencel / lyocell and modal.
In the laundry room. Here is where the real wrinkle-trouble blossoms. Many people –
myself included – have laundry habits that maximize the potential for wrinkles. Besides
blooming wrinkles, the laundry room also has a huge impact on the size of the
environmental footprint created by clothing.
We have written a handful of posts about the environmental, ethical and health impacts of
the clothing industry – including the time in the laundry room. The study “Well dressed?”
from the University of Cambridge in the UK discovered that electric and gas clothes
dryers use about 60% of the “use phase” energy consumed to keep clothes clean, ironed
and pressed. Many advocate the use of clothes line drying indoors or outdoors to reduce
the use of electric and gas clothes dryers. The excellent sustainable blog Green Living
Tips has several articles exploring ways to incorporate clothes lines into the laundry lives
of house and apartment dwellers. Originating in Australia and oozing with Down Under
sensibilities, GreenLivingTips.com is definitely worth visiting frequently.
Washing machines use large amounts of water and energy to heat the
water. The new high efficiency (he) washers are a significant environmental
improvement that uses 50% or more less water, energy and detergent than conventional
clothes washing machines.
Regardless of the type of washing machine or if you line dry or tumble dry, there are
steps that you can take in the laundry room to win the war on wrinkles. Remember that it
is heat and moisture that feed those wrinkle appetites so learn how to use them to deflate
those wrinkle tendencies. Here are some tips:
• One popular home remedy is to add one cup of white vinegar to the final rinse of
wash cycle. The white vinegar can be added to the fabric softener reservoir. This
is supposed to help eliminate static cling and wrinkles. The theory is that the
white vinegar helps keep the fabric fibers soft and flexible so that wrinkles don’t
set into the fabric.
• As soon as the last spin cycle of the washing machine finishes, remove the clothes
immediately - don’t let them sit in a big damp clump. Take out each garment
individually, shake it out to remove all the twists, and place it in the dryer or hang
it on a clothes line.
• When using a tumble clothes dryer, don’t stuff your dryer so that clothes are
unable to open up and dry evenly. If your clothes dry in a wad, all those wrinkles
will be trapped in the fabric. Some people suggest adding five or six tennis balls
to the load. The tennis balls will help prevent the clothes from clumping together
which will keep air flowing over all surfaces of the clothes. This will also help
reduce the time to dry. The tennis balls will make some additional noise as they
tumble around but they won’t cause any harm to the dryer drum or to the clothing.
• Remove clothes from the dryer as soon as they are dry. Leaving clothes tumbling
in a hot dryer after they are dry just bakes in wrinkles … besides creating the
conditions for shrinking and increasing static cling. This also means that a dryer
load should contain fabrics of a similar weight so that they dry in roughly the
same amount of time. Don’t plop a couple of heavy bath towels, which will take a
long time to dry, in a dryer with light cotton shirts, which will dry more quickly.
• Hang or fold clothes as soon as the clothes are dry and removed from the dryer.
Don’t leave them in a big heap in the laundry basket waiting to cool down.
Remember about the glass transition temperature? When clothes cool down, the
cellulose polymers will slip below their glass transition temperature and they will
tend to retain whatever shape they are in. If they cool down in a crumpled heap,
they will look it.
• If you are hanging clothes on a line to dry rather than using a tumble dryer, give
each garment a good shake and smooth the fabric when placing on the line to dry.
The smoother the clothes when hanging them, the less wrinkles after they dry.
• When drying on a line whether outside or indoors, a breeze blowing on the
clothes will not only help them dry more quickly, but will also help remove
stiffness and give a softness to the fabric. When line drying indoors, you can even
use an electric fan to create a breeze on the clothes. The motion will keep the
fabric fibers flexible as they dry which not only helps prevent wrinkles but gives a
softness to the fabric. This is also one of the effects of the tumbling action in
clothes dryers.
• For 100% bamboo fabrics, line or flat drying is generally recommended. Tumble
dryers can cause 100% bamboo clothes to loose their shape and even shrink.
On the ironing board. After choosing your fabrics wisely and

laundering correctly, if there are still wrinkles that you must flatten, then the electric
steam iron is your trick of last resort. The steam iron combines the two primary factors in
wrinkling – heat and moisture – to undo wrinkling.
Wrinkles will generally fall out of woolen fabrics if left to hang overnight, especially if
they have been lightly steamed. Warm steam will help the tight, crinkly wool fibers to
relax and loosen. If the woolen clothes are hanging, the weight of the garments will
naturally pull most wrinkles out if left to hang overnight. For stubborn wrinkles, use a
steam iron set to the wool setting which should provide a light, moist steam. Tips for
ironing woolens:
• Don’t iron woolens when they are totally dry;

• If possible, iron the back side of the fabric to avoid a shine. If you must press the
visible side of the woolen fabric, use a press cloth or thin towel on top of the
fabric;
• Lower and lift the iron when pressing rather than sliding the iron back and forth.
In the closet. The battle against the wrinkle doesn’t end in the laundry room. When
hanging clothes in the closet, give them a little room to hang. If clothes are tightly
smushed together then any creases or twists will effectively get pressed back into the
clothes. Shirts are best hung on plastic or wood hangers (not metal like the ones you get
from the dry cleaners) and pants are best using clamp-style hangers on the bottom cuffs.
While traveling or other occasions when clean clothes become wrinkled. The travel
wear industry has a firm foundation in fashioning clothing that travels easily … and
wrinkles hardly … through a combination of wrinkle-resistant weave, fibers and chemical
support. Travel wear is often the intersection of fashion and easy care garments which
often depends upon blends of natural fibers, regenerated cellulose fibers and synthetic
fibers such as polyesters, and upon chemically enabled permanent press fabrics. We’ll
talk more about this because it is central to many health related clothing issues. Here are
tips for how to smooth out wrinkles in clean clothes during traveling or even at home.
• Hang the wrinkled clothes in the bathroom while you take a hot, steamy shower.
You will need to balance this with the sustainability issues of taking hot, steamy
showers … but then issues of balance are frequently woven into sustainability.
When your shower is finished, gently stretch your clothes by hand to pull out the
wrinkles. Let them cool down and dry while hanging before wearing or folding
them.
• If you have access to a dryer, toss the clean clothes in tumble dryer with a wet
sock or wash cloth for 10 minutes. The wet sock or cloth will provide the
moisture and the tumble dryer will provide the heat and motion to coax out the
worst of the wrinkles. Or, instead of using a wet sock, you can use a spray bottle
and lightly spritz the clothes before putting them in the dryer.
• Travel accessory companies like Magellan’s sell clothes steamers that are priced
at about $30. They are relatively light (generally less than 25 oz.), compact and
can be used while traveling or at home. The Jiffy Steamer is an excellent brand
manufactured in the US since 1940 and produces a wide range of clothes steamers
for home, business and travel. The reality is that a clothes steamer is much more
effective that a hot, steamy bathroom and probably has a significantly lower
environmental impact.
A clothes steamer works best on wool suits and slacks. The hot steam
relaxes the crinkly wool fibers and the natural weight of the garments as they are hanging
pulls out most wrinkles. The wrinkles in many types of silks will melt away with a little
bit of steam … except for smooth finish silks like charmeuse which respond better to a
warm iron. Steam, either from a clothes steamer or electric steam iron, works well on
cotton fabric but often leaves spots or rings on 100% bamboo fabrics. Oh, yes - just
another reminder to not be wearing the clothes that you are trying to steam.
During the day … or evening. OK, it is possible to become totally crazy and completely
obsessive / compulsive about wrinkles. Personally, I believe that there is no reason to
disturb your composure or wa over a few random creases in your clothing. Keep things in
perspective. But if you are one of those people who feel that a little inconvenience or
even discomfort are worth the price of peace of mind knowing that your appearance is
smooth and unrumpled, then these tips are for you:
• When sitting for more than a few minutes, remove sports jacket or suit coat and
hang, don’t toss over the back of a chair. Never place a suit coat in the overhead
compartments of an airplane. Ask the flight attendant to please hang in a closet
for you. Unless you are in business class, you will either receive a cross look or
hysterical laughter.
• When sitting, don’t pull up trouser legs slightly to give a bit of room. Rather, as
sitting, pull trouser legs down to remove excess fabric. Excess fabric behind the
knees or in the seat is a prime opportunity for wrinkling.
That smelly, toxic elephant in the china closet. The topic of

permanent press clothing will soon force its way into any discussion about avoiding and
removing clothing wrinkles. We will explore the technology and health concerns of
permanent press clothing in the next post. Stay tuned…
Enjoy
Michael
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Technorati Tags: natural fibers, organic clothing, preventing wrinkles, wrinkles in

clothing
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Previous Posts
• NanoTextiles - Facts Behind The Fabrics
• Clothing, Fashion and Fiber Glossary
• Permanent Press: Facts behind the Fabrics
• How to Keep Natural Fiber Clothes from Wrinkling
• Why Natural Fiber Clothes Wrinkle
• Bamboo Sprouting Green Myths
• Regenerated Cellulose Fabrics: Facts Behind the Fibers
• The New Cotton Debate: What is sustainable cotton?
• Dreaming of a Green Wedding
• The Diversity of Green Jewelry
• Eco-Jewelry: Green Sustainable Gold & Ethical Diamonds
• Jewelry: Troubles with Baubles
• Chopper Eco Couture … and Screen Printing
• Bamboo: Facts behind the Fiber
• Cotton: Facts Behind the Fiber
• Global Warming and Organic & Recycled Clothing
• Raw & Organic Silk: Facts behind the Fibers
• Removing Odors & Smells from Clothing
• Organic Clothing & Fashion Survey
• Ayurvastra: Herbal Couture for Improving Health
• The High Cost of Organic Clothing
• Merino Wool - Nature's High Performance Fabric
• SRO Behind the Label
• Latex or Lycra? Facts behind the fibers
• Sustainable Clothing - Emerging Standards
• Jordan: A River of Garment Worker Dispair
• "Certified Organic Clothing" What Does It Mean?
• Spring Eco-Chicks
• WakeUP and Smell the Formaldehyde
• Green Dry Cleaning
• More Fashion Quotes
• The Fog of CSR
• Ethical Clothing: Wrapped Around The Axle of Karma
• Ethically Fair Trade
• Garment Industry's Social Pollution
• ICInyc Redux
• When It Raynes, ICI Pours
• From the Frying Pan into the Fire
• Bad Shipping News
• Stealth Bomb Cellulite Jeans
• Creating Positive Change Thru Your Closet
• More Eco-Fashion Quotes
• Is Your Clothing Intolerable?
• Fashion & Fabric Glossary
• Recycling & Urban Eco Fashion
• More Eco-Fashion Quotes
• Recycling & Urban Eco Fashion
• Hemp: Facts on the Fiber
• Caring for Organic Wool Sweaters
• Selecting Yoga Clothes for Yoga Mama
• Organic Wool Network
• Wool - facts behind the fiber
• Tencel :: Sustainable but not necessarily healthy
• Stealth Bomb Fabrics
• Perspectives on GM Cotton
• Linda Loudermilk :: eco-fashion designer
• Cotton: African Savior or Curse
• Sustainable Fashion Quotes & Musings
• Dyes and Chemical Sensitivities
• So, What Are Natural Fibers?
• Why Wear Organic?
• Welcome to OrganicClothing
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A
A-line
A popular silhouette in which the cut flares slightly away from the body to form the
shape of an "A."
Acrylic
Synthetic, manufactured fabric that is soft, lightweight and wool-like. Acrylic can be
found in winterwear, such as sweaters and fleece
Angora
Yarn from the long, incredibly soft hair of an angora rabbit or goat.
Anti-pill
Used to describe the wear resistance of a fabric. Fibers in low-quality fabrics tend to twist
together, resulting in an uneven and worn look. Anti-pill fleece is specially woven to
prevent this from happening.
Argyle
A diamond-shaped plaid pattern on a knit fabric.
Ballistic
A thick, even weave of extremely durable material. Used in luggage for reinforcement
and abrasion resistance.
Balmacaan
A loose, single-breasted overcoat usually with a short turnover collar.
Barn jacket
A medium-weight overcoat made of durable cotton (usually twill) that normally has a
corduroy collar and large front pockets. With wool or flannel lining.
Basket weave
A variation of a plain weave construction in which two or more warp and filling yarns are
woven side by side to resemble a pleated basket.
Batik
A method of dyeing in which parts of fabric are coated with wax, resulting in varying
patterns or colors. Often the wax cracks, causing fine lines or streaks.
Bedford
A strong, ribbed fabric that can be made from cotton, wool, silk, or a combination of
fibers. It has the same look as corduroy, but usually does not have the heavyweight
construction.
Bengaline
This crosswise ribbed fabric has a sturdy, durable weave and offers a great tailored look.
Berber fleece
Usually single-sided, pile-cut fabrics with a knit backing made of polyester/modacrylic.

Its most notable characteristic is a nubby, fur-like surface.
Besom pocket
An inset pocket with the lower lip finished with a welt. If both edges have welts, the
pocket is called a double besom.
Bias cut
A diagonal cut across a fabric’s grain. Used to create garments that closely trace the
body's natural curves for a flattering look.
Biopolished cotton
Fabric treated by an enzyme that removes the roughness on the surface, creating a softer,
smoother feel.
Boatneck
A narrow neckline that is open from shoulder to shoulder.
Bodice
The upper part of a dress.
Bomber jacket
A loose waist-length jacket with a fitted hem and cuffs. Also referred to as a flight jacket,
and typically made of leather with a sheepskin lining and a full collar.
Bonded leather
A material composed of leather fibers and other substances, such as polyurethane, formed
together to create the appearance of genuine leather.
Boyfriend cut
Women's apparel cut with a menswear silhouette. Usually relaxed, oversized and cuffed.
Boyshorts
A panty or swimsuit bottom with maximum hip and back coverage.
Boucle
A type of woven or knit fabric with a looped, knotted surface. Boucle is used in
lightweight and heavyweight garments, more often the latter because the lofty yarns
provide wonderful warmth.
Broadcloth
Fabric that is tightly woven in a plain weave with a crosswise rib. Similar to poplin, but
finer. The most common broadcloth is made of cotton or cotton/polyester blends.
Brogueing
A pattern of punched holes along the seams of a shoe.
Burlap
A loosely constructed, heavyweight fabric in a plain weave that is very coarse and
durable.
Burnout
A technique using a chemical paste that destroys a layer of fabric to create a patterned
effect and can sometimes result in a sheer look.
Camisole
A garment with thin spaghetti straps.
Canvas
A medium- to heavyweight type of cotton or linen in a plain or twill weave.
Cap sleeve
This short sleeve extends just over the shoulder for a touch of femininity.
Car coat
A knee-length coat with a flat front placket. This coat was originally designed to make
driving a car more comfortable.
Cargo style
Usually loose-fitting pants or shorts with large, military-inspired pockets sewn on the
hips and sides of the knees.
Carpenter style
Pants or shorts with handy pockets and loops for holding tools commonly used by a
carpenter.
Cashmere
An incredibly soft wool. Considered a luxury fiber because it’s one of the rarest and most
expensive fabrics available.
Cashmerlon
A soft, washable acrylic fabric that keeps its shape and feels like cashmere.
Ceramics
Products made from inorganic and nonmetallic materials, such as clay, that are fired at a
high temperature and glazed for a decorative, glass-like finish.
Challis
A lightweight, plain-weave fabric made of wool, cotton, or rayon. Its slightly brushed
surface creates a silky finish that can easily be dyed and is usually machine washable.
Chambray
A fine, lightweight cloth (usually cotton) in a plain weave with colored, lengthwise
threads and a white fill. Its yarns are constructed in squares, slightly drawn out and
twisted in both directions.
Charmeuse
A soft, lightweight silk, cotton, or manmade fabric with a smooth, semi-lustrous satin
finish and a matte backing.
Chemise
A loose-fitting, straight nightgown or undergarment. Usually hits at midthigh.
Chenille
Incredibly soft, fuzzy yarns that stand out around a velvety cord.
Chiffon
Lightweight, sheer fabric of twisted filament yarns with a soft weave and an airy drape.
Usually woven of silk, but also made of rayon and other synthetic fibers.
Coir
CThe coarse, stiff fiber extracted from the outside layer of the husk on the shell of a
coconut.
Colorfast
Used to describe a dyed fabric's ability to resist fading or running due to washing,
exposure to sunlight, and other environmental conditions.
Combed cotton
When cotton is "combed," the shortest, additional fibers of a batch are removed. This
process produces high-quality yarns with excellent strength and softness.
Corduroy
A medium- to heavyweight fabric (usually cotton) with a cut-pile weave construction.

Extra sets of filling yarns are woven into the fabric to form nap-like cords of yarn on the
surface.
Coverlet
A lightweight blanket often used during warmer months. Coverlets have a shorter drop
than traditional bedspreads, exposing the frame or bedskirt.
Cover-up
A lightweight garment, such as a sarong, pareo, skirt or hooded jacket, used to cover a
swimsuit.
Crazy Horse
Authentic American leather that is treated with oil and wax in a unique tanning process.
During this process, the oil and wax surface to create a rich, beautiful patina that's fade-
resistant and long-lasting.
Crochet
A loose, open knit made by looping thread with a hooked needle.
Damask
A rich, glossy fabric usually woven with a variety of elaborate patterns that are flat and
reversible.
Dazzle
A lightweight, silky-soft fabric blend that has a slight shine to it. Dazzle is found
primarily in active clothing because of its quick-drying capabilities.
Denier
A unit of measuring the thickness/weight of a thinly spun fiber. It indicates the material's
durability, plus the fineness of fiber filaments and yarns — both natural and synthetic.
The higher the denier, the thicker the fiber; the lower the denier, the finer the fiber.
Dichroic glass
Glass composed of multiple layers of metal oxides that produce an intensely colorful,
metallic and reflective appearance.
Dobby
Small, usually geometric patterns that are woven into a fabric.
Dolman
A cape-like sleeve that is very wide at the armhole.
Down
A fluffy, soft fibrous material that grows under the contour feathers of ducks, geese and
other waterfowl. Used as a thermal insulator because it’s known for warmth.
Drop stitch
A type of knit where some of the needles are "dropped out" during stitching to produce
an open-worked pattern in the fabric. Similar to a wide, ribbed finish.
Duck cloth
A medium-weight cloth (usually cotton) that is soft, breathable and durable. Tightly
woven and retains color beautifully.
Egyptian cotton
Cultivated mainly in the Nile River Valley in Egypt, this grade of cotton boasts the
longest and strongest fibers.
Embossed
A raised design on the surface created by heated rollers under pressure.
Empire waistband
This waistline begins just below the bust, giving tops or dresses a flowing, flattering fit.
Enzyme-washed
Often describes a garment that has been specially treated for extra softness. Enzyme
washing uses special chemicals, or enzymes, to soften the fabric and give the overall
garment a "worn-in" look.
Epaulet
An ornamental strip or loop sewn across the shoulder of a garment.
Espadrille
A type of wedge sandal that usually has a fabric upper and a natural fiber outsole.
Eyelet
A type of embroidery in which small holes are cut out in the fabric and finished by
embellishment of thread around the opening.
F
Fairisle
A knitting style characterized by geometric patterns (technically known as Fair Isle).
Fedora
A soft felt hat that is creased lengthwise down the crown with a pinched front and a brim
that can be turned up or down.
Fiber-reactive
A type of printing where the chemical bonds with the cellulose molecules in a product's
fabric, so the dye actually saturates the fibers. Fiber-reactive printing produces a more
vibrant appearance and tends to have better colorfastness, or fade-resistant properties.
Fill power
A number that denotes the quality of down. The higher the fill power, the fluffier the
feathers. The lower the fill power, the more down required to achieve the same level of
warmth.
Fill weight
The quantity of down feathers in comforters, jackets, sleeping bags, etc. The more down,
the higher the fill weight.
Flocking
A decorative detail in which short fibers are applied to the surface of a fabric in a
particular pattern by using an adhesive.
Flounce hem
A strip of fabric attached to one edge of a garment (usually a skirt) to create a wide ruffle.
Foulard
A lightweight twill, woven silk, or silk and cotton blend, usually decorated with a small
printed pattern.
French cuff(s)
Turned-up cuff(s) sometimes fastened with cuff links and sometimes contrasting in color.
French terry
The knit jersey version of terry cloth. Features loops of pile on one side and a smooth,
brushed finish on the other.
Frog closure
The decorative closing of fabric with cording or braided material which fits over a ball or
button to complete the closure.
Full-grain leather
Considered the highest quality of leather because only the hair is removed from the hide,
so it retains the full, natural grain.
Funnel neck
A neckline that is high and wide, resembling a funnel. A funnel neck is attached to the
body of the garment, not sewn at the neckline.
Gabardine
A firm, tightly woven fabric with a subtle, diagonal line of twill and sometimes a high
sheen.
Gaiter
A leg covering made from cloth or leather on boots or shoes extending from the instep of
the foot to the midcalf or knee.
Garment-washed
This term often describes apparel that has been through a standard wash cycle in a
commercial washing machine. The repeated exposure in water leads to a softer, worn-in
look on the garments.
Georgette
A sheer, crinkled fabric woven from hard-twisted yarns to produce a pebbly surface.
Creates a lightweight, flowing look.
Gingham
A middle-weight, checkered or plaid fabric using two or more colors with a plain weave
made of cotton.
Godet
A triangular inset of cloth placed in a seam to give fullness (e.g., the bottom of a skirt).
Gored
A section of fabric that is cut narrow at the waist and wide at the hem.
Grosgrain
Strong, closely woven, corded fabric with narrow, horizontal ribs, usually used as trim.
Gusset
A narrow piece of fabric inserted in the garment to allow for more space or a bigger
opening. Usually found on cargo pockets to create a larger cavity.
Heat-transferred print
A unique type of printing in which art is digitally replicated and printed on the surface of
polyester. The dye permanently bonds to the fibers without fading, even after repeated
washing.
Henley shirt
A collarless knit top with a closure that stops midway down the shirt.
Herringbone
A broken twill weave with a pattern made up of rows of parallel lines in opposite
directions forming a zigzag pattern.
High performance
High-performance shoes are specially designated athletic shoes featuring true

performance technology for the serious athlete, such as state-of-the-art shock absorption
systems, dual-density midsoles for heightened stability and enhanced impact durability.
Hook-and-eye closure
A fastening system with a small metal hook that is inserted into a matching eye loop or
small metal loop.
Houndstooth
A usually small, distinctively broken-check pattern that resembles the jagged back teeth
of a hound.
Huarache
A sandal with a low heel and interwoven leather strips across the upper.
Ikat
A method of weaving tie-dyed threads to create a rich and lively pattern on a fabric. Ikat
fabrics often possess a distinct look based on their region of origin.
Interlock
A type of cut-and-sew knit fabric that is characterized by the interconnecting of the knit
stitches.
Jacquard
A decorative woven or knit pattern manufactured by using the jacquard attachment on the
loom. Some types of jacquard fabrics have specific names, such as damask and brocade.
Jersey
Plain fabric that is knit instead of woven. Soft and breathable, with extra "give" for
comfort. Like your favorite tee, jersey gets softer with every washing.
Johnny collar
An open, split neckline with a pointed collar.
Jute
A natural fiber woven from the fast-growing plant of the same name. Found in shoes,
rugs, decor and more, it is extremely durable.
K
Kabuki sleeves
Wide loose-fitting sleeves modeled after the garments worn in traditional Japanese
theater. Also known as kimono sleeves.
Kangaroo pouch pocket
A large pocket formed by sewing a piece of cloth over the center or stomach area of the
garment leaving both ends open.
Keyhole neckline
A round or teardrop-shaped cutout that fastens at the front or back neckline.
Kimono
A loose-fitting wraparound robe or jacket with wide sleeves. Traditionally worn with a
broad sash.
Lambskin
The skin or hide of a young sheep. Also known as "napa" leather, lambskin has fewer
blemishes and a more uniform grain than other leathers such as buffalo and cowhide,
which make it extra soft and attractive for use in clothing.
Lapels
The folded area on the front of a coat that is usually a continuation of the collar.
Linen
Coarse fibers taken from inside the woody stem of the flax plant. Linen is considered
cool, absorbent, breathable and durable.
Lithograph
Ink-receptive images on a page or fabric resulting from a mass-production printing

process.
Lycra®
A stretchy spandex fiber introduced in 1958 by DuPont®. Usually woven with other
fibers to provide extra comfort, movement and shape retention.
Lyocell
A cellulose fiber manufactured from wood pulp. Lustrous and color-rich, lyocell feels
like rayon, but it's stronger, more durable and more absorbent, even when wet. It has low-
shrinkage and wrinkle-resistant characteristics. (Also, known as the brand name, Tencel.)
Macrame
Coarse lacework made by weaving and knotting a series of cords, threads, strings or
yarns into a decorative pattern.
Madras
A lightweight, breathable cotton, often in brightly colored plaid patterns, used primarily
for warm-weather clothing.
Mandarin collar
A short, standup collar that gives garments a stylish Asian look.
Marled
Interlocked, different-colored fibers are twisted together to create a long, continuous

strand resulting in a contrasting effect on the finished garment.
Mary Jane
A shoe style characterized by a single buckled strap over the middle.
Matelasse
French for "cushioned or padded," matelasse patterns add a quilted, puckered look to the
material.
Matte
A smooth or sometimes brushed surface that lacks luster and shine.
Melange
A yarn spun from fibers that have been printed in many tones and hues. It resembles
tweed, but is very lightweight.
Mercerization
A process of treating a thread, yarn or fabric to increase its luster, color retention and
durability. The fabric (usually cotton) is immersed in sodium hydroxide and then
neutralized in acid. This causes the fiber to permanently swell, which increases its
qualities.
Merino
A type of high-quality wool made from the fleece of purebred merino sheep. It is fine,
strong, stretchy and dye-retentive.
Mesh
A type of knit, woven, laced or crocheted fabric with a net-like, open weave. Mesh is
lightweight and breathable, which makes it ideal for warm-weather clothing.
Microfiber
An ultrafine synthetic fiber with many applications. It is used in clothing and other
textiles because it is soft, stretchy and stain resistant and it wicks away moisture.
Microfiber is also ideal for cleaning products because it is non-abrasive, absorbent and
leaves no lint or dust.
Microsanded
A unique type of brushing done to fabric that removes its roughness for an extra-soft feel.
Mitered
A popular striped pattern formed by a beveled line where a joint is made by cutting two
pieces at an angle and fitting them together.
Modal
Manufactured fiber that's soft, smooth, shape-retentive (even when wet), durable, color-
rich and lustrous.
Moire
A corded fabric (usually silk) characterized by having a wavy, watermarked pattern on

the surface.
Muslin
A medium-weight, woven fabric of cotton or cotton/polyester blends. Used in a wide

variety of sheers and sheeting.
N
Neoprene
A brand of polychloroprene by DuPont®. It's an extremely durable synthetic rubber that

is lightweight and buoyant, and has an outstanding resistance to temperature, chlorine and
general physical wear.
Nep
Small knots of tangled fibers added intentionally to increase the fabric’s aesthetic appeal.
The knots can be made from the same or different color and material.
Nubuck
Nubuck is the top side of leather, slightly sanded to make it more resistant to scuff marks
and give it a suede-like feel. Its texture is finer than suede because a superior brushing
technique leaves the natural grain pattern intact. It's made from split-grain (half of a hide)
or full-grain (entire hide) leather.
Nylon
The first completely synthetic fiber developed by DuPont® in 1938. Known for its
strength and excellent stain resilience, nylon boasts superior abrasion resistance and high
flexibility. It's often added to natural fibers to boost a garment's durability.
Olefin
A lightweight, manmade material also known as polypropylene. It has exceptional

strength, colorfastness and comfort. It is also resistant to stains, mildew, abrasions and
sunlight.
Organza
A lightweight, plain-weave fabric made of nylon, silk, polyester or rayon. Crisp and sheer
with a medium to high thread count.
Ottoman rib
A stiff, heavyweight, warp rib (vertical running yarns) sometimes referred to as Ottoman
cord.
Oxford cloth
A soft, yet durable, cotton or synthetic blend with a plain or basket weave that boasts a
silklike, lustrous finish.
Paisley
A swirled pattern of fancy, curved teardrop shapes.
Panne
A silk or rayon velvet with lustrous pile flattened in one direction.
Patch pockets
A small pocket, usually found on pants, which looks like a piece of material was sewn on
as a patch.
Peached fabric
A soft feel usually obtained by sanding the fabric lightly; it also can be achieved with
chemical or laundry abrasion.
Peacoat
A heavy wool coat featuring a double-breasted style and notched collar. Hits at the hip.
Pedal pushers
These women's pants with a straight leg are usually cuffed and fall just below the knee.
Pencil skirt
A skirt that is cut in a straight line from the hips to the hem. The name comes from its
pencil-straight appearance.
Peplum
A flowing piece of material attached at the waistline or hemline of a jacket, blouse, skirt
or dress designed to create a flared appearance.
Percale
A closely woven plain-weave fabric that's smooth, firm, medium weight and fine.
Usually made of cotton from a minimum of 180 threads per square inch.
Peter Pan collar
A small collar that is flat and close-fitting with rounded ends.
Pewter
A mix of metallic alloys, composed mostly of tin. It will not tarnish, rust or deteriorate
Photo real
A screen print with the realistic qualities of a photo.
Picot
A row of tiny decorative loops sewn or cut along the edge of a garment.
Pieced
A design that is created by sewing pieces of material together to form the garment.
Pigment dye
A type of dye applied and held to the fabric with resins and cured at high temperatures.
Boasts excellent features for light colors and less so for darker shades.
Pile knit
A type of knit with a decorative pattern of yarns interlaced to create loops, most often
used in faux fabrics.
Pile weave
A type of weave with a decorative pattern of yarns interlaced to create loops.
Pill
A term used to describe small balls of fibers tangled together on a fabric (usually fleece).
Pills are generally caused by wear and tear producing an uneven, worn look.
Pima cotton
One of the best grades of cotton in the world with long, luxurious fibers.
Pinpoint
A type of weave with two-over, one-under stitching. More durable than most weaves but
less soft than sateen.
Pintuck
A small, narrow fold of fabric stitched together to create the appearance of a line or
stripe.
Piping
A narrow fold of fabric that creates a corded outline on the garment, usually as
contrasting trim.
Pique
A woven or knit fabric usually made of cotton, rayon or silk. Medium- or heavyweight,
it's characterized by raised cords, or ribs, in all-over waffle, honeycomb or diamond
patterns.
Placket
The piece of cloth that reinforces an opening that is the closure of the garment.
Plaited
The interweaving of strands or locks of a fabrication, so that one yarn appears only on the
face and the second on the back.
Pointelle
A stitch used in knitting to create a tiny, open-worked pattern typically with geometric
shapes. It adds a lightweight, delicate texture to clothing.
Polypropylene
A lightweight, manmade material characterized by a high-strength, abrasive quality. Also

boasts moisture-absorbing, stain- and fade-resistant qualities. (Also known as Olefin.)
Polyresin
A combination of polyester and resin metals reinforced with fiberglass mat.
Polystyrene
A lightweight plastic often used for insulation. Its heat- and shape-retention abilities
make it moldable and comfortable. Commonly used to fill beanbag chairs.
Ponte
A design with stability, firmness, subtle sheen and incredible durability.
Poplin
A tightly woven plain-weave fabric characterized by fine, crisscrossing ribs.

Heavyweight and durable, poplin is usually made of cotton but can also be silk, wool or
synthetic blends.
Pork chop pockets
Front pockets on a pair of pants, shorts or a skirt that are characterized as being oversized
and rectangular.
Preshrunk
A term used to describe fabrics or garments, especially tees, that have received treatment
to prevent it from additional shrinkage when washed.
Prewashed
A term used to describe fabrics or garments, especially tees and jeans, which have
already been washed to add softness and prevent shrinking.
Princess seams
Seams that are on the front or back of a garment that create a flattering, form-fitting
shape.
Puffed ink
A decorative detail added to screen prints to give them a raised surface.
Raffia
Material obtained from the leaves of the raffia palm, a plant in Madagascar with
featherlike leaves that yield strong, flexible fibers. After the fibers are peeled from the
stem of the leaves, they're dried in the sun.
Raglan
A sleeve style that is cut with the armhole seam running from under the arm to the
neckline. It's commonly known for a contrasting long-sleeved look.
Ramie
A woody fiber characterized as being extremely durable.
Raschel knit
An open-worked knit construction, where heavy, coarse yarns are held in place by finer
yarns. It has good draping qualities and is frequently used as an unlined material for
coats, lingerie and dresses.
Rayon
A group of smooth, synthetic fibers manufactured from cotton linters, wood pulp or other
vegetable matter. It’s known for excellent softness, drape, high absorption and a lustrous
look.
Resin
A natural or synthetic compound. It's a lightweight and tough material. Plastic is an

example of a synthetic resin.
Rib
A type of knit fabric characterized with a ridge effect in one direction, usually vertical.
Rib knits are extremely elastic and often used in apparel to provide a comfy, body-
hugging fit.
Ricrac
A decorative trim on clothing featuring a flat fabric that forms a zigzag pattern.
Ringspun fabric
Fiber (usually cotton) spun prior to knitting, so it's finer, softer and more durable than
ordinary cotton.
Ripstop
A very fine fabric (usually nylon) plainly woven with coarse fibers ribbed at intervals to
stop tears. Lightweight and durable, ripstop also boasts wind and water resistance.
Rosette
A fabric embellishment that's pleated and ruffled to resemble a rose.
Ruching
A pleated or gathered strip of fabric used as a decorative, feminine accent.
Sandwashed
Garments that have been specially treated with sand creating a softer, worn-in look and
feel.
Santoprene®
A synthetic material with a soft, nonslip surface that absorbs shock and reduces fatigue.
These properties make it ideal for grips and handles.
Sarong
A loose-fitting, long strip of fabric that is often worn around the waist like a skirt, or
wrapped around the whole body like a dress. It is a very popular form of a swimsuit
cover-up.
Sateen
A type of fabric weave that creates a soft, smooth, lustrous surface.
Satin
A fabric with a silky, lustrous finish. The fabric's long, interlaced yarns have no visible
pattern, which creates a smooth, shiny surface.
Scooter
Skirt with attached undershorts that offers the look of a skirt with the modesty and
comfort of shorts. Common in activewear and girls’ clothing.
Screen print
A picture or design printed on a garment using the silk-screen process.
Seedstitching
A type of stitch that creates a textured finish and looks like a continuous pattern of seeds.
Seersucker
A woven, light- to medium-weight fabric with a puckered appearance made of cotton or

rayon.
Shark-bite (4-point) hem
A border of cloth that has an uneven cut with two points in the front and two points in the
back. It resembles a "shark bite" because of its jagged look.
Sheath
A dress that is characterized by having a straight, form-fitting skirt and bodice. Usually
hits just below the knee, often with a slit in the sides or back for ease of movement.
Sheeting
A lightweight, woven fabric made from cotton or linen. It sometimes has a crinkled
texture and is commonly used for seasonal bottoms like capris.
Sherpa (fleece)
Knit terry fabric brushed and washed to raise the fibers for a fluffy, plush feel. The thick
terry loops stay soft and absorbent over time.
Shift
A loose-fitting dress that lacks a defined waistline. It tends to hit above the knee and is
commonly sleeveless.
Shirred
Gathered material that creates pleated details.
Silk
This natural fiber is known as one of the finest textiles because of its softness and radiant
sheen.
Simplex
A ribbed V-knit material (usually nylon) offering firm support, shape retention, and
elasticity.
Sisal
A coarse, durable material often used for rugs because of its anti-static, natural insulation
and flame-resistant qualities.
Skant
Pants that have flaps of fabric sewn on at the waist to create a skirt-like appearance.
Skimmer pants
Cropped pants with a straight-leg fit that skims the knee. A stylish cross between
Bermuda shorts and capris.
Skort
A pair of shorts that have a fabric covering sewn on the front to create a skirt-like
appearance. The back, however, still looks like shorts.
Slubbed
A process where a fabric (usually silk or cotton) is slightly twisted or drawn out,
producing an intentional unevenly textured appearance.
Soutache
A flat, decorative braid usually consisting of narrow loops, similar to crochet. Most
commonly used as a trim or accent on women’s clothing.
Space-dyed
A dye process in which individual strands receive more than one color at irregular
intervals.
Spaghetti straps
Very thin straps attached to a bodice.
Stainless steel
A metal alloy made of steel, chromium and nickel. The amount of chromium and nickel
is given as a ratio, such as “18/10”, where the steel contains 18% chromium and 10%
nickel. The higher the percentage of chromium, the stronger the steel. The higher the
percentage of nickel, the more corrosion-resistant it is.
Sublimation
A technique in fabric achieved through the infusion of an image onto the thread of a
fabric so that it does not affect the surface of the garment. Unlike screen printing, where
the ink lays on top of the garment, this process creates permanent images that will not
crack or fade.
Suede
The softer side of leather, which has been brushed, leaving a velvetlike texture.
Sueded fleece
A very smooth and luxurious fabric that involves a unique finishing process to gently
sand the fabric making it very soft.
SuPima®
An abbreviation for "superior pima." Made of 100% American pima cotton or extra-long
staple cotton.
SUPRIVA®
A family of fibers designed to create durable, stylish accent and kitchen rugs. Because of
its versatility, mills can use SUPRIVA fibers to create fashionably printed rugs, elegant
solids and natural-looking textures.
Surplice
A neckline formed when one piece of fabric overlaps the other to create a V-neck
opening.
Sweetheart neckline
A curved neckline with a scalloped trim that is similar to the top half of a heart.
Swiss dot
Woven, flocked or embroidered dots on a sheer, lightweight fabric providing a textured

pattern.
Synthetic
Used to describe manufactured materials made to imitate a natural material.
Tactel®
A type of nylon trademarked by DuPont® that's incredibly soft, yet durable. It’s
lightweight, versatile, breathable, shape-retentive and easy-to-wash.
Taffeta
A medium-weight, plain-weave fabric with a slightly ribbed texture that is known for its
luster.
Tape yarn
A pure cotton yarn used to create a narrow, woven fabric. It is a soft with an airy texture
and ideal for warmer temperatures.
Tatami
A mat woven of rice straw and sewn to a thick base, traditionally used in the flooring of
Japanese homes.
Tencel®
A brand of lyocell trademarked by Tencel Ltd. used to create rayon fabrics. It is made
from wood pulp, yet it is machine washable.
Terra cotta
A clay-based ceramic widely known for its brownish-red color.
Trapunto
A type of quilting with two or more rows of stitches and a padded underside which give it
a raised effect.
Tricot
A knit fabric formed by interlooping adjacent, parallel yarns. Known for being
exceptionally soft and versatile.
Tricotine
A lightweight, breathable wool made of lightly twisted yarns in a double twill.
Tumbled leather
A type of leather with a unique, pebbled finish that looks like soft wrinkles.
Tunic
A simple pullover blouse or jacket that falls at the hip. It was designed from two pieces of
linen sewn up the sides and across the top with holes left for the head and arms.
Tweed
A middle- to heavyweight, woolen fabric with color-speckled yarns.
Twill
A woven fabric characterized by distinct, diagonal lines on the surface. It's very strong,
yet relatively lightweight.
Variegated
A pattern having streaks or marks in different colors. Variegated ribs will have a slight
difference in the colors between the ribs.
Velboa
A polyester construction that is a cross between fur and velvet. It is usually a medium-
weight, short-pile textile. The result is a faux-fur fabric that is very luxurious and plush.
Velour
A medium-weight, tightly woven or knit fabric, usually made of cotton, with qualities
similar to velvet. It’s soft and plush with a close, dense pile.
Velvet
A woven, medium-weight fabric made of silk, cotton or rayon. Its pile is cut and brushed
for a rich, plush texture that stands straight up.
Velveteen
A woven, cotton fabric with a velvet-like pile.
Vinyl
A versatile plastic with physical properties that make it ideal for a wide variety of
consumer products. Depending on its application, vinyl can be any thickness or color, it
can be rigid or flexible, and it can also be weather-, heat- or impact-resistant.
Viscose
The most common type of rayon, it is manufactured from wood pulp and treated with
chemicals. The result is a soft and absorbent fabric.
Voile
A fine, sheer fabric with a slightly crisp feel. Usually made from plain woven cotton, but
can also be made from acetate, silk or rayon.
Waffle weave
A fabric pattern characterized by having recessed squares on the surface that resemble a
waffle.
Welt
A run-resistant, double-edged strip or insert for embellishment or reinforcement.
Whipstitching
A type of stitch that passes diagonally over a fabric's edge.
Windowpane
A checkered pattern characterized by vertical and horizontal lines that intersect to form
the appearance of a windowpane.
Wool
A thick, heavy natural fiber, usually spun from the fleece of lambs and sheep.
Worsted wool
A smooth, compact yarn from long wood fibers used especially for firm, napless fabrics.
Wrought iron
A type of iron that is easily bent and shaped. Wrought iron items are usually decorated
with scrollwork or other ornamental details that give it a traditional look.
Yarn-dyed
A dyeing process where yarns are immersed in a coloring solution and then woven or knit
to make fabric. The colors stay brighter longer.
Yoke
Seams across the top of pants, a skirt or a shirt that create an inverted triangle shape.
Yoryu
Made with synthetic materials such as polyester or rayon, this lightweight, durable fabric
has a pleated crinkle effect.
http://www.kohlscorporation.com/ecom/valueadded/glossary.htm
Fashion Dictionary - A
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Accordion Pleats
Small, fine and narrow pleats used in skirts or dresses
A-Line
Shape of a dress made popular by Christian Dior during the 1950s
Animal Prints
Popular since the 1930s, animal prints are fabrics which depicts the patterns and colors
imitating the skins of animals.
Applique
Ornamental piece of fabric either sewn or glued to another fabric as a decoration.
A-line Gown
Form fitting bodices that flare out from the waistline to a full skirt. These gowns have a
seamless waist.
A-line Skirt / Fit and Flare Skirt

A skirt that is fitted at the waist and flares out in an A-line or tulip shape at the hem.
Adjustable cuff
A cuff that can be adjusted in size.
American sleeve
A no sleeve design with a large diagonal cut from the base of the neck to the bottom of
the armhole
Applique
A design applied to another surface, frequently with a decorative stitch.
Armhole
An opening in a garment through which the arm is inserted.
Ascot
High, round neckline with long scarf attached at center back, brought around, and one
end looped over the other, ends hanging loose. Also called a stock neckline or tie neck.
Acetate
A manufactured fiber formed by compound of cellulose, refined from cotton linters

and/or wood pulp, and acetic acid that has been extruded through a spinneret and then
hardened.Acetate is a fiber primarily used in fabrics for pants and jacket linings. Acetate
is silky, thin, dries fast and is resistant to shrinking and stretching. Acetate fabrics also
drape and dye well.Acetate felt fabric.
Acrylic
Acrylic is a synthetic fiber with a soft, wool-like feel. Acrylic fabrics tend to be more
resistant to sunlight and wrinkling. Many dress and upholstery fabrics contain acrylic
fibers. In fact, most of our felt fabrics are 100% acrylic. Felt is the most common form of
acrylic fabric.Acrylic is machine machine washable and retains color very well.Acrylic
Fabric Acrylic Fabrics.
Alpaca
A natural hair fiber from Llamas. It's similar to cashmere in its softness and luxury.
Suitable for jackets, coats or throws.
Appliqué
Appliqué is a technique in which cut-out pieces of fabric or textile decorations are added
to fabric to create designs. Appliqué adds dimension and texture to fabric.
Adjustable Back
The back of a garment, usually a bra, corset or bustier which has multiple settings to
allow for individual sizing preferences. Typically, adjustments are made with hook-and-
eye closures or lacing.Adjustable Garters The elastic straps on a garter belt that attach to
stockings are adjustable and can be made shorter or longer to provide the best
fit.Adjustable Shoulder Straps Shoulder straps on bras, shape wear, chemises, slips and
other types of lingerie and undergarments that allow for shortening or lengthening the
straps to provide the best fit.Animal Print A pattern printed onto or woven into fabric to
resemble an animal, usually a leopard, tiger, zebra or snake.Appliqué A decoration or
ornament made by cutting pieces of one material and applying them to the surface of
another. For lingerie, appliqués are often made of lace or mesh and may feature beading,
sequins, rhinestones, etc.Arm Socks, Arm Warmers Gloves, similar to the leg warmers
worn by dancers. Some styles are fingerless but some do have fingers that are cut off to
expose the fingers, usually from the second knuckle down to the tip of the finger. Arm
socks can be made in anything from sheer mesh and fishnet to heavy knits like socks.
Currently popular with punk dressers.
Athletic Underwear
A wide range of underwear including bras, shorts, tights, etc that is generally worn during
exercise or athletic activities. Athletic underwear may include wicking power, which
draws moisture away from the body, compression for energy conservation and muscle
support, mesh for ventilation, specific styles such as a racer back or tank top and stretch
fabrics for snug support during athletic activity and giving a body enhancing appearance.
Attached Garter
Belt Stockings or hosiery that have a garter belt permanently attached.Attached Sleeves
Can be short sleeves or long sleeves that are attached at only one point to the side of the
garment. Attached sleeves are usually seen on certain styles of women's tops, dresses,
costumes and body stockings.Austrian Crystal Rhinestones, which may or may not be
Swarovski, that are made of cut glass or crystal as opposed to plastic or acrylic. Austrian
crystals or rhinestones made of cut glass or crystal are considered superior and have a
much more brilliant appearance. Only cut crystal rhinestones made by Swarovski can use
the phrase "Swarovski"Average Figure Bra Bra that offers light to moderate support, with
narrow straps, back and sides. Average figure bras usually made from slightly firmer
material.
http://www.textilesindepth.com/index.php?page=fashion-dictionary
Nylon is a generic designation for a family of synthetic polymers known generically as

polyamides, first produced on February 28, 1935, by Wallace Carothers at DuPont's
research facility at the DuPont Experimental Station. Nylon is one of the most commonly
used polymers.
Contents
[hide]
• 1 Overview
• 2 Chemistry
o 2.1 Concepts of nylon production
o 2.2 Characteristics
• 3 Bulk properties
• 4 Historical uses
• 5 Use in composites
• 6 Hydrolysis and degradation
• 7 Incineration and recycling
• 8 Etymology
• 9 See also
• 10 References
• 11 Further reading
[edit] Overview
Nylon is a thermoplastic silky material, first used commercially in a nylon-bristled
toothbrush (1938), followed more famously by women's stockings ("nylons"; 1940). It is
made of repeating units linked by amide bonds and is frequently referred to as polyamide
(PA). Nylon was the first commercially successful synthetic polymer. There are two
common methods of making nylon for fiber applications. In one approach, molecules
with an acid (COOH) group on each end are reacted with molecules containing amine
(NH2) groups on each end. The resulting nylon is named on the basis of the number of
carbon atoms separating the two acid groups and the two amines. These are formed into
monomers of intermediate molecular weight, which are then reacted to form long
polymer chains.
Nylon was intended to be a synthetic replacement for silk and substituted for it in many
different products after silk became scarce during World War II. It replaced silk in
military applications such as parachutes and flak vests, and was used in many types of
vehicle tires.
Nylon fibres are used in many applications, including fabrics, bridal veils, carpets,
musical strings, and rope.
Solid nylon is used for mechanical parts such as machine screws, gears and other low- to
medium-stress components previously cast in metal. Engineering-grade nylon is
processed by extrusion, casting, and injection molding. Solid nylon is used in hair combs.
Type 6,6 Nylon 101 is the most common commercial grade of nylon, and Nylon 6 is the
most common commercial grade of molded nylon. Nylon is available in glass-filled
variants which increase structural and impact strength and rigidity, and molybdenum
sulfide-filled variants which increase lubricity.
Aramids are another type of polyamide with quite different chain structures which
include aromatic groups in the main chain. Such polymers make excellent ballistic fibres.
[edit] Chemistry
Nylons are condensation copolymers formed by reacting equal parts of a diamine and a
dicarboxylic acid, so that amides are formed at both ends of each monomer in a process
analogous to polypeptide biopolymers. Chemical elements included are carbon,
hydrogen, nitrogen, and oxygen. The numerical suffix specifies the numbers of carbons
donated by the monomers; the diamine first and the diacid second. The most common
variant is nylon 6-6 which refers to the fact that the diamine (hexamethylene diamine,
IUPAC name: 1,6-diaminohexane) and the diacid (adipic acid, IUPAC name: hexane-1,6-
dicarboxylic acid) each donate 6 carbons to the polymer chain. As with other regular
copolymers like polyesters and polyurethanes, the "repeating unit" consists of one of each
monomer, so that they alternate in the chain. Since each monomer in this copolymer has
the same reactive group on both ends, the direction of the amide bond reverses between
each monomer, unlike natural polyamide proteins which have overall directionality:
C terminal → N terminal. In the laboratory, nylon 6-6 can also be made using adipoyl
chloride instead of adipic.
It is difficult to get the proportions exactly correct, and deviations can lead to chain
termination at molecular weights less than a desirable 10,000 daltons (u). To overcome
this problem, a crystalline, solid "nylon salt" can be formed at room temperature, using
an exact 1:1 ratio of the acid and the base to neutralize each other. Heated to 285 °C (545
°F), the salt reacts to form nylon polymer. Above 20,000 daltons, it is impossible to spin
the chains into yarn, so to combat this, some acetic acid is added to react with a free
amine end group during polymer elongation to limit the molecular weight. In practice,
and especially for 6,6, the monomers are often combined in a water solution. The water
used to make the solution is evaporated under controlled conditions, and the increasing
concentration of "salt" is polymerized to the final molecular weight.
DuPont patented[1] nylon 6,6, so in order to compete, other companies (particularly the
German BASF) developed the homopolymer nylon 6, or polycaprolactam — not a
condensation polymer, but formed by a ring-opening polymerization (alternatively made
by polymerizing aminocaproic acid). The peptide bond within the caprolactam is broken
with the exposed active groups on each side being incorporated into two new bonds as
the monomer becomes part of the polymer backbone. In this case, all amide bonds lie in
the same direction, but the properties of nylon 6 are sometimes indistinguishable from
those of nylon 6,6 — except for melt temperature and some fiber properties in products
like carpets and textiles. There is also nylon 9.
The 428 °F (220 °C) melting point of nylon 6 is lower than the 509 °F (265 °C) melting
point of nylon 6,6.[2]
Nylon 5,10, made from pentamethylene diamine and sebacic acid, was studied by
Carothers even before nylon 6,6 and has superior properties, but is more expensive to
make. In keeping with this naming convention, "nylon 6,12" (N-6,12) or "PA-6,12" is a
copolymer of a 6C diamine and a 12C diacid. Similarly for N-5,10 N-6,11; N-10,12, etc.
Other nylons include copolymerized dicarboxylic acid/diamine products that are not
based upon the monomers listed above. For example, some aromatic nylons are
polymerized with the addition of diacids like terephthalic acid (→ Kevlar Twaron) or
isophthalic acid (→ Nomex), more commonly associated with polyesters. There are
copolymers of N-6,6/N6; copolymers of N-6,6/N-6/N-12; and others. Because of the way
polyamides are formed, nylon would seem to be limited to unbranched, straight chains.
But "star" branched nylon can be produced by the condensation of dicarboxylic acids
with polyamines having three or more amino groups.
The general reaction is:
A molecule of water is given off and the nylon is formed. Its properties are determined by
the R and R' groups in the monomers. In nylon 6,6, R = 4C and R' = 6C alkanes, but one
also has to include the two carboxyl carbons in the diacid to get the number it donates to
the chain. In Kevlar, both R and R' are benzene rings.
[edit] Concepts of nylon production
The first approach: combining molecules with an acid (COOH) group on each end are
reacted with two chemicals that contain amine (NH2) groups on each end. This process
creates nylon 6,6, made of hexamethylene diamine with six carbon atoms and adipic acid.
The second approach: a compound has an acid at one end and an amine at the other and is
polymerized to form a chain with repeating units of (-NH-[CH2]n-CO-)x. In other words,
nylon 6 is made from a single six-carbon substance called caprolactam. In this equation,
if n=5, then nylon 6 is the assigned name (may also be referred to as polymer).
The characteristic features of nylon 6,6 include:
• Pleats and creases can be heat-set at higher temperatures

• More compact molecular structure
• Better weathering properties; better sunlight resistance
• Softer "Hand"
• Higher melting point (256 °C / 492.8 °F)
• Superior colorfastness
• Excellent abrasion resistance
On the other hand, nylon 6 is easy to dye, more readily fades; it has a higher impact
resistance, a more rapid moisture absorption, greater elasticity and elastic recovery.
[edit] Characteristics
• Variation of luster: nylon has the ability to be very lustrous, semilustrous or dull.
• Durability: its high tenacity fibers are used for seatbelts, tire cords, ballistic cloth
and other uses.
• High elongation
• Highly resilient (nylon fabrics are heat-set)
• Paved the way for easy-care garments
• High resistance to insects, fungi, animals, as well as molds, mildew, rot and many
chemicals
• Used in carpets and nylon stockings
• Melts instead of burning
• Used in many military applications
• Good specific strength
• Transparent under infrared light (-12dB)[3]
[edit] Bulk properties

Above their melting temperatures, Tm, thermoplastics like nylon are amorphous solids or
viscous fluids in which the chains approximate random coils. Below Tm, amorphous
regions alternate with regions which are lamellar crystals.[2] The amorphous regions
contribute elasticity and the crystalline regions contribute strength and rigidity. The
planar amide (-CO-NH-) groups are very polar, so nylon forms multiple hydrogen bonds
among adjacent strands. Because the nylon backbone is so regular and symmetrical,
especially if all the amide bonds are in the trans configuration, nylons often have high
crystallinity and make excellent fibers. The amount of crystallinity depends on the details
of formation, as well as on the kind of nylon. Apparently it can never be quenched from a
melt as a completely amorphous solid.
Nylon 6,6 can have multiple parallel strands aligned with their neighboring peptide bonds
at coordinated separations of exactly 6 and 4 carbons for considerable lengths, so the
carbonyl oxygens and amide hydrogens can line up to form interchain hydrogen bonds
repeatedly, without interruption. Nylon 5,10 can have coordinated runs of 5 and 8
carbons. Thus parallel (but not antiparallel) strands can participate in extended, unbroken,
multi-chain β-pleated sheets, a strong and tough supermolecular structure similar to that
found in natural silk fibroin and the β-keratins in feathers. (Proteins have only an amino
acid α-carbon separating sequential -CO-NH- groups.) Nylon 6 will form uninterrupted
H-bonded sheets with mixed directionalities, but the β-sheet wrinkling is somewhat
different. The three-dimensional disposition of each alkane hydrocarbon chain depends
on rotations about the 109.47° tetrahedral bonds of singly-bonded carbon atoms.
When extruded into fibers through pores in an industrial spinneret, the individual
polymer chains tend to align because of viscous flow. If subjected to cold drawing
afterwards, the fibers align further, increasing their crystallinity, and the material acquires
additional tensile strength.[3] In practice, nylon fibers are most often drawn using heated
rolls at high speeds.
Block nylon tends to be less crystalline, except near the surfaces due to shearing stresses
during formation. Nylon is clear and colorless, or milky, but is easily dyed. Multistranded
nylon cord and rope is slippery and tends to unravel. The ends can be melted and fused
with a heat source such as a flame or electrode to prevent this.
When dry, polyamide is a good electrical insulator. However, polyamide is hygroscopic.

The absorption of water will change some of the material's properties such as its
electrical resistance. Nylon is less absorbent than wool or cotton.
[edit] Historical uses

Bill Pittendreigh, DuPont, and other individuals and corporations worked diligently
during the first few months of World War II to find a way to replace Asian silk and hemp
with nylon in parachutes. It was also used to make tires, tents, ropes, ponchos, and other
military supplies. It was even used in the production of a high-grade paper for U.S.
currency. At the outset of the war, cotton accounted for more than 80% of all fibers used
and manufactured, and wool fibers accounted for the remaining 20%. By August 1945,
manufactured fibers had taken a market share of 25% and cotton had dropped.
Some of the terpolymers based upon nylon are used every day in packaging. Nylon has
been used for meat wrappings and sausage sheaths.
[edit] Use in composites

Nylon can be used as the matrix material in composite materials, with reinforcing fibres
like glass or carbon fiber, and has a higher density than pure nylon. Such thermoplastic
composites (25% glass fibre) are frequently used in car components next to the engine,
such as intake manifolds, where the good heat resistance of such materials makes them
feasible competitors to metals.
[edit] Hydrolysis and degradation

All nylons are susceptible to hydrolysis, especially by strong acids, a reaction essentially
the reverse of the synthetic reaction shown above. The molecular weight of nylon
products so attacked drops fast, and cracks form quickly at the affected zones. Lower
members of the nylons (such as nylon 6) are affected more than higher members such as
nylon 12. This means that nylon parts cannot be used in contact with sulfuric acid for
example, such as the electrolyte used in lead-acid batteries. When being molded, nylon
must be dried to prevent hydrolysis in the molding machine barrel since water at high
temperatures can also degrade the polymer. The reaction is of the type:
[edit] Incineration and recycling
Various nylons break down in fire and form hazardous smoke, and toxic fumes or ash,
typically containing hydrogen cyanide. Incinerating nylons to recover the high energy
used to create them is usually expensive, so most nylons reach the garbage dumps,
decaying very slowly.[4] Some recycling is done on nylon, usually creating pellets for
reuse in the industry, but this is done at a much lower scale.[5]
[edit] Etymology
In 1940, John W. Eckelberry of DuPont stated that the letters "nyl" were arbitrary and the
"on" was copied from the suffixes of other fibers such as cotton and rayon. A later
publication by DuPont explained that the name was originally intended to be "No-Run"
("run" meaning "unravel"), but was modified to avoid making such an unjustified claim
and to make the word sound better.[6] An apocryphal tale is that Nylon is a conflation of
"New York" and "London". Equally spurious is the backronym for "Now You've Lost,
Old Nippon" referring to the supposed loss of demand for Japanese silk.
[edit] See also

Nylon is a generic designation for a family of synthetic polymers known generically as
polyamides, first produced on February 28, 1935, by Wallace Carothers at DuPont's
research facility at the DuPont Experimental Station. Nylon is one of the most commonly
used polymers.
Contents
[hide]
• 1 Overview
• 2 Chemistry
o 2.1 Concepts of nylon production
o 2.2 Characteristics
• 3 Bulk properties
• 4 Historical uses
• 5 Use in composites
• 6 Hydrolysis and degradation
• 7 Incineration and recycling
• 8 Etymology
• 9 See also
• 10 References
• 11 Further reading
[edit] Overview
Nylon is a thermoplastic silky material, first used commercially in a nylon-bristled
toothbrush (1938), followed more famously by women's stockings ("nylons"; 1940). It is
made of repeating units linked by amide bonds and is frequently referred to as polyamide
(PA). Nylon was the first commercially successful synthetic polymer. There are two
common methods of making nylon for fiber applications. In one approach, molecules
with an acid (COOH) group on each end are reacted with molecules containing amine
(NH2) groups on each end. The resulting nylon is named on the basis of the number of
carbon atoms separating the two acid groups and the two amines. These are formed into
monomers of intermediate molecular weight, which are then reacted to form long
polymer chains.
Nylon was intended to be a synthetic replacement for silk and substituted for it in many
different products after silk became scarce during World War II. It replaced silk in
military applications such as parachutes and flak vests, and was used in many types of
vehicle tires.
Nylon fibres are used in many applications, including fabrics, bridal veils, carpets,
musical strings, and rope.
Solid nylon is used for mechanical parts such as machine screws, gears and other low- to
medium-stress components previously cast in metal. Engineering-grade nylon is
processed by extrusion, casting, and injection molding. Solid nylon is used in hair combs.
Type 6,6 Nylon 101 is the most common commercial grade of nylon, and Nylon 6 is the
most common commercial grade of molded nylon. Nylon is available in glass-filled
variants which increase structural and impact strength and rigidity, and molybdenum
sulfide-filled variants which increase lubricity.
Aramids are another type of polyamide with quite different chain structures which
include aromatic groups in the main chain. Such polymers make excellent ballistic fibres.
[edit] Chemistry
Nylons are condensation copolymers formed by reacting equal parts of a diamine and a
dicarboxylic acid, so that amides are formed at both ends of each monomer in a process
analogous to polypeptide biopolymers. Chemical elements included are carbon,
hydrogen, nitrogen, and oxygen. The numerical suffix specifies the numbers of carbons
donated by the monomers; the diamine first and the diacid second. The most common
variant is nylon 6-6 which refers to the fact that the diamine (hexamethylene diamine,
IUPAC name: 1,6-diaminohexane) and the diacid (adipic acid, IUPAC name: hexane-1,6-
dicarboxylic acid) each donate 6 carbons to the polymer chain. As with other regular
copolymers like polyesters and polyurethanes, the "repeating unit" consists of one of each
monomer, so that they alternate in the chain. Since each monomer in this copolymer has
the same reactive group on both ends, the direction of the amide bond reverses between
each monomer, unlike natural polyamide proteins which have overall directionality:
C terminal → N terminal. In the laboratory, nylon 6-6 can also be made using adipoyl
chloride instead of adipic.
It is difficult to get the proportions exactly correct, and deviations can lead to chain
termination at molecular weights less than a desirable 10,000 daltons (u). To overcome
this problem, a crystalline, solid "nylon salt" can be formed at room temperature, using
an exact 1:1 ratio of the acid and the base to neutralize each other. Heated to 285 °C (545
°F), the salt reacts to form nylon polymer. Above 20,000 daltons, it is impossible to spin
the chains into yarn, so to combat this, some acetic acid is added to react with a free
amine end group during polymer elongation to limit the molecular weight. In practice,
and especially for 6,6, the monomers are often combined in a water solution. The water
used to make the solution is evaporated under controlled conditions, and the increasing
concentration of "salt" is polymerized to the final molecular weight.
DuPont patented[1] nylon 6,6, so in order to compete, other companies (particularly the
German BASF) developed the homopolymer nylon 6, or polycaprolactam — not a
condensation polymer, but formed by a ring-opening polymerization (alternatively made
by polymerizing aminocaproic acid). The peptide bond within the caprolactam is broken
with the exposed active groups on each side being incorporated into two new bonds as
the monomer becomes part of the polymer backbone. In this case, all amide bonds lie in
the same direction, but the properties of nylon 6 are sometimes indistinguishable from
those of nylon 6,6 — except for melt temperature and some fiber properties in products
like carpets and textiles. There is also nylon 9.
The 428 °F (220 °C) melting point of nylon 6 is lower than the 509 °F (265 °C) melting
point of nylon 6,6.[2]
Nylon 5,10, made from pentamethylene diamine and sebacic acid, was studied by
Carothers even before nylon 6,6 and has superior properties, but is more expensive to
make. In keeping with this naming convention, "nylon 6,12" (N-6,12) or "PA-6,12" is a
copolymer of a 6C diamine and a 12C diacid. Similarly for N-5,10 N-6,11; N-10,12, etc.
Other nylons include copolymerized dicarboxylic acid/diamine products that are not
based upon the monomers listed above. For example, some aromatic nylons are
polymerized with the addition of diacids like terephthalic acid (→ Kevlar Twaron) or
isophthalic acid (→ Nomex), more commonly associated with polyesters. There are
copolymers of N-6,6/N6; copolymers of N-6,6/N-6/N-12; and others. Because of the way
polyamides are formed, nylon would seem to be limited to unbranched, straight chains.
But "star" branched nylon can be produced by the condensation of dicarboxylic acids
with polyamines having three or more amino groups.
The general reaction is:
A molecule of water is given off and the nylon is formed. Its properties are determined by
the R and R' groups in the monomers. In nylon 6,6, R = 4C and R' = 6C alkanes, but one
also has to include the two carboxyl carbons in the diacid to get the number it donates to
the chain. In Kevlar, both R and R' are benzene rings.
[edit] Concepts of nylon production
The first approach: combining molecules with an acid (COOH) group on each end are
reacted with two chemicals that contain amine (NH2) groups on each end. This process
creates nylon 6,6, made of hexamethylene diamine with six carbon atoms and adipic acid.
The second approach: a compound has an acid at one end and an amine at the other and is
polymerized to form a chain with repeating units of (-NH-[CH2]n-CO-)x. In other words,
nylon 6 is made from a single six-carbon substance called caprolactam. In this equation,
if n=5, then nylon 6 is the assigned name (may also be referred to as polymer).
The characteristic features of nylon 6,6 include:
• Pleats and creases can be heat-set at higher temperatures

• More compact molecular structure
• Better weathering properties; better sunlight resistance
• Softer "Hand"
• Higher melting point (256 °C / 492.8 °F)
• Superior colorfastness
On the other hand, nylon 6 is easy to dye, more readily fades; it has a higher impact
resistance, a more rapid moisture absorption, greater elasticity and elastic recovery.
[edit] Characteristics
• Variation of luster: nylon has the ability to be very lustrous, semilustrous or dull.
• Durability: its high tenacity fibers are used for seatbelts, tire cords, ballistic cloth
and other uses.
• High elongation
• Highly resilient (nylon fabrics are heat-set)
• Paved the way for easy-care garments
• High resistance to insects, fungi, animals, as well as molds, mildew, rot and many
chemicals
• Used in carpets and nylon stockings
• Melts instead of burning
• Used in many military applications
• Good specific strength
• Transparent under infrared light (-12dB)[3]
[edit] Bulk properties

Above their melting temperatures, Tm, thermoplastics like nylon are amorphous solids or
viscous fluids in which the chains approximate random coils. Below Tm, amorphous
regions alternate with regions which are lamellar crystals.[2] The amorphous regions
contribute elasticity and the crystalline regions contribute strength and rigidity. The
planar amide (-CO-NH-) groups are very polar, so nylon forms multiple hydrogen bonds
among adjacent strands. Because the nylon backbone is so regular and symmetrical,
especially if all the amide bonds are in the trans configuration, nylons often have high
crystallinity and make excellent fibers. The amount of crystallinity depends on the details
of formation, as well as on the kind of nylon. Apparently it can never be quenched from a
melt as a completely amorphous solid.
Nylon 6,6 can have multiple parallel strands aligned with their neighboring peptide bonds
at coordinated separations of exactly 6 and 4 carbons for considerable lengths, so the
carbonyl oxygens and amide hydrogens can line up to form interchain hydrogen bonds
repeatedly, without interruption. Nylon 5,10 can have coordinated runs of 5 and 8
carbons. Thus parallel (but not antiparallel) strands can participate in extended, unbroken,
multi-chain β-pleated sheets, a strong and tough supermolecular structure similar to that
found in natural silk fibroin and the β-keratins in feathers. (Proteins have only an amino
acid α-carbon separating sequential -CO-NH- groups.) Nylon 6 will form uninterrupted
H-bonded sheets with mixed directionalities, but the β-sheet wrinkling is somewhat
different. The three-dimensional disposition of each alkane hydrocarbon chain depends
on rotations about the 109.47° tetrahedral bonds of singly-bonded carbon atoms.
When extruded into fibers through pores in an industrial spinneret, the individual
polymer chains tend to align because of viscous flow. If subjected to cold drawing
afterwards, the fibers align further, increasing their crystallinity, and the material acquires
additional tensile strength.[3] In practice, nylon fibers are most often drawn using heated
rolls at high speeds.
Block nylon tends to be less crystalline, except near the surfaces due to shearing stresses
during formation. Nylon is clear and colorless, or milky, but is easily dyed. Multistranded
nylon cord and rope is slippery and tends to unravel. The ends can be melted and fused
with a heat source such as a flame or electrode to prevent this.
When dry, polyamide is a good electrical insulator. However, polyamide is hygroscopic.
The absorption of water will change some of the material's properties such as its
electrical resistance. Nylon is less absorbent than wool or cotton.
[edit] Historical uses

Bill Pittendreigh, DuPont, and other individuals and corporations worked diligently
during the first few months of World War II to find a way to replace Asian silk and hemp
with nylon in parachutes. It was also used to make tires, tents, ropes, ponchos, and other
military supplies. It was even used in the production of a high-grade paper for U.S.
currency. At the outset of the war, cotton accounted for more than 80% of all fibers used
and manufactured, and wool fibers accounted for the remaining 20%. By August 1945,
manufactured fibers had taken a market share of 25% and cotton had dropped.
Some of the terpolymers based upon nylon are used every day in packaging. Nylon has
been used for meat wrappings and sausage sheaths.
[edit] Use in composites

Nylon can be used as the matrix material in composite materials, with reinforcing fibres
like glass or carbon fiber, and has a higher density than pure nylon. Such thermoplastic
composites (25% glass fibre) are frequently used in car components next to the engine,
such as intake manifolds, where the good heat resistance of such materials makes them
feasible competitors to metals.
[edit] Hydrolysis and degradation

All nylons are susceptible to hydrolysis, especially by strong acids, a reaction essentially
the reverse of the synthetic reaction shown above. The molecular weight of nylon
products so attacked drops fast, and cracks form quickly at the affected zones. Lower
members of the nylons (such as nylon 6) are affected more than higher members such as
nylon 12. This means that nylon parts cannot be used in contact with sulfuric acid for
example, such as the electrolyte used in lead-acid batteries. When being molded, nylon
must be dried to prevent hydrolysis in the molding machine barrel since water at high
temperatures can also degrade the polymer. The reaction is of the type:
[edit] Incineration and recycling

Various nylons break down in fire and form hazardous smoke, and toxic fumes or ash,
typically containing hydrogen cyanide. Incinerating nylons to recover the high energy
used to create them is usually expensive, so most nylons reach the garbage dumps,
decaying very slowly.[4] Some recycling is done on nylon, usually creating pellets for
reuse in the industry, but this is done at a much lower scale.[5]
[edit] Etymology
In 1940, John W. Eckelberry of DuPont stated that the letters "nyl" were arbitrary and the
"on" was copied from the suffixes of other fibers such as cotton and rayon. A later
publication by DuPont explained that the name was originally intended to be "No-Run"
("run" meaning "unravel"), but was modified to avoid making such an unjustified claim
and to make the word sound better.[6] An apocryphal tale is that Nylon is a conflation of
"New York" and "London". Equally spurious is the backronym for "Now You've Lost,
Old Nippon" referring to the supposed loss of demand for Japanese silk.
[edit] See also
http://en.wikipedia.org/wiki/NyLinen
A linen handkerchief with pulled thread embroidery around the edges

Linen cloth recovered from Qumran Cave 1 near the Dead Sea.
Linen is a textile made from the fibers of the flax plant, Linum usitatissimum. Linen is
labor-intensive to manufacture, but when it is made into garments, it is valued for its
exceptional coolness and freshness in hot weather.
Textiles in a linen-weave texture, even when made of cotton, hemp and other non-flax
fibers are also loosely referred to as "linen". Such fabrics generally have their own
specific names other than linen; for example, fine cotton yarn in a linen-style weave is
called Madapolam.
The collective term "linens" is still often used generically to describe a class of woven
and even knitted bed, bath, table and kitchen textiles. The name linens is retained because
traditionally, linen was used for many of these items. In the past, the word "linens" was
also used to mean lightweight undergarments such as shirts, chemises, waistshirts,
lingerie (a word which is cognate with linen), and detachable shirt collars and cuffs,
which were historically made almost exclusively out of linen.
Linen textiles appear to be some of the oldest in the world: their history goes back many
thousands of years. Fragments of straw, seeds, fibers, yarns, and various types of fabrics
which date back to about 8000 BC have been found in Swiss lake dwellings. Dyed flax
fibers found in a prehistoric cave in Georgia suggest the use of woven linen fabrics from
wild flax may date back even earlier to 36,000 BP.[1][2]
Linen was sometimes used as currency in ancient Egypt. Egyptian mummies were
wrapped in linen because it was seen as a symbol of light and purity, and as a display of
wealth. Some of these fabrics, woven from hand spun yarns, were very fine for their day,
but are coarse compared to modern linen.[3]
Today linen is usually an expensive textile, and is produced in relatively small quantities.
It has a long "staple" (individual fiber length) relative to cotton and other natural fibers.[4]
Many products are made of linen: apron, bags, towels (swimmers, bath, beach, body and
wash towel), napkins, bed linen, linen tablecloth, runners, chair cover, men's and
women's wear.
Contents
[hide]
• 1 Flax fiber
o 1.1 Description
o 1.2 Properties
o 1.3 Measure
o 1.4 Production method
o 1.5 Producers
o 1.6 Uses
• 2 History
o 2.1 Antiquity
o 2.2 Earliest linen industry
o 2.3 Religion
• 3 Etymology
• 4 References
[edit] Flax fiber

[edit] Description
Linen is a bast fiber. Flax fibers vary in length from about 25 to 150 centimeters (18 to 55
in) and average 12-16 micrometers in diameter. There are two varieties: shorter tow
fibers used for coarser fabrics and longer line fibers used for finer fabrics. Flax fibers can
usually be identified by their “nodes” which add to the flexibility and texture of the
fabric.
The cross-section of the linen fiber is made up of irregular polygonal shapes which
contribute to the coarse texture of the fabric.[5]
[edit] Properties
Highly absorbent and a good conductor of heat, linen fabric feels cool to the touch. Linen
is among the strongest of the vegetable fibers, with 2 to 3 times the strength of cotton. It
is smooth, making the finished fabric lint free, and gets softer the more it is washed.
However, constant creasing in the same place in sharp folds will tend to break the linen
threads. This wear can show up in collars, hems, and any area that is iron creased during
laundering. Linen has poor elasticity and does not spring back readily, explaining why it
wrinkles so easily.
Linen fabrics have a high natural luster; their natural color ranges between shades of
ivory, ecru, tan, or grey. Pure white linen is created by heavy bleaching. Linen typically
has a thick and thin character with a crisp and textured feel to it, but it can range from
stiff and rough, to soft and smooth. When properly prepared, linen fabric has the ability
to absorb and lose water rapidly. It can gain up to 20% moisture without feeling damp.
[citation needed]
When freed from impurities, linen is highly absorbent and will quickly remove
perspiration from the skin. Linen is a stiff fabric and is less likely to cling to the skin;
when it billows away, it tends to dry out and become cool so that the skin is being
continually touched by a cool surface. It is a very durable, strong fabric, and one of the
few that are stronger wet than dry. The fibers do not stretch and are resistant to damage
from abrasion. However, because linen fibers have a very low elasticity, the fabric will
eventually break if it is folded and ironed at the same place repeatedly.
Mildew, perspiration, and bleach can also damage the fabric, but it is resistant to moths
and carpet beetles. Linen is relatively easy to take care of, since it resists dirt and stains,
has no lint or pilling tendency, and can be dry cleaned, machine washed or steamed. It
can withstand high temperatures, and has only moderate initial shrinkage.[5]
Linen should not be dried too much by tumble drying: it is much easier to iron when
damp. Linen wrinkles very easily, and so some more formal linen garments require
ironing often, in order to maintain perfect smoothness. Nevertheless the tendency to
wrinkle is often considered part of the fabric's particular "charm", and a lot of modern
linen garments are designed to be air dried on a good hanger and worn without the
necessity of ironing.
A characteristic often associated with contemporary linen yarn is the presence of "slubs",
or small knots which occur randomly along its length. However, these slubs are actually
defects associated with low quality. The finest linen has very consistent diameter threads,
with no slubs.
[edit] Measure
The standard measure of bulk linen yarn is the lea, which is the number of yards in a
pound of linen divided by 300. For example a yarn having a size of 1 lea will give 300
yards per pound. The fine yarns used in handkerchiefs, etc. might be 40 lea, and give
40x300 = 12,000 yards per pound. This is a specific length therefore an indirect
measurement of the fineness of the linen, i.e. the number of length units per unit mass.
The symbol is NeL. (3)
More commonly used in continental Europe is the Metric system, Nm. This is the number
of 1,000 m lengths per kilogram.
In China, the English Cotton system unit, NeC, is common. This is the number of 840
yard lengths in a pound.
[edit] Production method
Details of the flax plant, from which linen fibers are derived
Mechanical harvesting of flax in Belgium. On the left side, flax is waiting to be

harvested.
The quality of the finished linen product is often dependent upon growing conditions and
harvesting techniques. To generate the longest possible fibers, flax is either hand-
harvested by pulling up the entire plant or stalks are cut very close to the root. After
harvesting, the seeds are removed through a mechanized process called “rippling” or by
winnowing.
The fibers must then be loosened from the stalk. This is achieved through retting. This is
a process which uses bacteria to decompose the pectin that binds the fibers together.
Natural retting methods take place in tanks and pools, or directly in the fields. There are
also chemical retting methods; these are faster, but are typically more harmful to the
environment and to the fibers themselves.
After retting, the stalks are ready for scutching, which takes place between August and
December. Scutching removes the woody portion of the stalks by crushing them between
two metal rollers, so that the parts of the stalk can be separated. The fibers are removed
and the other parts such as linseed, shive, and tow are set aside for other uses. Next the
fibers are heckled: the short fibers are separated with heckling combs by 'combing' them
away, to leave behind only the long, soft flax fibers.
After the fibers have been separated and processed, they are typically spun into yarns and
woven or knit into linen textiles. These textiles can then be bleached, dyed, printed on, or
finished with a number of treatments or coatings.[5]
An alternate production method is known as “cottonizing” which is quicker and requires

less equipment. The flax stalks are processed using traditional cotton machinery;
however, the finished fibers often lose the characteristic linen look.
See also: hand processing flax
[edit] Producers
Flax is grown in many parts of the world, but top quality flax is primarily grown in
Western Europe. In very recent years bulk linen production has moved to Eastern Europe
and China, but high quality fabrics are still confined to niche producers in Ireland, Italy
and Belgium. Also countries including Poland, Austria, Belgium, France, Germany,
Denmark, Lithuania, Latvia, the Netherlands, Italy, Spain, Switzerland, Britain and some
parts of India. High quality linen fabrics are now produced in the United States for the
upholstery market.
[edit] Uses
Over the past 30 years the end use for linen has changed dramatically. Approximately
70% of linen production in the 1990s was for apparel textiles whereas in the 1970s only
about 5% was used for fashion fabrics.
Linen uses range from bed and bath fabrics (tablecloths, dish towels, bed sheets, etc.),
home and commercial furnishing items (wallpaper/wall coverings, upholstery, window
treatments, etc.), apparel items (suits, dresses, skirts, shirts, etc.), to industrial products
(luggage, canvases, sewing thread, etc.).[4] It was once the preferred yarn for handsewing
the uppers of moccasin-style shoes (loafers), but its use has been replaced by synthetics.
A linen handkerchief, pressed and folded to display the corners, was a standard
decoration of a well-dressed man's suit during most of the first part of the 20th century.
Currently researchers are working on a cotton/flax blend to create new yarns which will
improve the feel of denim during hot and humid weather.[6]
Linen fabric is one of the preferred traditional supports for oil painting. In the United
States cotton is popularly used instead as linen is many times more expensive there,
restricting its use to professional painters. In Europe however, linen is usually the only
fabric support available in art shops. Linen is preferred to cotton for its strength,
durability and archival integrity.
Linen is also used extensively by artisan bakers. Known as a couche, the flax cloth is
used to hold the dough into shape while in the final rise, just before baking. The couche is
heavily dusted with flour which is rubbed into the pores of the fabric. Then the shaped
dough is placed on the couche. The floured couche makes a "non stick" surface to hold
the dough. Then ridges are formed in the couche to keep the dough from spreading. It sort
of looks like this /\o/\o/\o/\o/\ where the "o" is the dough and the /\/\/\/\ is the folded
couche.
In the past linen was also used for books (the only surviving example of which is the
Liber Linteus). Due to its strength, in the Middle Ages linen was used for shields and
gambeson (among other roles such as use for a bowstring), much as in Classical antiquity
it was used to make a type of body armour, referred to as a Linothorax. Also because of
its strength when wet, Irish linen is a very popular wrap of pool/billiard cues, due to its
absorption of sweat from hands. Paper made of linen can be very strong and crisp, which
is why the United States and many other countries print their currency on paper that is
made from 25% linen and 75% cotton.
[edit] History
This section may require cleanup to meet Wikipedia's quality standards.
Please improve this section if you can. The talk page may contain suggestions.
(August 2009)
Linen was used by Egyptians in ancient times for mummification. Egyptians used linen
as burial shrouds. The ancient Egyptians wore linen on a daily basis. They wore only
white because of the extreme heat. Linen fabric has been used for table coverings, bed
coverings and clothing for centuries. The exclusiveness of linen comes from the difficulty
of working with the thread making it time consuming to produce (flax in itself requires a
great deal of attention to grow). Flax thread is not elastic so is difficult to weave without
breaking threads. Thus it is more expensive to manufacture than cotton.
The Living Linen Project was set up in 1995 as an Oral Archive of the knowledge of the
Irish linen industry which is still available within a nucleus of people who formerly
worked in the industry in Ulster. There is a long history of linen in Ireland.
The discovery of dyed flax fibers in a cave in Georgia dated to 36,000 BP suggests
people used wild flax fibers to create linen-like fabrics from an early date.[1][2] The use of
linen for priestly vestments was not confined to the Israelites. Plutarch wrote that the
priests of Isis also wore linen because of its purity.
In December 2006 the General Assembly of the United Nations proclaimed 2009 to be
the International Year of Natural Fibres to raise the profile of linen and other natural
fibers.
[edit] Antiquity
When the tomb of the Pharaoh Ramses II, who died 1213 BC, was discovered in 1881,
the linen wrappings were in a state of perfect preservation - after more than 3000 years.
In the Belfast Library there is preserved the mummy of "Kaboolie,' the daughter of a
priest of Ammon, who died 2,500 years ago. The linen on this mummy is in a like state of
perfection. When the tomb of Tutankhamun was opened, the linen curtains were found
intact.
[edit] Earliest linen industry
Diocletian's 4th century maximum prices edict showing prices for 3 grades of linen
across the Roman Empire
The earliest records of an established linen industry are 4,000 years old, from Egypt. The
earliest written documentation of a linen industry comes from the Linear B tablets of
Pylos, Greece, where linen is depicted as an ideogram and also written as "li-no" (Greek:
λίνον, linon), and the female linen workers are cataloged as "li-ne-ya" (λίνεια, lineia).[7][8]
The Phoenicians, who, with their merchant fleet, opened up new channels of commerce
to the peoples of the Mediterranean, besides developing the tin mines of Cornwall,
introduced flax growing and the making of linen into Ireland before the common era, but
it is not until the twelfth century that we can find records of a definite attempt to
systematize flax production.
When the Edict of Nantes was revoked, in 1685, many of the Huguenots who had to flee
the country settled in the British Isles, and amongst them was Louis Crommelin, who was
born, and brought up as a weaver of fine linen, in the town of Cambrai. He fled to Ulster,
and eventually settled down in the small town of Lisburn, about ten miles from Belfast.
Belfast itself is perhaps the most famous linen producing center throughout history,
during the Victorian era the majority of the worlds linen was produced in the city which
gained it the name Linenopolis.
During the late war Cambrai became well known as one of the centers of the most
desperate fighting. The name "cambric" is derived from this town.
Although the linen industry was already established in Ulster, Louis Crommelin found
scope for improvement in weaving, and his efforts were so successful that he was
appointed by the Government to develop the industry over a much wider range.than the
small confines of Lisburn and its surroundings. The direct result of his good work was the
establishment, under statute, of the Board of Trustees of the Linen Manufacturers of
Ireland in the year 1711.
[edit] Religion
In the Jewish religion, the only law concerning which fabrics may be interwoven together
in clothing is one which concerns the mixture of linen and wool. This mixture is called
shaatnez and is clearly restricted in Deuteronomy 22:11 "Thou shalt not wear a mingled
stuff, wool and linen together" and Leviticus 19:19, "'...neither shall there come upon thee
a garment of two kinds of stuff mingled together.'" There is no explanation for this in the
Torah itself and is categorized as a type of law known as chukim, a statute beyond man's
ability to comprehend.[9] Josephus suggested that the reason for the prohibition was to
keep the laity from wearing the official garb of the priests,[10] while Maimonides thought
that the reason was because heathen priests wore such mixed garments.[11] Others explain
that it is because God often forbids mixtures of disparate kinds, not designed by God to
be compatible in a certain way, with mixing animal and vegetable fibers being similar to
having two different types of plowing animals yoked together. And that such commands
serve both a practical as well as allegorical purpose, perhaps here preventing a priestly
garment that would cause discomfort (or excessive sweat) in a hot climate.[12] Linen is
also mentioned in the Bible in Proverbs 31, a passage describing a noble wife. Proverbs
31:22 says, "She makes coverings for her bed; she is clothed in fine linen and purple."
[edit] Etymology
The word linen is derived from the Latin for the flax plant, which is linum, and the earlier
Greek linon. This word history has given rise to a number of other terms:
• Line, derived from the use of a linen thread to determine a straight line;
• Liniment, due to the use of finely ground flax seeds as a mild irritant applied to
the skin to ease muscle pain
• Lining, because linen was often used to create a lining for wool and leather
clothing
• Lingerie, via French, originally denotes underwear made of linen
• Linseed oil, an oil derived from flax seed
• Linoleum, a floor covering made from linseed oil and other materials
In addition, the term in English, flaxen-haired, denoting a very light, bright blonde,
comes from a comparison to the color of raw flax fiber
lonhttp://en.wikipedia.org/wiki/Linen
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Wedding Gown Fabrics - Pros & Cons"
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With the advent of manmade materials, today's bride has far more choices than her
predecessors did when choosing the fabric for her wedding gown. The number of choices
may be a bit overwhelming. Start by considering the time of year in which you'll be
married and whether your wedding will be indoors, or outdoors. You can eliminate some
fabrics because they are too heavy for the summer, or too lightweight for the winter. Next
you can narrow your choices by price. Some fabrics are more expensive than their
synthetic "twins." Narrow your search even further if you know what style gown you
want and suit the fabric to the style of the gown. Last, but not least, consider the kind of
wedding you'll be having. If it's to be a formal, indoor affair then you can choose a
delicate fabric. But, if you're having an outdoors, or informal wedding, you'll be better off
picking a fabric that doesn't wrinkle easily and is not too delicate. There are pros and
cons to every fabric, so I'm hoping that this article will give you the basics for when you
are ready to shop for your dress.
BATISTE is a lightweight, soft, and transparent fabric in a plain weave.
BROCADE too is made from silk or synthetic fibers. What distinguished this very
elegant fabric is that in that raised designs (known as jacquard) are woven into the fabric
when it is woven. The resulting material is somewhat stiff and has great body. It is softer
and lighter than satin, and is of medium weight. It's best for: structured, A line, or column
gowns.
CHARMEUSE is machine-woven from silk or synthetic fibers. It is frequently found in

lingerie, because it is both lighter and softer than satin. It drapes well on the body,
following the body's contour. Generally, charmeuse is shiny on one side and matte on the
reverse. It has a soft drape and is best for unstructured, flowing styles, empire, mermaid
gowns. It's very delicate and has an especially luxurious feel and rich look. It's less
expensive than silk satin, but more expensive than synthetic fabrics. Silk charmeuse, also
sometimes referred to as "crepe backed satin" is a form of silk satin, but is very thin and
floaty. This fabric is best worn in warmer months, but because of its unusually rich
appearance, can also be worn in the winter.
CHIFFON is machine-woven from silk or synthetic fibers like nylon. It is soft, sheer,
and transparent so, because of its ethereal quality, it is often used as the overlay on the
gown's skirt and is popular for sleeves, overskirts, and wraps and is often layered.
Chiffon can be made from silk (more expensive) or rayon (more affordable). It has a soft,
fluid drape and is best for overskirts, layered wedding, sheer sleeves, ballgown, and
empire gowns. It is much less expensive than silk chiffon, is lightweight, and is available
in just about any color. It does, however, wrinkle easily (not as much as silk) and is quite
delicate.
POLYESTER CHIFFON is the most common type of chiffon in the bridal gown
industry. It's sheer, floaty, less expensive than silk chiffon, lightweight, and
comes in any color. Unfortunately, it's very delicate and wrinkles easily, albeit
less than silk. This fabric is perfect in warmer months.
SILK CHIFFON , also known as silk mousseline or silk crinkle chiffon is very
similar to synthetic chiffon. It is sheer, soft and very lightweight, but is very
delicate, expensive, and some brides dislike it's "raw" texture. It best worn in the
warm months.
CREPE is a soft silk, acetate, or lightweight rayon fabric with a gauzy texture
and a crinkled surface. It's heavier than Georgette, has a soft drape and is a best-fit
for flowing, soft silhouettes, ballgown, empire, and mermaid styles.
DAMASK is similar to brocade with raised designs, but lighter in weight. The
pattern is the same color as the fabric, with a dull jacquard design. Its medium
weight, semi-stiff and best for bodices, tailored wedding gowns, shrugs, jackets,
A Lines, and columns.
DOTTED SWISS is a sheer, very lightweight, muslin fabric embellished with

raised dots, evenly spaced throughout.
EYELET features open-weave embroidery> Breezy eyelet is typically associated

with spring and summer.
FAILLE is a woven fabric of silk, cotton, or rayon, faille is a heavier fabric with
a structured, ribbed finish. It's a shiny, tightly woven fabric made of silk or rayon
and has a crosswise rib effect.
GABARDINE is a tightly woven, tough fabric with a durable finish and single
diagonal lines on the face, gabardine is often used to make suits, overcoats, and
trousers.
GEORGETTE is a sheer, lightweight fabric, georgette is made of polyester or

silk with a crepe surface. It's light and floaty, perfect for a top layer and forms a
soft silhouette. It's best for layered wedding gowns, ballgowns, empire and
mermaid styles.
ILLUSION is a fine, sheer net fabric, typically used on necklines or sleeves.
JERSEY is an elastic knit fabric which has lengthwise ribs on the face and
crosswise ribs on the underside.
KNITS are comfortable and stable enough to hold a tailored shape. The surface is
matte and it's made from various fibers including wool, polyester, and rayon,
blends. Its medium weight and has a soft drape which makes it best for tailored
suits.
LACE, which can be woven from silk or cotton, comes in several different kinds
of weaves including, for example, Chantilly embroidered.
MOIRE is a heavy silk taffeta noted for a subtle, wavy design. It is usually made
of a polyester or silk taffeta patterned to glisten like water when seen in defused
light.
ORGANZA/ORGANDY is also woven from silk or synthetic fibers such as

polyester or nylon. Its weave is what gives it its unique quality. The process is
called plain-weave, a technique in which the fibers are crisscrossed. The resulting
fabric is sheer and "crunchy" and comes in either a shiny, or sparkly finish.
Organza is basically a stiffer chiffon, just as sheer, but not a "floaty." Its luxurious
and lightweight which makes it perfect as a sheer fabric for top layer or inserts.
The drape is crisp and it's best for layered gowns, veils, trains, fully-l layered
skirts, ballgowns, or column-style gowns. It does, however, wrinkles easily. It's
also very delicate, and tends to be on the expensive side. It's best suited for
warmer months, but can be worn at anytime of the year.
POINT D'ESPRIT is a polyester net with the yarns sewn together in such a way
as to create a diamond pattern.
POLYNET is the netting most often used to make yokes and sleeves. Schiffli
embroidery is often found on this net and it is popular to attached beaded and
sequined appliques as well.
POLYESTER is an inexpensive synthetic fiber that can be woven into almost

any fabric. Albeit Polyester has a bar reputation as people recall the polyester
suits of the 70's, polyester has come along way since then and has become a
versatile and probably the most common fabric used in the bridal industry.
Polyester satin, for example, is very common and looks much like its expensive
"sister," silk. Its pros are that it's' more wrinkle resistant, less delicate and more
durable than silk satin and comes in any number of colors. Its cons are that it
doesn't quite look, or feel quite like silk satin. Because it's heavy, it can be hot to
wear and is best worn in the Fall, winter or spring.
RAYON is a smooth manufactured fabric that is similar to silk, but more elastic
and affordable.
SATIN is obtained from natural (silk) or synthetic fibers (nylon). What

distinguishes it is that satin has a high thread count that comes from using many
layers of fiber. Silk satin is the most traditional of wedding gown fabrics.
DUCHESS SATIN, PEAU DE SOIE, BRIDAL SATIN is much like satin and
is obtained from woven silk. It can be woven from synthetic fibers. Its very high
thread count makes it a heavier fabric that works well in the winter, albeit it is
used in other seasons as well. It has a dull lustrous, rich, buttery soft finish, fine
ribs, a grainy appearance and a dull back. It's of medium weight and a semi stiff
drape, making it best for tailored silhouette, simple formal wedding gowns, a base
for embellishments, A Line, ballgown, column, and mermaid gowns. Although it's
considered by most to be the most luxurious of all fabrics, it is also one of the
most expensive, as much for example as three times as much as silk taffeta. It's
also not as durable as poly satin and somewhat heavier than some other fabrics.
Because silk can't be bleached without ruining the integrity of the fabric, it cannot
be made in pure white, which is the case for all silk fabrics. Its qualities make it
best to be worn in cooler months, but it's really perfect at anytime of the year.
ITALIAN SATIN is a heavier satin fabric, brimming with body, featuring an
antique sheen.
SLIPPER SATIN is a light, soft, closely woven, satiny feeling fabric that shines
in the light.
PEACH SATIN is a smooth, finely woven micro fiber fabric obtained from silk
or polyester. Its smooth, soft surface gives it a medium weight and a soft drape.
It's best for empire line and column.
SHANTUNG is a plainly woven silk, polyester, or cotton fabric. It's noted for its
rubbed, rough texture. It's like dupion with a textured surface that may be satin
backed. It's a medium weight with a stiff drape and is best for tailored, A Line,
ballgown, and column gowns. The pros of this fabric are that it is fairly
lightweight, it both looks and feels rich, is run in many bright colors, and it keeps
its volume without necessitating lots of crinolines underneath it. Its cons are that it
wrinkles easily, is on the expensive end of the spectrum and, some brides don't
like the "raw" feel.
SILK is a soft material that gives off a muted shine. Silk comes from fiber that is
obtained from the cocoon of the silkworm. The fiber is spun into thread and
woven into cloth. What's amazing is that the same thread can be woven in several
fabrics that include satin, taffeta, organza, chiffon, lace, and tulle. Silk is still the
most popular gown material.
SILK GAZAR is a four-ply silk organza.
SILK MIKADO is a blended silk that is usually heavier than regular silk.
DUPION I silk has a similar finish to shantung, but with a thicker, nubbier,
coarser finish and a slight sheen. In Dupioni silk the yarns are "slubbed," which
means the thickness of the fabric is inconsistent. Available in many colors, it's
heavier and stiffer than satin, so best for structured styles, suits, jackets, A Line,
ballgown, or column gowns. The fabric will keep its volume without lots of
crinolines underneath, but it winkles easily, is relatively expensive and some
brides don't like its "raw" texture. Duponi and shantung can be worn at anytime of
year.
SHANTUNG is woven from short waste threads, possessing natural knots on a
smooth surface.
TAFFETA is obtained from woven silk, nylon, acetate, and/or other synthetic
fibers like polyester. The stiffer the taffeta, the higher its quality. The way to
judge its quality is to crinkle it up in your hands. If it stays crunched it's of a
higher quality than if it "reverts" to being flat, then it's of a lesser quality. It's
interesting to note that, unlike other synthetics, some synthetic taffetas are
actually of a better quality than silk taffeta, The fabric looks ribbed (moire) with a
dull, or a light sheen. It's best suited for the lining, or the outer fabric of a gown
with wide skirts, and/or structured silhouette such as A Lines, ballgowns, and
column. It has many pros. It's lightweight, looks good even if it gets a bit
wrinkled, and can be produced in almost every color. Because of the weaving
process, it can be produced in iridescent colors that often appear as two-tone.
Finally, it's also very durable. The synthetic varieties can sometimes, but not
always, prove to be not as pricey as silk. Because of the way it's woven it can
come in iridescent, almost two-tone in color. Its cons are that it's not as luscious
as satin and it does "make noise" when the wearer walks, something that some
brides don't like.
Its pros are that it's lightweight, looks good when wrinkled a bit, comes in any
color, is quite durable and can sometimes be less expensive than silk. It's not,
however, as lustrous as satin, and the "swishing" is irritating to some brides. Its
qualities make it best to be worn anytime, because it's rich enough for the winter
and lightweight enough for the summer.
TULLE refers to the net-like, shear, gauzy material that is mainly used for the
gown's lining. It is also widely used for bridal veils, petticoats and found in layers
covering a full satin skirt, but is also used in the making of gowns themselves. It's
unique because it's available in different weights and stiffness. Obtained from silk
or nylon, it's lightweight, fairly inexpensive, and hides wrinkles fairly well. It's
very delicate and some brides find it too "poofy" and not as luxurious looking as
other fabrics. It may be worn at anytime of year.
TULLONET is a coarse net used to give fullness such as seen in crinoline slips.
VELVET is a soft, thick fabric made of silk, cotton, rayon, or acetate that has a
felted face that's plain on the reverse. Softer than velveteen, its heavy weight
makes it an ideal winter fabric that's best suited to a soft silhouette, full skirt, A
Line, ballgown, column, or mermaid style gown.
ZIBELINE is woven from straight fibers, all laid in a single direction, which
produces a shiny nap.
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Platinum Long Boot Skirt

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Platinum Long Boot Skirt

Was $109.00
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$10.22 used
eBay
Ann Taylor Cream/tan Woven A Line Lined Skirt Size 8
ANN TAYLOR LOFT CREAM/TAN WOVEN A LINE SKIRT/ FULLY LINED/ SIDE
ZIPPER WITH HOOK EYE CLOSURE/37% ACRYLIC 65% COTTON 15%
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eCrater - vintageoutlet
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Vintage 60s Preppy Midi A-Line Wool Buffalo Plaid Skirt S small
Vintage 1960s Preppy skirt in beautiful shades of mauve to lavender to a dark plum
diagonal plaid, with a Four Gore cut it has a beautiful midi ...
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Venezia Stretch Black Pinstripe Career Skirt 28
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pencil skirt texture
Our Paula Pencil Skirt in Black Texture

Lee Lee's Valise » Skirts » Our Paula Pencil Skirt in Black Texture
Our Paula Pencil Skirt in Black Texture
Our Paula Pencil Skirt in Black Textured Fabric
Texture-Texture-Texture! It’s Just the Right Amount of Dressy!
This lush South American fabric is perfect to go from day to night.

The most popular pencil skirt in the store! It’s comfortable and fashionable and the fit is
right on target with the perfect amount of coverage for work. We added a Brianna or
Marisa top for a great work look. The texture of this skirt is the key with just the right
amount of subtle sheen.
Available in Sizes: 00 (10) 0 (12) 1 (14-16) 2 (18-20) 3 (22-24) 4 (26-28)
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Color: Textured Black
Approx.Length (00x-4x) 24 1/2"
1 1/4 Elastic Waistband
4 1/2" vents on each side
Fabric: South American Textured Fabric - almost like a boucle`
94% Rayon 6% Spandex
Machine Wash Cold, Gentle Cycle, Tumble Dry Low, Cool Iron, or Dry Clean
Made in the Lovely USA
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Shimmer Textured Short Pencil Skirt

Was $99.00
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One of our all-time favorites. Pair it with the matching shimmer jacket,and you are good
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• Sweep Approx. 37 1/4 in.
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• 43% Cotton, 42% Acetate, 15% Metallic

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Add texture to your business attire with this pencil skirt. Texture pinstripes, inverted
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Dialogue Texture Cotton/Linen Pencil

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Overall Rating
4 out of 5
Ratings Snapshot (23 reviews)
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"19 out of 23(83%)of customers would recommend this product to a friend."
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Description
Sleek silhouette. This textured cotton/linen pencil skirt offers a polished look that easily
transitions from day to night. Rear gored panels provide an added touch of style. From
Dialogue(R) Fashions.
• Hidden side-seam zipper with hook-and-eye closure, flat front waistband, fully
lined
• 4, 6, 8, 10, 12, 14, 16, 18W, 20W, 22W, 24W, 26W, 28W
• 12 relaxed waist 32", hip 41", length 24"; 20W relaxed waist 39-1/2", hip 49",
length 25"
• Shell 59% cotton/39% linen/2% spandex; lining 100% polyester
• Hand wash, line dry
• Made in China
For more detailed Fit and Sizing information, please refer to the Sizing tab above. To see
the specific garment measurements for this item, click here.
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• Was £35.00
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• Colour: Grey
• Item code: 241637003
degrees.
Petite Riley Texture Pencil Skirt

$
108
We love the sleek polish of this textured pencil skirt. Asymmetrical waistband adds
subtle definition at waist. Hidden back zipper. Vent at center back hem. Lined. 20 1/2"
length.
Style #256648
76% Cotton, 22% Linen, 1% Elastane, 1% Polyacrylic
Imported
Dry Clean Only
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St. John Collection Diagonal Texture Knit

Pencil Skirt
was: $445.00now: $259.00
Straight-cut pencil skirt is shaped from a diagonally textured knit and styled with a
functional buttoned back vent. Color(s): black. Brand: St. John Collection. Style Name:
St. John Collection Diagonal Texture Knit Pencil Skirt. Style Number: 217185.
pleated skirt texture
Vintage 60s ALABASTRA cream

ACCORDION pleated schoolgirl
PREPPY cotton two piece textured
skirt and vest , size Small/ Medium, S /
M
From BetaBoutique
Two piece woman suit - accordion pleated skirt and vest - back from 60s. Wear them
together or combine with other outfits. It is made of pleasant for skin 55% cotton,45%
polyester fabric in shades of light brown, threaded with darker brown threads.
Condition : excellent vintage
Era : 60’s
Materials: cotton 55 %, polyester 45 %
Label: More Konfeksion
FLAT Measurements (you don’t need to double anything)
Skirt :
Length : 29 “ / 73.5 cm
Waist : 26 “ / 66 cm
Hips : free
Vest :
Length from underarm : 19 “ / 38 cm
Chest : 35 “ / 89 cm
Waist: 28 “ / 71 cm
♥♥♥
As all my garments, this is previously washed, ironed and ready to wear.
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Main Content:
review summary
Rated 4.5 stars
Based on 12 ratings
Overall size:
10 of 12 say true to size
Length:
8 of 10 say as expected
Hips/rear:
Rise:
7 of 9 say as expected
Waist:
Occasions:
Work (9), Going out (7)
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Pleated bow skirt
available in petite/tall
Rated 4.5 stars
Based on 12 ratings
A decadent skirt with an exquisitely silky texture, chic pleats, and a graceful side bow.
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#791608
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About this product
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• 100% Polyester.
• Machine wash.
• Imported.
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The perfect addition to your warm-weather wardrobe. This lightweight, pleated skirt with
a stretch waistband is classic flattering style for every body.
• 100% Synthetic
• Wide stretch waistband
• On-seam hand pockets
• Pleated skirt
• Machine washable
• Imported
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Simply Vera Vera Wang Swirl Skirt 50%
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The Simply Vera Vera Wang Swirl Skirt is a bargain for just $26.99 at Kohl's! Originally
priced at $54.00, this miniskirt features polyester construction, allover swirl print design,
a faux wrap design, pleated accents, grosgrain trim, and a side zip. At press time, this
skirt was available in red/gray/white in sizes 2 to 16.
Atelier Skirt Suit - Pleated Collar
(For Women)
$111.96 $320.00 Save 65% Item #2347M
Closeouts. In a triumph of visual texture, this charcoal grey skirt suit from Atelier
features a subtle, tonal check fabric that holds its shape -- in the smooth, body-slimming
lines and uniquely pleated puff collar.
• Suiting fabric is substantive and wrinkle resistant

• Jacket:
• Pleated puff collar with wide, rounded lapels
• Three-button front
• Princess seams
• Flapped pockets with gracefully curved points and edges
• One-button notched sleeves
• Length: 24” (based on size 6)
• Skirt:
• 1-½” band sits just below waist
• Back zip
• Back vent
• Length: 24”
• Fabric:
• 61% polyester, 37% viscose, 2% spandex with polyester lining
• Dry clean
• Classic Fit
• Closeouts. China.
woven aline skirt texture
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Love 21 - A striped knee length A-line skirt featuring shirring along the waist and a
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• Imported
• Box Pleats
• Lined
• 100% Cotton
View Larger Image http://www.anneklein.com/Full-A-Line-Skirt-With-

Pleats/90384316,default,pd.html
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Basler A-Line Skirt

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Product Code: GN918KJ

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Product Details
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• Was price from Autumn 2009
• Pure wool A-line skirt has fixed waistband, side zip and belt loops
• 74cm (29in)
• Dry clean
• 100% Wool
• Lining: 100% Acetate
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Tops…………………
Broomstick Skirt
Broomstick skirt with heat set creases. Full
elastic waist, easy wash & wear. 100% cotton.
Colors: Black, Red, Chambray,
Navy, Wine, White, Raspberry
Sizes: P(29"), S(30"), M(31"), L(32"), XL(32")

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Skirt

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wholesale formal short skirt

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formal short skirt

formal short skirt

1:Product detail 7e-fashion.com newest fashion

Business Type: Manufacturer, Distributor/Wholesaler

Trade & Market

Factory Size (Sq.meters): Below 1,000 square meters

How to Buy a Woman's Skirt

Tips for Buying a Woman's Skirt

Where to Buy a Woman's Skirt

• Target has a good selection of women's skirts in contemporary materials and a

Our company offers a wide range of Designer

Polka dot skirt on a hanger.

[edit] Skirts in the 19th century

[edit] Skirts in the 20th and 21st centuries

[edit] Basic types

[edit] Fads and fashions

• Ballerina skirt, a full-length formal skirt popular in the 1950s.

[edit] Male wear

A-line skirt Dirndl Jean miniskirt Kilt

Microskirt Pencil skirtPoodle skirt

You will need:

• 1 yd. [0.9 m] of fashion fabric, 45″ [115cm] wide

Skirt shell (A+5 x B+5) – cut 1X self

Waistband elastic – waist measurement less 6″ [15.25 cm]

Note: Cut all fabrics on the straight grain.

1. Mark the center of each fabric piece.

Shimmer Textured Short Pencil Skirt

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• From the JNY Collection Line

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• Jump to main content (accesskey c)

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Grey Texture Suit Pencil Skirt

Sorry, this item is out of stock.

• Standard delivery is free on all orders over £30.

a. Box dimensions: 50cm32cm38cm