A Study of Textile and Fabrics

Introduction
Fabric is an essential part of life – Ever since ancient

times, fabric has been used for survival – although
fabric back then wasn’t quite the same as it is now.
A textile fabric is a cloth that has been woven, knitted, tufted, knotted, or
bonded together using natural or synthetic threads, yarns, and other
materials. Popular fabrics include cotton and leather, but even seaweed and
gold have been used to make textiles. Understanding the differences found
among different textile fabrics is critical in the design industry. Textile
fabrics originate from a number of sources including animals, plants, and
minerals, as well as manmade synthetic materials.
A textile is a flexible material consisting
of a network of natural or
artificial fibers(yarn or thread). Yarn is
produced by spinning raw fibres
of wool, flax, cotton, hemp, or other
materials to produce long strands.
Textiles are formed by weaving,
knitting, crocheting, knotting or
tatting, felting, or braiding.
The first natural textile was created
using flax - the cellulose fibres grown in
flax plant stalks. Without the great
fortune of being able to walk over to the
nearest shopping centre, people at the
time would separate each fibre into individual strands, and then weave or
plait them together to form basic fabric pieces. Afterwards, if desired,
they'd dye them different colours using natural dyes from plants.
Flax, or linen, isn't the only natural fabric that's been commonly used for
thousands of years, however. Before the introduction of manmade
materials, the fabric industry would have to source organic and renewable
fibres that could be available in their plenty - so linen, cotton, wool and silk
were composed in abundance. Although these fibres fulfilled their purpose,
each seemed to have its restrictions, such as creasing and shrinking, so
synthetic fibres were developed to combat these flaws.
Study of Textiles & Fabrics 1

The invention and development of manmade fabrics was only put into
practice just over a hundred years ago, so these fibres have a miniscule
history in comparison to the classics. Rayon was the first synthetic fibre
produced and distributed in 1910, originally designed to mimic the
appearance of silk. Nylon followed suit 29 years later, notably composed
using petrochemicals - thus forever changing the methodology behind the
production of synthetic materials for the clothing and thread industries.
This great success proved high in demand, so quickly replaced silk and
rayon fibres due to its more favoured properties.
As the years passed, the demand for natural fibres decreased to make way
for a greater production of synthetic fibres such as acrylic, polyester and
spandex - providing more comfort, strength, breathability, cost efficiency,
greater fabric manipulation, and a vast amount of dying portunities,
amongst many other advantageous traits. Today, natural fibres are still
very much apparent across many industries - especially in crafting! Wools
and yarns are crucial for knitting and crochet, while cotton is a particularly
easy fabric to work with in sewing projects. Each type of fabric fibre,
whether it's natural or synthetic, has its own unique composition and
individual properties that makes it ideal for specific applications

Fabric Construction Methods
Most fabrics are made my knitting or weaving yarn, although non woven
fabric is made by bonding or felting fibres together. A fabrics properties,
appearance and end use can be affected by the way it was constructed.
Fabrics can be made or constructed by using a number of techniques as
given below:
1) Woven
2) Knitting
3) Non-woven
a. Braided
b. Nets
c. Laces
Woven
Woven fabrics are made by interlacing two sets of yarns at right angles to
each other. The length wise yarns are called the warp yarns / ends and the
width wise yarns are called the weft yarns / filling / picks. The lengthwise
edges of the fabric are the selvages. Grain indicates a direction parallel to
either the warp or the weft. Direction i.e. 45 degree to both the warp and
weft is termed as bias. The stretch is maximum along the direction of the
bias. Woven fabrics have their best drape in the bias direction.
Making Woven Fabrics

The machine on which the fabric is woven is called a loom. The process of
making the fabric on the loom is known as Weaving.
Weaving
Weaving is the intersection of two sets of straight yarns, warp and weft,
which cross and interlace at right angles to each other. The lengthwise
yarns are known as warp yarns and width wise yarns are known as weft or
filling yarns and the fabric produced is known as woven fabric.

Woven fabrics are made up of a weft – the yarn going across the width of
the fabric and a warp – the yarn going across the length of the loom. The
yarns are interlocked together. The side of the fabric where the wefts are
double backed to form a non fraying edge is called the selvedge.
1) Plain Weave
It is the simplest and the most used weave. In this case, the warp and weft
yarns alternate with each other, i.e. each weft yarn goes over one warp yarn
and under the next warp yarn. Fabrics with plain weave are reversible
unless one side is made the face by finishing or printing.
(Plain weave)
Important Features: Fabrics with plain weave have firm constructions,

tend to wear well and ravel less than comparable fabrics with other
weaves. Since the surface is plain it offers good background for printed or
embossed designs, but the fabrics tend to wrinkle more than fabrics of
other weaves. However the fabrics possess no surface interest unless
colored yarns are used.

2) Twill Weave Fabric
Twill weave produces a diagonal line on the face or the back of the fabric.
The direction of the twill can be varied to create interesting effects such as
broken twill, herringbone twill, pointed twill etc. Fabrics made by this
weave are characterized by high strength and compact weaving.
(Twill Weave)
Important Features: As the fabric exhibits high strength twills are widely
used for work clothes and suiting fabrics
3) Satin Weave Fabric

Satin weave is characterized by a smooth, shiny and slippery surface
created as a result of long floats present on its structure. As a result the
warp yarns are seen more on the surface of the fabric. Reflection of light
from these yarns give a shine to the fabric. Satin weave requires 5 to 12
harnesses. Moreover, the yarns used for making this weave have lesser
twist as compared to the yarns used for other weaves. All these together
give the fabric a soft, smooth and shiny appear.
(Satin Weave Fabric)

Important features: Satin weave produces a very even surface because of
the many warp or weft floats. However, the fabric has a poor wearing
quality due to the less interlacements
4) Basket Weave
It is a variation of plain weave. Basket weave is made by having groups of

two or more warp yarns interlaced in plain weave pattern
(Basket weave)
Important Features: Basket weave is a decorative weave and is made with

relatively low yarns per inch and low twist yarns to increase the weave
effect. These fabrics are not very stable since the yarns can move easily.
5) Rib weave
It is usually made by using several yarns as one or a thick yarn in either the
warp or weft direction to produce the rib effect. The interlacing is in the
plain weave pattern.
(Warp Rib Weave) (Wift Rib Weave)
Knitting
Knitting consists of forming yarns into loops, each of which is typically only
released after a succeeding loop has been formed and inter meshed with it
so that a secure ground loop structure is achieved. These fabrics are made
up of single or multiple lengths of continuous yarn on a knitting machine or
with knitting needles.
1) Weft Knitted Fabric is made up of looping together long lengths of yarn,

can be done by hand or machine. The yarns run in rows across the fabric.
The fabric is stretchy and comfortable and is used for socks, t-shirts and
jumpers.
(Weft knitted)
2) In Warp Knitted Fabric the loops interlock vertically along the length of
the fabric. They are stretchy and do not ladder. This fabric is made by
machine and used for swimwear, underwear and textile.
(Warp Knitted)
Non-Woven
In this method, fabrics are made of fibres held together by an applied

bonding agent or by the fusing of self-contained thermoplastic fibres. Here,
nothing is processed on conventional spindles, looms or knitting machines.

1) Wool felt is a non woven fabric made from animal hair matted together
using moisture, heat and pressure. It has no strength, drape or elasticity
but is warm and does not fray. Wool felt is an expensive fabric so is
used for handicrafts, hats and slippers.
2) Braided fabrics are created in a fashion similar to braiding of hair.

These fabrics are mainly used to make trimmings and shoe laces.
3) Nets : They are open-mesh fabrics with geometrical shapes. These

yarns may be knotted at the point of intersection. You notice it being
used very commonly for mosquito nets
4) Laces : Yarns are criss-crossed to create intricate designs. Yarns may

be interlooped, interlaced or knotted to give open-mesh structure.
Beautiful decorative designs can be created through lace making. Laces
are very important trimmings that are used to decorate a garment.

TYPES OF FABRICS
The fabulous thing about fabric is that it's widely accessible in many
different colours, patterns and designs. Here, we take a look at the
different materials you could base your sewing projects on, describing
their qualities.
 COTTON
Cotton is a soft, fluffy staple fiber that grows

in a boll, or protective case, around the
seeds of the cotton plants of the
genus Gossypium in the mallow
family Malvaceae. The fiber is almost
pure cellulose. Under natural conditions, the
cotton bolls will increase the dispersal of the
seeds.
The plant is a shrub native to tropical and
subtropical regions around the world,
including the Americas, Africa, Egypt and India. The greatest diversity of
wild cotton species is found in Mexico, followed by Australia and Africa.
Cotton was independently domesticated in the Old and New Worlds.
The fiber is most often spun into yarn or thread and used to make a
soft, breathable textile. The use of cotton for fabric is known to date to
prehistoric times; fragments of cotton fabric dated to the fifth millennium
BC have been found in the Indus Valley Civilization. Although cultivated
since antiquity, it was the invention of the cotton gin that lowered the cost
of production that led to its widespread use, and it is the most widely
used natural fiber cloth in clothing today.
Current estimates for world production are about 25 million tonnes or 110
million bales annually, accounting for 2.5% of the world's arable land.
China is the world's largest producer of cotton, but most of this is used
domestically. The United States has been the largest exporter for many
years. In the United States, cotton is usually measured in bales, which

measure approximately 0.48 cubic meters (17 cubic feet) and weigh 226.8
kilograms (500 pound
Light, thin and soft, cotton is a relatively cheap material so is often used for
a multitude of different textile projects. Cotton is an ideal material for
patchwork projects and creating lightweight garments, such as button-up
shirts, dresses, socks, t-shirts, bed sheets and much more, however it may
not be well-suited for more heavy-duty stitch crafting
 DENIM
Denim is a sturdy cotton warp-faced

textile in which the weft passes under two
or more warp threads. This twill weaving
produces a diagonal ribbing that
distinguishes it from cotton duck. While a
denim predecessor known as dungaree has
been produced in India for hundreds of
years, denim itself was first produced in the
French city of Nîmes under the name “serge
de Nîmes”.
The most common denim is indigo denim,
in which the warp thread is dyed, while the weft thread is left white. As a
result of the warp-faced twill weaving, one side of the textile is dominated
by the blue warp threads and the other side is dominated by the white weft
threads. This causes blue jeans to be white on the inside. The indigo dyeing
process, in which the core of the warp threads remains white, creates
denim's signature fading characteristics.
Denim is a strong, sturdy material traditionally made from cotton warp
yarn and a white cotton filling yarn. These two yarns are finely interwoven
to create a complex twill weave, strengthening the material. Although it's
primarily used to create jeans, jackets, dresses and dungarees, denim can
also be used to make accessories and even cover furniture for a non-
conventional home décor style.

 FELT
Felt is a man-made fabric, created from natural fibres. Most man-made

fabrics are generally woven; however, felt differs in this sense. A Felted
fabric is created from fibres being compressed and matted, often pressed
together using heat, moisture and a lot of pressure. It can take a large
amount of work, but the result is a very dense fabric consisting of
permanently interlocked fibres.
Felt is a textile material that is produced by matting, condensing and
pressing fibers together. Felt can be made of natural fibers such as wool or
animal fur, or from synthetic fibers such as petroleum based acrylic or
acrylonitrile or wood pulp-based rayon. Blended fibers are also common.
What is Felt Made From?
Felt is typically composed of wool or other natural raw materials, which

generally produces the highest quality and softest fabric. Wool also matts
very easily, making it ideal for this fuzzy fabric. However, adding synthetic
fibres into the mix (such as polyester or acrylic) can improve the product
depending on its intended use. Adding a percentage of synthetic fibres can
increase felts durability for certain crafts or industrial use, and can also
increase pliability. A common fibre sometimes added to wool is rayon,
which when added removes the prickly feeling that pure wool can often
have against the skin. Meaning that a synthetic mix is the best of both
worlds!
How is Felt Made?
As mentioned, the process of creating felt can be pretty labour intensive,

involving various steps of blending the fibres, matting the material,
shrinking and steam-pressing. However, the most straightforward method
is simply to apply heat and moisture which causes the mix of fibres to
merge and blend together. You can even do this yourself at home to any
wool or knitted products – pop it in the washing machine for a process
known as ‘felting’ or ‘fulling’ – the same thing that happens when you
accidentally shrink that woollen jumper!
Felt Origins
Wool felt is one of the oldest known textiles. The location of its origin is
debated, with many cultures having their own origin legends for the
process. However, it is thought to have been created over 5000 years ago in
Asia. The method is still practised by Nomadic peoples in Asia to make
tents, rugs and clothing, including traditional yurts and more tourist
oriented items such as decorative slippers. One commonly told origin story
is that during the Middle Ages, men lined their sandals with wool for
comfort. Over time, the fibres in the wool became interlocked and felted as
a result of the moisture, warmth and recurring pressure from being walked
on
Types of Felt
There are a few types of felt readily available to work with, alongside
needlefelt which you can create yourself.
Pressed felt
This is the oldest form of felt (or fabric at all) that is known to man, it even
predates knitting and weaving techniques. It’s the most common type,
which uses wool fibres or a blend of wool and synthetic fibres which are
compressed using heat and moisture, causing the fabrics to interlock. It can
be cheap to make, and can also be made in a range of thicknesses which
achieve a high density.
Needled Felt
In the case of needed felt, a blend of wool and synthetic fibres, or 100%
wool, are again interlocked but this time by a machine rather than
naturally. Machines that contain thousands of needles interlock the fibres
to produce this softer, less dense type of felt fabric which is often used for
crafts or cushioning.
Woven Felt
To make woven felt, wool or a wool blend is directly woven into a cloth and
then moisture and pressure are applied. This makes the fibres naturally
interlock, as with pressed felt. This incredibly durable fabric is ideal for
musical instruments and door seals, and has a much lower maximum
thickness than needled or pressed felt
What is Felt Used For?

So, what is felt used for? Felt has a huge range of uses, depending on the
type you’re using and the quality of the wool. Wool has different textures
ranging from silky to coarse, which ultimately effects the felt you create
with it. Felt has an incredibly unique texture and qualities, and can be made
from a wide range of materials which is quite unusual in a fabric. Needled
felt is very soft making it perfect for crafts, whereas wool blends are light
and breathable but still keep you toasty during the Winter months; making
them perfect for knitwear. Pure wool felt is a natural insulator and very
resilient to wear and tear, as well as being strong and able to absorb
moisture. This means it can be used for home furnishings as well as
decorative items.

 FLEECE
Fleece is lightweight, strong and soft, constructed to almost mimic the

properties of wool. Made from a type of polyester with synthetic fibres,
fleece is generally an inexpensive material that's capable of insulating heat,
so is the ideal material for creating jackets, hats, jumpers and throw
blankets.
What is Fleece Made From?
Typically, fleece is created from polyester (which comes from plastic). The
fibres of polyester are woven into a light fabric which is brushed to help the
fibres increase in volume. Occasionally other natural fibres are
incorporated into the fleece such as wool, hemp or rayon to create a certain
texture or vibrancy of the fabric. Fleece can also be made from recycled
plastics such as plastic water bottles, giving it an eco-friendly edge whilst
being inexpensive.
How is Fleece Made?
For polyester fleece, the polyester fibres needs to be made first. This is
created using a chemical reaction involving petroleum and petroleum
derivatives. The chemicals are heated until they form a thick syrup, which
then hardens and is spun to form threads. Because of the structure of the

fibres, fleece is extremely warm and breathable and allows air to flow
through it easily.
Characteristics of Fleece :
The characteristics of fleece make it incredibly useful for keeping warm,

particularly whilst being active. Fleece has a pile surface on both sides of
the fabric, meaning each side has a layer of cut fibres. Air pockets can sit
between the threads in this pile surface, meaning the material can hold in
that bit more warmth.
Not only is polyester fleece warm and durable, but it is moisture resistant
making it ideal for extreme weather conditions or for sportswear which it
became popular for in the 1990s, due to it being warmer than wool and
much lighter to wear.
What is Fleece Used For?

Fleece has been used for everything from ear-warmers for baby calves, to
underwear for astronauts. It’s versatility makes it one of the most
commonly used fabrics in the textile industry today.
As mentioned, fleece is the ideal material for athletic garments. The cloth
wicks perspiration and moisture away from the body, keeping athletes dry,
while letting air circulate through the fibres. It has also been known to keep
odours from sweating at bay!
The short pile fabric increases the body temperature when it’s against the
skin, making fleece the go-to fabric for warming Winter garments. Coats,
scarves, gloves, blankets are often made from this lovely cosy material to
create long-lasting and extra warm Winter wear.
Fleece Origins
Fleece originated in the 1970s when Malden Mills developed polyester

fleece, which was the basis on which all modern fleece was created. Malden
Mills was previously known for producing faux fur and wool garments, and
the company wanted to replicate the insulating nature of these fabrics
without the issues that come with natural wool (e.g. being wet when heavy,
and needing sheep to create it).
Malden Mills partnered with outdoor clothing company Patagonia, together

deubting Synchilla fleece – a strong, pile fabric made to imitate wool.
The owner of Malden – Aaron Feuerstein – decided not to patent fleece,
allowing it to be accessible to the masses and inexpensive to purchase. Now

working under the name PolarTec, the company continues to make it’s
famous fleece today.
 POLYESTER
Polyester fabrics generally have less

of a 'natural' feel in comparison to
cotton or wool, however they are
somewhat favoured by sewers due to
their durability, fantastic colour
retention, wrinkle/shrink-resistance
and how inexpensive they are.
Polyester is commonly used for larger
projects such as home décor, shirts,
trousers, jackets and more.
Characteristics of polyester fabric
 Polyester is very durable and is resistant to many chemicals

 This is a popular fabric in the fashion industry, as it is resistant to
shrining and stretching. It is also resistant to wrinkling and abrasions
 The fibres used to create Polyester are very strong yet lightweight
 The fibres are easily dyed
 It retains its shape very well
 Polyester fabric is easy to look after and it can be washed and dried at
home
 It is a quick drying fabric, so a popular choice for outdoors clothing
Some popular uses for polyester
 Fashion
 Sportswear
 Fleeces
 Coats and anoraks
 Bedding such as sheets, duvet covers and sleeping bags
 Footwear
 Fillings for duvets (due to its insulating properties)
 Sewing threads

 Soft furnishings and upholstery
 Textiles
 Luggage and other bags
 RAYON
When talking about fabrics, ‘Rayon’ is not an

unheard name. I am sure some of you have
clothes, accessories or home-ware items
made of this material. In a nutshell, it’s a
man-made fibre and yet, it’s not hundred
percent synthetic. It's a semi-synthetic fibre,
rayon is an extremely versatile material
that's often used to substitute natural fibres
in clothing. Although soft, comfortable,
smooth and absorbent, rayon has an extremely low elastic recovery and
fails at insulating heat, so is best used when sewing garments to wear in
hotter weather.
The most common use for rayon is to make various articles of clothing and
home-ware, such as blankets, sheets and curtains. Rayon can also be used
for making tire cords and surgical products.
What is rayon made of?
Rayon is a natural-based material that is made from the cellulose obtained

from wood pulp or cotton. It’s a low-cost and convenient fibre to work with
and lends itself to diverse uses. There are several grades of rayon that can
imitate the look and texture of other natural fibres such as cotton, linen and
silk. The different types of rayon include viscose, modal and lyocell.
What are the advantages of rayon?
• Inexpensive but looks and feels luxurious

• Some variants of rayon are known for their silk-like feel
• Drapes well
• Breathable
• Blends well with other fibres
• Dyes easily resulting in beautiful colours

What are the disadvantages or rayon?
• Not a very strong fabric and more so, when exposed to light or moisture
• Can shrink when washed thus has to be dry-cleaned
• Can get damaged while ironing
• Manufacturing method is harmful to the environment and to the safety of
the workers if the chemicals used are not handled carefully.
 SATIN
Satin is one of the three major textile weaves, along plain weave
and twill. The satin weave creates a fabric that is shiny, soft, and
elastic with a beautiful drape. Satin fabric is characterized by a soft,
lustrous surface on one side, with a duller surface on the other side
Satin has a soft, even, glossy texture, reflecting light for a luxurious look. It's
usually constructed by floating warp yarns over weft yarns, thus creating a
very high lustre that's perfect for creating lavish bed sheets and
furnishings. This materials is commonly used in apparel, and is especially
ideal for lingerie, sleepwear, scarves, and even ties!
How Is Satin Used?
Satin has a variety of uses from interior decorating to fashion thanks

to the many ways the weave is used, and here are a few of the most
popular uses.
 Dresses - Satin is a staple for evening gowns and wedding

dresses because of its beautiful drape and lustrous feel.
 Upholstery - One of satin’s earliest uses in Europe was for
decorative furniture in the Palace of Versailles, and satin is still
used for pillow coverings, chairs, and other types of cushioned
furniture.
 Bed sheets - Since the weave is flexible and soft, satin is often
used for bed linens.
 Footwear - From ballet slippers to designer heels, satin is a
choice fabric for shoe designers.
 Fashion accessories - Evening bags and clutches are often
made from satin.
What Are the Different Types of Satin?
There are several different types of satin, and they vary based on
what fibers are used in the weave and which type of satin weave is
used. Here are a few examples of satin weaves:
 Antique satin - Antique satin uses unevenly spun yarns as the

weft threads, and is woven in the 5 harness or 8 harness fashion.
 Baronet satin - This form of satin uses rayon warp threads and
cotton weft threads, and it is considered extremely lustrous.
 Charmeuse - Charmeuse satin, from the French word for
“charmer”, is very lightweight with an easy drape, and it has the
traditional characteristics of satin with a shiny front and a dull
back.
 Crepe back satin - Crepe back satin is reversible, where one
side has the lustrous, satin finish and the reverse side has a
crepe texture.
 Duchess satin - Duchess satin is a heavy fabric. It’s stiffer and
has less luster than standard satin, and it is usually dyed solid
colors and used for dresses.
 Messaline - This form of satin is very lightweight and has a high
shine, and it’s usually woven from rayon or silk.
 Polysatin - This is an abbreviation for satin woven from
polyester threads.
 Slipper satin - This satin is tightly woven, medium-weight
fabric that is used for accessories, shoes, and clothing
Advantages: Satin Fabric

 Luxury feel and aesthetic
 Floaty drape
 Versatile
 Smooth, lustrous surface

Disadvantages: Satin Fabric
 Frays easily
 Prone to snagging
 Tricky to sew
 High maintenance
 SILK
Silk fabric is widely known as the most

luxurious and beautiful fabric in the world.
This natural fabric is made from the larvae of
the mulberry silkworm to construct their
cocoons. It is also a generalized term for any
fabric constructed using silk yarns or fibers.
Silk is renowned for its lustrous appearance,

fine quality, beautiful drape and soft handle.
It is a highly-priced fabric, mainly due to the
time-consuming and delicate process involved to turn the thread into a
yarn.
A natural protein fibre, silk is constructed primarily from the cocoons of the
larvae of Mulberry Silkworms. Unlike many synthetic fibres, silk has a soft,
smooth and non-slip texture. Although it's one of the strongest natural
fibres, it has low elasticity and can lose strength over time. The beautiful
lustre makes it ideal for shirts, ties, suits, formal dresses, lingerie, robes,
bedding and much more.
How Is Silk Made?
The commercial process of making silk fabric is complex and labour

intensive.
Silk’s textile origins date back to 6000 BC China. Silk is made from a
continuous filament fiber spun by silkworms. Silkworms lay their eggs on
special paper and eat only fresh mulberry leaves; hence their name. The
freshly hatched larvae will eat 50,000 times their initial weight during this
period.
35 days after hatching from their eggs, the silkworm is 10,000 times
heavier than when it first hatched and is ready to begin the process of
spinning its cocoon which takes about 3-8 days to make.
At this stage, the cocoon is treated with hot air, steam or boiling water. Silk
is then unbound from the cocoon by softening the sericin (the natural gum
coating) and then very carefully unwound. The sericin protects the silk, so
it is left on until the silk is processed and sometimes until after it is woven.
Every cocoon can yield up to 1,000 yards of raw silk fabric thread. This
thread is spun to produce a yarn of silk.
Primary Uses for Silk Fabric
Silk is primarily used in garments and household items, but it is also

employed in unexpected ways, such as in bicycle tires and in
medicine. Silk is great for summer clothing because of its absorbent
nature and how it wicks moisture, and it is also a staple for winter
wear since it has low conductive properties. Here are some examples
of the material’s many uses.
1. Bridal and formal wear. Silk is a staple of many gowns and

dresses thanks to its beautiful drape, and the long floats of yarn
on one side create a dressy and lustrous appearance.
2. Ties and scarves. The material’s strength and nuances with
color make it ideal for accessories. Many high-end ties are made
from heavy silk, which allows for tightly woven patterns, rich
colors, and durable material. Silk is also a great material for
scarves for both decoration and for warmth.
3. Bedding. Silk sheets are the height of luxury and the material’s
softness and absorbent nature makes it truly shine in the
bedroom.
4. Parachutes. Silk was originally used for parachutes for its
strength and elastic properties; however nylon is more
commonly used today.
5. Upholstery. Silk is used to cover furniture and pillows, and
thanks to its strength and durability, it provides a long-lasting
covering.
6. Wall hangings. Decorative wall hangings are often woven from
silk, as the material is beautiful and dynamically reacts with
colors and dyes.

7. Bicycle tires. The material is sometimes used in the tire’s casing
because of its lightness, durability, and flexibility. Since silk can
be expensive, the casings can also be made from nylon and
cotton.
8. Surgical sutures. Since silk is a natural material, it has amazing
uses in medicine. The material does not cause an autoimmune
response and cannot be absorbed by the human body.
 VELVET
Velvet is a woven fabric with a dense pile that has a unique and distinctive,
smooth, soft feel to it, made from either natural or synthetic fibres. As it has
a luxurious texture and sumptuous appearance, velvet was traditionally
used to make opulent wall hangings and royal robes. However today, it's
more commonly used to create clothing, cushions, home décor items, and
to line storage boxes.
The quality of the textile is determined by the density of the pile tufts, and
the way that they are anchored to the base fabric. There are many kinds of
velvet.
Some of the most renowned include:
 Marbled velvet – a beautiful marbled effect, created by the pile

going in all directions
 Velvet shimmer – a reinforced woven back, making it strong,
with a shimmering face
 Plush velvet – thick, warm, and sumptuous with a very soft
brushed face
 Cotton velvet – made using cotton yarns for both the pile and the
ground. Less luxurious but harder wearing

 Antique velvet – woven with occasional slub weft yarns
producing an uneven surface
 Brocade velvet – a velvet material where the pile is sheared at
different lengths to create a pattern
 Crushed velvet – a normal, solid velvet in which the pile is
pressed or crushed in different directions
How is it manufactured?
When considering velvet manufacturing, the question of “what is velvet” is

once again important. As the name refers to a certain weave, velvet is a
woven fabric.
Woven as a double cloth on a specialist loom, that can weave 2 thicknesses
of the textile at the same time. The 2 pieces of material are cut apart to
create the distinctive pile effect. These 2 lengths of fabric are wound on
individual take-up rolls.
It is a complex process, which gives an indication as to why it is renowned
for being an expensive and luxurious fabric. Velvet can be made from
natural – such as cotton, wool or linen - or synthetic – such as rayon,
polyester or viscose - fibres.
 LINEN
Linen is an extremely strong, lightweight fabric made from the flax
plant. The word linen comes from the latin name for flax, linum
usitatissimum. The word “linen” is related to the word “line” because
the fabric threads are woven in a straight line.
It is a natural plant fibre, known as cellulose, which is renowned to be one
of the strongest and most durable available.
The flax strands are spun into yarns and can be blended with other fibres

including cotton to make cotton linen fabric. Linen textiles come in all
different weights and most are woven in closely sett plain weave
constructions.
Some popular linen textiles include:
 Cotton linen fabric – cotton linen fabric, cool and smooth made with
slub yarns
 Linen blend – poly linen blend with a textured surface and natural
ochre colour
 Linen look – plain, open weave construct made from textured yarns
with a matt finish
How is it manufactured ?
Linen is one of the oldest fabrics in the world dating back thousands of
years.
It is laborious to manufacture. Flax is ready to be harvested for its fibres
when the stem turns yellow and the seeds turn brown. The highest quality
linens are made from flax plants that are hand harvested, thanks to the
quality of the root when pulled up by hand. It is finer and suppler than
machine harvested flax.
Flax stalks dry in the open air for several weeks before the seeds are
removed. Then, flax is exposed to moisture to break down the pectin’s that
bind the fibres together. Fibres are then separated from the straw and
graded into short fibres to make coarser yarns or long fibres to make fine
linen yarns.
Carding draws out the long and short fibres into ribbons which are plied
together on spinning looms. Fine yarn is wet spun to get it a shiny and
smooth appearance, whereas the tow are normally dry spun giving a more
rustic, napped yarn.
These are then woven into linen fabric and treated

History of Textiles & Fabrics
The study of the History of clothing and textiles traces the development,
use, and availability of clothing and textiles over human history. Clothing
and textiles reflect the materials and technologies available in different
civilizations at different times. The variety and distribution of clothing and
textiles within a society reveal social customs and culture.
The wearing of clothing is exclusively a human characteristic and is a
feature of most human societies, though it is not known exactly when
various peoples began wearing clothes. Anthropologists believe that animal
skins and vegetation were adapted into coverings as protection from cold,
heat and rain, especially as humans migrated to new climates.
Textiles can be felt or spun fibers made into yarn and subsequently netted,
looped, knit or woven to make fabrics, which appeared in the Middle East
during the late stone age. From the ancient times to the present day,
methods of textile production have continually evolved, and the choices of
textiles available have influenced how people carried their
possessions, clothed themselves, and decorated their surroundings.
Sources available for the study of clothing and textiles include material
remains discovered via archaeology; representation of textiles and their
manufacture in art; and documents concerning the manufacture,
acquisition, use, and trade of fabrics, tools, and finished garments.
Scholarship of textile history, especially its earlier stages, is part of material
culture studies
Ancient textiles and clothing

The first actual textile, as opposed to skins sewn together, was
probably felt. Surviving examples of Nålebinding, another early textile
method, date from 6500 BC. Our knowledge of ancient textiles and clothing
has expanded in the recent past thanks to modern technological
developments. Our knowledge of cultures varies greatly with the climatic
conditions to which archeological deposits are exposed; the Middle East
and the arid fringes of China have provided many very early samples in

good condition, but the early development of textiles in the Indian
subcontinent, sub-Saharan Africa and other moist parts of the world
remains unclear. In northern Eurasia, peat bogs can also preserve textiles
very well. The first known textile of South America was discovered in
Guitarrero Cave in Peru, it was woven out of vegetable fibers and dates
back to 8,000 B.C.E.
From pre-history through the early Middle Ages, for most of Europe, the
Near East and North Africa, two main types of loom dominate textile
production. These are the warp-weighted loom and the two-beam loom.
The length of the cloth beam determined the width of the cloth woven upon
it, and could be as wide as 2–3 meters. The second loom type is the two-
beam loom. Early woven clothing was often made of full loom widths
draped, tied, or pinned in place.
The textile trade in the ancient world
Silk Road
Throughout the Neolithic and Bronze Ages, the fertile grounds of

the Eurasian Steppe provided a venue for a network of nomadic
communities to develop and interact. The Steppe Route has always
connected regions of the Asian continent with trade and transmission of
culture, including clothing.
Around 114 BC, the Han Dynasty, initiated the Silk Road Trade Route.
Geographically, the Silk Road or Silk Route is an interconnected series of
ancient trade routes between Chang'an (today's Xi'an) in China, with Asia
Minor and the Mediterranean extending over 8,000 km (5,000 mi) on land
and sea. Trade on the Silk Road was a significant factor in the development
of the great civilizations of China, Egypt, Mesopotamia, Persia, the Indian
subcontinent, and Rome, and helped to lay the foundations for the modern
world. The exchange of luxury textiles was predominant on the Silk Road,
which linked traders, merchants, pilgrims, monks, soldiers, nomads and
urban dwellers from China to the Mediterranean Sea during various
Enlightenment and the Colonial period

Main articles: 1700–1750 in fashion and 1750–1795 in fashion
During the 18th century, distinction was made between full dress worn at
Court and for formal occasions, and undress or everyday, daytime clothes.
As the decades progressed, fewer and fewer occasions called for full dress
which had all but disappeared by the end of the century. Full dress followed
the styles of the French court, where rich silks and elaborate embroidery

reigned. Men continued to wear the coat, waistcoat and breeches for both
full dress and undress; these were now sometimes made of the same fabric
and trim, signalling the birth of the three-piece suit.
Women's silhouettes featured small, domed hoops in the 1730s and early
1740s, which were displaced for formal court wear by side hoops
or panniers which later widened to as much as three feet to either side at
the court of Marie Antoinette. Fashion reached heights of fantasy
and abundant ornamentation, before new enthusiasms for outdoor sports
and country pursuits and a long-simmering movement toward simplicity
and democratization of dress under the influence of Jean-Jacques
Rousseauand the American Revolution led to an entirely new mode and the
triumph of British woollen tailoring following the French Revolution.
For women's dresses, Indian cottons, especially printed chintzes, were
imported to Europe in large numbers, and towards the end of the period
simple white muslin dresses were in fashion.
Industrial revolution
Estonian national clothes are a fine example of change in clothing after the
industrial revolution. They changed a lot during 18th and 19th of century
with the addition of new types of colors (like aniline dyes), placement of
colors (like lengthwise stripes) and with the addition of new elements (like
waistcoats). By the end of the 19th century they went out of use in most of
the country (except more remote places as in Kihnu island) and it was only
in mid 20th century when they once again gained popularity and now as a
formal clothing. Members of University of Tartu Folk Art Ensemblewearing
clothes specific to Kihnu island, Tori Parish (women in red skirts)
and Tõstamaa area (men in brown clothing).
Main article: Textile manufacture during the Industrial Revolution
During the industrial revolution, fabric production was mechanised with
machines powered by waterwheels and steam-engines. Production shifted
from small cottage based production to mass production based on
assembly line organisation. Clothing production, on the other hand,
continued to be made by hand.
Sewing machines emerged in the 19th century streamlining clothing
production.
Textiles were not only made in factories. Before this, they were made in
local and national markets. Dramatic change in transportation throughout
the nation is one source that encouraged the use of factories. New advances
such as steamboats, canals, and railroads lowered shipping costs which

caused people to buy cheap goods that were produced in other places
instead of more expensive goods that were produced locally. Between 1810
and 1840, the development of a national market prompted manufacturing
which tripled the output's worth. This increase in production created a
change in industrial methods, such as the use of factories instead of hand
made woven materials that families usually made.
The vast majority of the people who worked in the factories were women.
Women went to work in textile factories for a number of reasons. Some
women left home to live on their own because of crowding at home; or to
save for future marriage portions. The work enabled them to see more of
the world, to earn something in anticipation of marriage, and to ease the
crowding within the home. They also did it to make money for family back
home. The money they sent home was to help out with the trouble some of
the farmers were having. They also worked in the millhouses because they
could gain a sense of independence and growth as a personal goal.
20th-century developments
The 20th century is marked by new applications for textiles as well as
inventions in synthetic fibers and computerized manufacturing control
systems.
Unions and education
In the early 20th century, workers in the clothing and textile industries
became unionized in the United States. Later in the 20th century, the
industry had expanded to such a degree that such educational institutions
as UC Davis established a Division of Textiles and Clothing, The University
of Nebraska-Lincoln also created a Department of Textiles, Clothing and
Design that offers a Masters of Arts in Textile History, and Iowa State
University established a Department of Textiles and Clothing that features
a History of costume collection, 1865–1948. Even high school libraries have
collections on the history of clothing and textiles.
New applications
The changing lifestyles, activities, and demands of the 20th century favored
clothing producers who could more effectively make their products have
desired properties, such as increased strength, elasticity, or durability.
These properties may be implemented through mechanical solutions, such
as different weaving and knitting patterns, by modifications to the fibers, or
by finishing (textiles) of the textiles. Since the 1960s, it has been possible to
finish textiles to resist stains, flames, wrinkles, and microbial life.

Advancement in dye technology allowed for coloring of previously difficult-
to-dye natural fibers and synthetic fibers.
Synthetic fibers
Following the invention of plastics by petroleum and chemical
corporations, fibers could now be made synthetically. Advancements in
fiber spinning actuators and control systems allow control over fiber
diameter and shape, so Synthetic fibers, may be engineered with more
precision than natural fibers. Fibers invented between 1930 and 1970
include nylon, PTFE, polyester, Spandex, and Kevlar. Clothing producers
soon adopted synthetic fibers, often using blends of different fibers for
optimized properties. Synthetic fibers can be knit and woven similarly to
natural fibers.
Automation and numeric control
The early 20th century continued the advances of the Industrial Revolution.
In The procedural loops required for mechanized textile knitting and
weaving already used logic were encoded in punch-cards and tapes. Since
the machines were already computers, the invention of small-scale
electronics and microcontrollers did not immediately change the possible
functions of these machines. In the 1960s, existing machines became
outfitted with computerized numeric control (CNC) systems, enabling more
accurate and efficient actuation. In 1983, Bonas Machine Company Ltd.
presented the first computer-controlled, electronic, Jacquard loom. In
1988, the first US patent was awarded for a "pick and place" robot.
Advancements such as these changed the nature of work for machine
operators, introducing computer literacy as a skill alongside machine
literacy. Advances in sensing technology and data processing of the 20th
century include the spectrophotometer for color matching and automatic
inspection machines.
21st century issues

In the 2010s, the global textile industry has come under fire for
unsustainable practices. The textile industry is shown to have a `negative
environmental impact at most stages in the production process.

Global trade of secondhand clothing have promise for reducing landfill use,
however international relations and challenges to textile recycling keep the
market small compared to total clothing use.
Advancements in textile treatment, coating, and dyes have unclear affects
in human health, and textile contact dermatitis is increasing in prevalence
among textile workers and clothing consumers.
Scholars have identified an increase in the rate at which western
consumers purchase new clothing, as well as a decrease in the lifespan of
clothing. Fast fashion has been suggested to contribute to increased levels
of textile waste.
The worldwide market for textiles and apparel exports in 2013 according
to United Nations Commodity Trade Statistics Database stood at $772
billion.
In 2016, the largest apparel exporting nations were China ($161
billion), Bangladesh ($28 billion), Vietnam ($25 billion), India($18
billion), Hong Kong ($16 billion), Turkey ($15 billion) and Indonesia ($7
billion).
FABRIC HISTORY
Fabric creation began in ancient times when primitive peoples used flax
fibers, separated into strands and woven into simple fabrics colored with
dyes extracted from plants.
Innovators developed synthetic fabrics to overcome some of the inherent

limitations of natural fibers. Cotton and linens wrinkle, silk requires
delicate handling, and wool shrinks and can be irritating to the
touch. Synthetics delivered greater comfort, soil release, broader aesthetic
range, dyeing capabilities, abrasion resistance, colorfastness, and lower
costs.
The man-made fibers--and a steadily growing palette of synthetic

additives--made it possible to add flame-retardancy, wrinkle and stain
resistance, antimicrobial properties and a host of other performance
improvements.

Textile Industry in India
INDIAN TEXTILES
The Indian textile industry has a significant presence in the economy as

well as in the international textile economy. Its contribution to the Indian
economy is manifested in terms of its contribution to the industrial
production, employment generation and foreign exchange earnings. It
contributes 20 percent of industrial production, 9 percent of excise
collections, 18 percent of employment in the industrial sector, nearly 20
percent to the countrys total export earning and 4 percent to the Gross
Domestic Product.
In human history, past and present can never ignore the importance of
textile in a civilization decisively affecting its destinies, effectively changing
its social scenario. A brief but thoroughly researched feature on Indian
textile culture.
India is home to about 1.2 billion people and some of the major production
centers in the world. There's a good chance that you can find products
somewhere in your home that say made in India. As it turns out, people of
the ancient world could have done the same thing. India is home to some of
the oldest continually-inhabited urban centers in the world and due to its
location between Africa, Europe, and East Asia, it's been a major
contributor to international trade and culture for millennia. One major area
of influence has been in textiles, which are cloths or fabrics. Indian textiles
are some of the oldest trade items in the world, contributing a soft splash of
color to the history of global economies and interactions
The textile industry in India traditionally, after agriculture, is the only
industry that has generated huge employment for both skilled and
unskilled labour in textiles. The textile industry continues to be the second-

largest employment generating sector in India. It offers direct employment
to over 35 million in the country. The share of textiles in total exports was
11.04% during April–July 2010, as per the Ministry of Textiles. During
2009–2010, the Indian textile industry was pegged at US$55 billion, 64% of
which services domestic demand. In 2010, there were 2,500 textile
weaving factories and 4,135 textile finishing factories in all of India.
According to AT Kearney’s ‘Retail Apparel Index’, India was ranked as the
fourth most promising market for apparel retailers in 2009.
India is first in global jute production and shares 63% of the global textile
and garment market. India is second in global textile manufacturing and
also second in silk and cotton production. 100% FDI is allowed via
automatic route in textile sector. Rieter, Trutzschler, Saurer, Soktas,
Zambiati, Bilsar, Monti, CMT, E-land, Nisshinbo, Marks &
Spencer, Zara, Promod, Benetton, and Levi’s are some of the foreign textile
companies invested or working in India.
HISTORY OF INDIAN TEXTILE INDUSTRY
India has been well known for her textile goods since very ancient times.
The traditional textile industry of India was virtually decayed during the
colonial regime. However, the modern textile industry took birth in India in
the early nineteenth century when the first textile mill in the country was
established at fort gloster near Calcutta in 1818. The cotton textile
industry, however, made its real beginning in Bombay, in 1850s. The first
cotton textile mill of Bombay was established in 1854 by a Parsi cotton
merchant then engaged in overseas and internal trade. Indeed, the vast
majority of the early mills were the handiwork of Parsi merchants engaged
in yarn and cloth trade at home and Chinese and African markets.
The first cotton mill in Ahmedabad, which was eventually to emerge as a
rival centre to Bombay, was established in 1861. The spread of the textile
industry to Ahmedabad was largely due to the Gujarati trading class.
The cotton textile industry made rapid progress in the second half of the
nineteenth century and by the end of the century there were 178 cotton
textile mills; but during the year 1900 the cotton textile industry was in bad
state due to the great famine and a number of mills of Bombay and
Ahmedabad were to be closed down for long periods.

Government Initiatives and Schemes
 Technology Upgradation Fund Scheme (TUFS)
At present, the only scheme through which Government can assist the
industry is the Technology Upgradation Fund Scheme (TUFS) which
provides for reimbursing 5% interest on the loans/finance raised from
designated financial institutions for bench marked projects of
modernisation. IDBI, SIDBI, IFCI have been designed as nodal agencies for
large and medium small scale industry and jute industry respectively. They
have co-opted 148 leading commercial banks/cooperative banks and
financial institutions like State Finance Corporations and State Industrial
Development Corporation etc.
 Scheme for Integrated Textile Parks (SITP)
To provide the industry with world-class infrastructure facilities for setting

up their textile units, Government has launched the Scheme for Integrated
Textile Parks (SITP) by merging the Scheme for Apparel Parks for Exports
(APE) and Textile Centre Infrastructure Development Scheme (TCIDS). This
scheme is based on Public-Private Partnership (PPP) and envisages
engaging of a professional agency for project execution. The Ministry of
Textiles (MOT) would implement the Scheme through Special Purpose
Vehicles (SPVs).
 National Textile Corporation Ltd. (NTC)
National Textile Corporation Ltd. (NTC) is the single largest Textile Central
Public Sector Enterprise under Ministry of Textiles managing 52 Textile
Mills through its 9 Subsidiary Companies spread all over India. The
headquarters of the Holding Company is at New Delhi. The strength of the
group is around 22000 employees. The annual turnover of the Company in
the year 2004-05 was approximately Rs.638 crores having capacity of 11
lakhs Spindles, 1500 Looms producing 450 lakh Kgs of Yarn and 185 lakh
Mtrs of cloth annually.
 Cotton Corporation Of India Ltd. (CCI)
The Cotton Corporation of India Ltd (CCI), Mumbai, is a profit-making

Public Sector Undertaking under the Ministry of Textiles engaged in
commercial trading of cotton. The CCI also undertakes Minimum Support
Price Operation (MSP) on behalf of the Government of India.
 The Ministry of Textiles
The Ministry of Textiles is responsible for policy formulation, planning, and

development export promotionand trade regulation in respect of the textile
sector. This included all natural and manmade cellulosic fibres that go into
the making of textiles, clothing and handicrafts.
 Export Promotion Capital Goods (EPCG) Scheme
To promote modernization of Indian industry, the GOI set up the Export

Promotion Capital Goods (EPCG) scheme, which permits a firm importing
new or Secondhand capital goods for production of articles for export to
enter the capital goods at preferential tariffs, provided that the firm exports
at least six times the c.i.f. value of the imported capital goods within 6
years. Any textile firm planning to modernize its operations had to import
at least $4.6 million worth of equipment to qualify for duty-free treatment
under the EPCG scheme.
 Export-Import Policy
The GOIs EXIM policy provides for a variety of largely export-related

assistance to firms engaged in the manufacture and trade of textile
products. This policy includes fiscal and other trade and investment
incentives contained in various programs
 Duty Entitlement Passbook Scheme (DEPS)
DEPS is available to Indian export companies and traders on a pre- and

post-export basis. The pre-export credit requires that the beneficiary firm
has exported during the preceding 3-year period. The post-export credit is
a transferable credit that exporters of finished goods can use to pay or
offset customs duties on subsequent imports of any unrestricted products.

 The Agreement on Textiles and Clothing (ATC)
The Agreement on Textiles and Clothing (ATC) promises abolition of all

quota restrictions in international trade in textiles and clothing by the year
2005. This provides tremendous scope for export expansion from
developing countries.
 Guidelines of the revised Textile Centres Infrastructure Development

Scheme (TCUDS)
TCIDS Scheme is a part of the drive to improve infrastructure facilities at

potential Textile growth centres and therefore, aims at removing
bottlenecks in exports so as to achieve the target of US$ 50 billion by 2010
as envisaged in the National Textile Policy, 2000.
Under the Scheme funds can be given to Central/ State Government

Departments/ Public Sector Undertakings/ Other Central /State
Governments agencies/recognized industrial association or entrepreneur
bodies for development of infrastructure directly benefiting the textile
units. The fund would not be available for individual production units.
 Powerloom development and export promotion council
Powerloom development and export promotion council, set up by the

ministry of textiles government of India. PDEXCIL provide some export
assistance as follows Exploration of overseas market. Identification of
items with export potential. Market survey and up-to-date market
intelligence. Contact with protective buyers to interest them in your
products. Providing your company's profile to overseas buyers and vice-
versa. Advice on international marketing. Display of selected product
groups.
 Cotton Textile Export Promotion Council (TEXPROCIL):
The Council looks after the export promotion of cotton fabrics, cotton yarn
and cotton made-ups. Its activities include market studies for individual
products, circulation of trade enquiries, participation in exhibitions, fairs
and seminars at home and abroad, in order to boost exports.
Achievements
Following are the achievements of the government in the past four years:

 I-ATUFS, a web-based claims monitoring and tracking mechanism
was launched on April 21, 2016.
 381 new block level clusters were sanctioned.
 20 new textile parks were sanctioned
 Employment increased to 8.62 million in FY18 from 8.03 in FY15.
PRODUCTION
India is the second largest producer of fibre in the world and the major
fibre produced is cotton. Other fibres produced in India
include silk, jute, wool, and man-made fibers. 60% of the Indian textile
Industry is cotton based. The strong domestic demand and the revival of
the Economic markets by 2009 has led to huge growth of the Indian textiles
industry. In December 2010, the domestic cotton price was up by 50% as
compared to the December 2009 prices. The causes behind high cotton
price are due to the floods in Pakistan and China . India projected a high
production of textile (325 lakh bales for 2010 -11). There has been
increase in India's share of global textile trading to seven percent in five
years. The rising prices are the major concern of the domestic producers of
the country.
 Man Made Fibres: This includes manufacturing of clothes using fibre or

filament synthetic yarns. It is produced in the large power loom
factories. They account for the largest sector of the textile production in
India.This sector has a share of 62% of the India's total production and
provides employment to about 4.8 million people.
 The Cotton Sector: It is the second most developed sector in the Indian
Textile industries. It provides employment to a huge number of people
but its productions and employment is seasonal depending upon the
seasonal nature of the production.
 The Handloom Sector: It is well developed and is mainly dependent on
the SHGs for their funds. Its market share is 13%. of the total cloth
produced in India.
 The Woolen Sector: India is the 7th largest producer of the wool in the
world. India also produces 1.8% of the world's total wool.
 The Jute Sector: The jute or the golden fibre in India is mainly produced
in the Eastern states of India like Assam and West Bengal. India is the
largest producer of jute in the world.
 The Sericulture and Silk Sector: India is the second largest producer of
silk in the world. India produces 18% of the world's total silk. Mulberry,
Eri, Tasar, and Muga are the main types of silk produced in the country.
It is a labour-intensive sector.
Cotton textile
In the early years, the cotton textile industry was concentrated in the
cotton growing belt of Rajasthan, Maharashtra and Gujarat. Availability of
raw materials, market, transport, labour, moist climate and other factors
contributed to localisation. In the early twentieth century, this industry
played a huge role in Bombay's economy but soon declined after
independence. While spinning continues to be centralised in Maharashtra,
Gujarat and Tamil Nadu, weaving is highly decentralised. As of 30
September 2013, there are 1,962 cotton textile mills in India, of which
about 18% are in the private sector and the rest in the public and
cooperative sector. Apart from these, there are several thousand small
factories with three to ten looms.
India exports yarn to Japan, United States, United Kingdom, Russia, France,
Nepal, Singapore, Sri Lanka and other countries. India has the second-
largest installed capacity of spindles in the world, with 43.13 million
spindles (30 March 2011) after China. Although India has a large share in
world trade of cotton yarn, its trade in garments is only 4% of the world's
total.
Jute textiles
India is the largest producer of raw jute and jute goods and the second
largest exporter after Bangladesh. There were about 80 jute mills in India
in 2010-11, most of which are located in West Bengal, mainly along the
banks of the Hooghly River, in a narrow belt (98 km long and 3 km wide).
In 2010-2011 the jute industry was supporting 0.37 million workers
directly and another 400,000 small and marginal farmers who were
engaged in the cultivation of jute.
Challenges faced by the industry include stiff competition in the
international market from synthetic substitutes and from other countries
such as Bangladesh, Brazil, Philippines, Egypt and Thailand. However, the
internal demand has been on the rise due to Government policy of
mandatory use of jute packaging. To stimulate demand, the products need
to be diversified. In 2005, the National Jute Policy was formulated with the
objective of improving quality, increasing productivity and enhancing the
yield of the crop.
The main markets for jute are the United States, Canada, Russia, United
Kingdom and Australia.

MINISTRY OF TEXTILES AND ORGANIZATIONS
Government of India passed the National Textile Policy in 2000. The major
functions of the ministry of textiles are formulating policy and coordination
of man-made fiber, cotton, jute, silk, wool industries, decentralization of
power loom sector, promotion of exports, planning & economic analysis,
finance and promoting use of information technology. The advisory boards
for the ministry include All India Handlooms Board, All India Handicrafts
Board, All India Power looms Board, Advisory Committee under
Handlooms Reservation of Articles for Production and Co-ordination
Council of Textiles Research Association. There are several public sector
units and textile research associations across the country producers for
millennia as well.
TECHNIQUES
Indian textiles are largely defined by their bright colors, which don't tend
to fade over time. Part of this is the quality of the dyes, but another part is
the technique. Indian textile producers use a chemical additive called
a mordant which helps the dye stick to the fabric. Mordants applied in
various patterns create a washed design, with the dye appearing more
vibrantly on the sections with mordant and less vibrant on areas without.
Mordants help increase the ability of dye to stick to the fabric,
but batik dying does the opposite. In this process, a wax or mud brick is
used to stamp designs onto the fabric, which the dye cannot penetrate as
well. The entire fabric is then submerged in dye, creating patterns as the
dye adheres to different sections in different ways thanks to the use of a
mordant or batik.
These are only a few of the many techniques developed by indian artists
over the years. Some artists use wax, others apply dye in layers, and of
course many use embroidery to create a finished and complex product.

SWOT ANALYSIS OF INDIAN TEXTILE INDUSTRY
Indian textile industry has several Strengths
♦ Abundant Raw Material Availability

♦ Low Cost Skilled Labour
♦ Presence across the value-chain
♦ Growing Domestic Market
Indian textile industry has several Weaknesses
♦ Fragmented industry
♦ Effect of Historical Government Policies
♦ Lower Productivity and Cost Competitiveness
♦ Technological Obsolescence
Indian textile industry has several Opportunities

♦Post 2005 challenges
♦ Research and Development and Product Development
Indian textile industry has several Threats
♦ Competition in Domestic Market
♦ Ecological and Social Awareness
♦ Regional alliances
 STRENGTHS
Abundant Raw Material Availability:

Allowing the industry to control cost and reduce over all lead-times across
the value chain.
Low Cost Skilled Labour

Low cost skilled labour providing a distinct competitive advantage for the
industry.
Presence across the value-chain

Presence across the value-chain providing a competitive advantage when

compared to countries likes Bangladesh, Srilanka, who have developed
primarily as garmenters.
Reduced Lead-times:
Manufacturing capacity present across the entire product range, enabling
textile companies and garmenters do source their material locally and
reduce lead-time
Super Market:
Ability to satisfy customer requirements across multiple product grades-
small and large lot sizes specialized process treatments etc.\
Growing Domestic Market

Growing Domestic market which could allow manufacturers to mitigate
risks while allowing them to build competitiveness.
 WEAKNESSES
Fragmented industry
Fragmented industry leading to lower ability to expand and emerge as
world-class players.
Effect of Historical Government Policies

Historical regulations thought relaxed continue to be an impediment to
global competitiveness.
Lower Productivity and Cost Competitiveness
♦ Labour force in India has a much lower productivity as compared to

competing countries like china, Srilanka etc.
♦ The Indian industry lacks adequate economies of scale and is therefore
unable to compete with china, and other countries etc.
♦ Cost like indirect takes, power and interest are relatively high.
Technological Obsolescence
♦ Large portion of the processing capacity is obsolete

♦ While state of the art integrated textile mills exist majority of the
capacity lies currently with the powerloom sector.
♦ This has also resulted in low value addition in the industry.
 OPPORTUNITIES

Post 2005 challenges
During the year 2005 is a huge opportunity that needs to be capitalised.
Research and Development and Product Development
♦ Indian companies needs to increase focus on product development.

Newer specialized fabric- smart Fabrics , specialized treatement etc.
Faster turn around times for design samples
Investing in design centers and sampling labs.
♦ Increased use of CAD to develop designing capability in the Organisation
and developing greater options.
♦ Investing in trend forecasting to enable growth of the industry in India.
 THREATS
Competition in Domestic Market

♦ Competition is not likely to remain just in the exports space, the industry
is likely to face competition from cheaper imports as well.
♦ This is likely to affect the domestic industry and may lead to increased
consolidation.
Ecological and Social Awareness
♦ Development in the form of increased consumer consciousness on issues

such as usage of child labour unhealthy working conditions etc.
♦ The Indian industry needs to prepare for the fall out of such issues by
issues by improving its working practices.
Regional alliances
♦ Reginal trade blocs play a significant role in the global garment industry
with countries enjoying concessional tariffs by virtue of being members of
such blocs/ alliances.
♦ Indian industry would need to be prepared to face the fall out of the post
2005 scenarious in the form of continued barriers for imports.

THE ROLE OF TEXTILE DESIGNERS
Although aesthetics are obviously more important in some textiles than in
others, visual appeal is a factor in any commercial product. In industrial
textiles, aesthetics are less important than other factors in the
development of the product, but even a company that produces industrial
sewing thread must know which colors of thread to produce and how to
display the product for the best appeal to its customers. However, in most
areas of the textile market, the appearance and the hand of the fabric are
two of its most important aspects. Textiles are largely used to decorate or
embellish, whether a, person, a sofa, or a window. The role of the
textile designer in industry is to guide the development of
desirable appearance and hand in fabrics.
The manufacturing facilities of most American textile mills are located in
small towns in the North and Southeast but are headquartered in New York
City, where the design staffs are usually located. The size of the mill's design
staff depends on the company's size, but it usually consists of one
design director, a stylist for each division, and several artists.
If a company is large enough to have more than one stylist, the design
director has responsibility for all areas and phases of the company's artistic
direction. All artists and designers within the company report to him, and
he probably reports to the president of the company.
A stylist handles the development of the fabric company's line, which is
the group of fabrics designed, developed, and edited to be shown and
sold to the market each season. The stylist initiates the line, organizes and
directs the artists in the development and coloration of intended designs,
coordinates with manufacturing personnel to have the samples produced
that will be shown to customers, and then edits and finalizes the group of
designs to be shown for the season. A stylist may or may not do the actual
artwork on paper but is responsible for knowing what product the
company should be making at a particular time and must make the
product line a reality at the proper time.
The artists who work in the studio of a textile mill do the actual
artwork on paper in preparation for production of textiles. These
artists may be designers who do complete textile designs, repeat artists
who put designs into the size and repeat appropriate for the specific

company's needs, or colorists who do the actual renderings and try different
color looks for every design.
A mill stylist is a designer who works at the textile manufacturing plant
to make certain that the first time a new design goes into production it is
executed as the head stylist instructed. Very few mills have full-time mill
stylists. Usually on a rotating basis, the stylist or the studio staff will
travel to the mill when it is time for the first sample run (called a strike-
off) to be produced.
These various jobs for textile designers may overlap; or one person may do
more than one of these jobs, depending on the talents of the designer and the
company's organizational structure.
Design departments of converters are analogous to those of mills but are
usually smaller, since most converters are smaller than most mills.
Textile designers may also work for independent studios, which
produce and sell designs on paper to mills and converters. A designer is
usually not a true employee of a studio but rather produces designs on a
free-lance basis for which the studio receives a commission when the
designs are sold.
Textile designers often work on a free-lance basis without working
through a studio. A designer may show artwork to stylists from mills
and converters who then buy them and have their companies produce
the designs. A stylist may also contact a free-lance designer to develop a
design according to the stylist's specifications or even to do mill styling. A
group of free-lance designers may also be represented by an agent who sells
the designs to mills and converters on commission. Free-lance designers,
producing on speculation, and selling in the U.S. and Europe through studios
or agents, seem more prevalently European than American.
Because jobbers do not produce fabric, design directors for these
companies usually choose the group of fabrics that the jobber should carry.
In small jobbers, this selection is often made by the president or owner of
the company. Design directors may be called fabric coordinators or
directors of fabric merchandising. Similar positions exist with some clothing
manufacturers, although in these companies fabrics usu ally are chosen
by the clothing designer. Some retail stores also employ fashion coordinators
who organize presentations to show their buyers what fabrics the store
management wants to emphasize.
Many textile designers work in such related areas as wrapping paper,
greeting cards, dinnerware, tile, and giftware. These are not textile
products, but the design considerations in these areas are comparable to
surface decoration of fabric.

Timing in the textile industry
Every segment of textile-related industries plans and produces products

well ahead of retail selling seasons. Before fall clothing appears in stores at
the time that consumers want to buy such garments, the clothes must be
designed, shown to stores, sold, and produced. Before the clothing can be
designed, fabrics must be designed, shown to clothing manufacturers, sold,
and produced Before that, new yarns and fibers must be developed. The
scheduling and amount of time necessary for all of these steps depends on
the amount of change that is occurring in the product, the volume
being produced, and the efficiency of the companies involved. At a minimum,
however, textiles are designed a year and a half ahead of the retail selling
season. (Design of fabric for next fall's clothing must begin in spring of this
year.) Major changes, such as development of a completely new type of fabric
for a mill, will take even longer to effect.
Textiles for apparel are shown to clothing manufacturers at two main
selling seasons: spring, in April and May, a year ahead of the retail spring for
which the fabric is intended, and fall, in October and November. Holiday and
resort are smaller seasons that follow fall; summer follows spring, and fall
is sometimes broken into fall I and fall II.
Furniture manufacturers look at new fabrics in June and December, again
several months before the furniture appears in stores. Jobbers look at new
upholstery and drapery fabrics in April and October, although jobbers tend to
be less restricted to specific selling seasons and may add to their lines all year
round.
In every segment of the market, the large-volume manufacturers work even
farther ahead; and the higher-end companies work very close to the selling
season. This is partly because the leading designers want more time to
develop new ideas, but also because their smaller operations do not
require the long lead time (that is, preparation time) necessary for large-
volume production runs.

MODERN TEXTILES
The first line of manufactures in Latin America to be produced by the

factory system was the cotton textile industry. Throughout the nineteenth
and early twentieth centuries, cotton textiles made up the greatest part of
the industrial output of most Latin American countries. By the 1930s their
relative importance had declined as other lines of manufacturing, such as
paper, cement, and steel, adopted the factory system.
Cotton and wool goods were being spun and woven prior to the conquest of
the Americas, and artisanal production of cloth continued throughout the
colonial period. The two centers of colonial production were Puebla,
Mexico, and Minas Gerais, Brazil. All production took place in the weaving
sheds of independent cottage producers or in rudimentary manufactories
that at times used coerced labor. The output of these operations was almost
entirely coarse goods for the popular market, high-quality goods being
beyond their technical abilities. Though the data are rough, wool goods
were probably more important than cotton goods during this period, with
the exception of Brazil, where cotton cloth production dominated.
EARLY FACTORIES
The first factories appeared in the 1830s, when Mexican entrepreneurs in

the states of Puebla and México began to mechanize the spinning of cotton
yarn. Most of the capital for the construction of these water-powered
factories came from merchant activities, though the Mexican government
provided some help as well through an industrial development bank, the
Banco De Avío, founded in 1830. By the late 1830s, Mexico's textile
industrialists had begun to move into mechanized weaving as well. In 1843
Mexico possessed 59 factories operating 125,362 spindles and 2,609 looms
in the modern sector of the industry. Almost all of this output was in
coarse, gray cloth called manta, because high-quality, fine-weave goods
continued to be imported from Europe. By Western European or U.S.
standards, Mexico's textile industry was extremely small, but it was the
largest in Latin America. This relatively early start allowed Mexico to be the
preeminent producer of cotton goods in Latin America until the turn of the
century.
By the 1850s the factory system had slowly begun to spread to other
countries in the region, and by the 1870s virtually every Latin American
country was producing at least some cotton goods by machine. Mexico and
Brazil, however, were clearly the two most important producers, because
they possessed large markets, good lands for growing cotton, long
traditions of artisanal cotton cloth production, and sources of water
power near the population centers that consumed the output of their mills.
By the early 1880s, the Mexican industry had grown to 99 factories running
249,334 spindles and 8,864 looms with a work force of roughly 11,500. An
additional 9,000 spindles, 350 looms, and 700 workers were dedicated to
wool production. The annual output of cotton cloth probably ran to 100
million meters. Brazil's industry was approximately one-third the size of
Mexico's, with 43 factories running 80,420 spindles and 2,631 looms.
Roughly 3,600 workers were employed in these firms, and annual output
was in the area of 24 million meters.
EXPANSION
It was not until the 1890s that the textile industry began to grow at a rapid
rate. The process of economic growth induced by the export boom of the
last decades of the nineteenth century created conditions that were
propitious for the industry's expansion. Incomes grew, markets were
unified by the building of railroad networks, capital markets matured, and
the wealth of the mercantile classes, the most important source of capital
for the textile industry, grew rapidly. By 1920 the Mexican cotton goods
industry included 120 mills operating 753,837 spindles and 27,301 looms
and providing employment for 37,936 workers. Brazil's cotton industry
had grown even larger, with 202 mills employing 78,911 workers and
running nearly 1.6 million spindles and 52,254 looms. The total production
of Brazil's mills was probably close to 500 million meters of cloth. By this
point, domestically produced cotton cloth accounted for roughly 80 percent
of the market in both countries. Other Latin American countries had viable,
but significantly smaller, cotton industries by this time. Chile, for example,

had but three mills employing less than 500 workers and running only
5,000 spindles and 400 looms, while Argentina and Colombia had cotton
industries that were roughly three times that size.
LARGE FIRMS
What is particularly remarkable about the cotton industries in Brazil and

Mexico was the size of the largest firms, which were gigantic even by U.S.
standards. Mexico's largest firm, the Compañía Industrial de Orizaba
(CIDOSA), founded in 1889, was by 1900 a four-mill operation employing
4,284 workers running 92,708 spindles and 3,899 looms. Had it been in
the United States, it would have ranked among the twenty-five largest
cotton textile enterprises. Brazil's largest producer, the Companhia
América Fabril, was not far behind the CIDOSA operation; it controlled six
mills employing 3,100 workers running 85,286 spindles and 2,170 looms.
The predominance of a few large firms in both countries meant that the
level of concentration was significantly higher than that which prevailed in
the United States; the percentage of the market controlled by the four
largest Latin American firms in 1910 was 7.5 percent in the U.S., 16.8
percent in Brazil, and 28.7 percent in Mexico. A similar situation prevailed
in the production of wool textiles, where a few firms controlled the lion's
share of the market. In Mexico, for example, two firms, the Compañía
Industrial de San Ildefonso and La Victoria, S.A., most likely accounted for
better than one-third of all the machine-produced wool cloth.
CAPITAL
By the turn of the century, Brazil had overtaken Mexico as the region's
premier textile producer, thanks in large part to the capital provided by
the Rio de Janeiro stock exchange. Indeed, 28 percent of Brazil's cotton
factories, predominantly located in São Paulo, were financed through the
sale of equity, compared to just 3 percent in Mexico.
As in the United States and Western Europe, merchants played the most
important role in industrial finance throughout Latin America. One reason
for their prominence was that only merchants possessed the kind of liquid
capital necessary to undertake the sizable investment needed. Another was
that merchants had more knowledge of the market than other
entrepreneurs and could dovetail their mercantile operations into their
manufacturing operations. Indeed, the largest shareholders in the mills
often were important cloth merchants who sold to their own wholesaling
and retailing operations at a discount.
COMPETITIVENESS
Throughout its history the Latin American textile industry operated behind
high tariff barriers and often received both direct and indirect government
subsidies. This support was crucial for an industry that could not compete
internationally against England and the United States. For this reason
almost all of the production of most countries was consumed in the
domestic market. Two factors prevented Latin America from developing
internationally competitive textile industries. First, start-up costs were
higher than those that prevailed in the advanced industrial countries.
Lacking the ability to produce their own machinery, Latin American
countries imported all of the necessary equipment from abroad and thus
needed to set aside funds to cover the costs of transport and insurance in
transit. They also needed to pay the salaries of the foreign technical
personnel who set up the plant. These added expenses could push up the
cost of erecting a mill by as much as 60 percent. Higher start-up costs were
compounded by interest rates higher than those in the advanced industrial
countries, due in part to a risk premium and less well-integrated financial
markets. Second, the productivity of labor in Latin America was a good deal
lower than that in the advanced industrial countries. Because workers
resisted attempts to instill industrial discipline and routinize work, Latin
America's mills typically employed from two to three times the number of
workers per machine as did firms in the advanced industrial countries.
Output per worker was therefore much lower as well; in 1925 labor
productivity in Brazil, Mexico, and Argentina was roughly half that of the
U.S. Northeast, one-sixth that of the U.S. South, and one-third that of Japan.
Thus, even though wages for Latin American textile workers were from
one-third to one-half of those prevailing abroad, these lower wages were
offset by lower work intensity.

Women comprised a significant portion of textile workers, particularly
after 1900, and their participation had an effect on labor relations
throughout Latin America. Employers in Medellín, Colombia, and São Paulo,
Brazil, imposed rules to safeguard the morality of their women employees,
who sometimes were stigmatized for working outside the traditional
sphere of the home. In Mexico, although women worked as millhands, men
continued to occupy the highest-paid positions in the Orizaba-Puebla
corridor. However, a majority of females have long staffed Mexico's
maquiladoras, initially dominated by textile firms. In the 1980s Mexican
women formed a seamstresses union, but their struggle for higher wages
and job security was defeated by their employers, the government, and
male-dominated union leadership. Global competition in the twenty-first
century forced most textile factories along the Mexican-U.S. border to close.
WORLD WAR I AND AFTER
Latin America's textile industry did not do well during World War I, since
capital goods were hard to purchase and the domestic market was
depressed because of the decline in the export sector. The industry did
even worse during the Great Depression. It was not until World War IIthat
the industry once again faced the kind of favorable conditions that it had
experienced in 1890–1914. By this point, however, the industry was even
further behind the rest of the world; though it did begin to produce
artificial fibers, decades of protectionism and the lack of new investment
meant that most of the installed plant and equipment dated from the years
prior to 1914. After 1945 the textile industry persisted, but its economic
importance steadily declined.

BIBLIOGRAPHY
 Stanley J. Stein, The Brazilian Cotton Manufacture: Textile Enterprise in

an Underdeveloped Area, 1850–1950 (1957).
 Warren Dean, The Industrialization of São Paulo, 1880–1945 (1969).
 Dawn Keremitis, La industria textil mexicana en el siglo XIX (1973).
 Richard J. Salvucci, Textiles and Capitalism in Mexico: An Economic

History of the Obrajes, 1539–1840 (1987).
 Stephen H. Haber, Industry and Underdevelopment: The Industrialization

of Mexico, 1890–1940 (1989), and "Industrial Concentration and the
Capital Markets: A Comparative Study of Brazil, Mexico, and the United
States, 1830–1930," in Journal of Economic History 51, no. 3 (1991).
 Guy P. C. Thompson, Puebla de los Angeles: Industry and Society in a

Mexican City, 1700–1850 (1989).
 Douglas Cole Libby, "Proto-Industrialization in a Slave Society: The Case

of Minas Gerais," in Journal of Latin American Studies 23 (1991),
especially pp. 23-33.
Additional Bibliography
 Bittencourt, Luciana Aguiar. Spinning Lives. Lanham, MD: University

Press of America, 1996.
 Cravey, Altha J. Women and Work in Mexico's Maquiladoras. Lanham,

MD: Rowman and Littlefield, 1998.
 Farnsworth-Alvear, Ann. Dulcinea in the Factory: Myths, Morals, Men,

and Women in Colombia's Industrial Experiment, 1905–1960. Durham,
NC: Duke University Press, 2000.
 Gutiérrez Alvarez, Coralia. Experiencias contrastadas: Industrialización y

conflictos en los textiles del centrooriente de México, 1884–1917, México:
El Colegio de México, Centro de Estudios Históricos, 2000.
 Ramos-Escandón, Carmen. Industrialización, género y trabajo femenino
en el sector textil mexicano: El obraje, la fábrica y la compañía industrial.
México, D.F.: Centro de Investigaciones y Estudios Superiores en
Antropología Social, 2004.
 Rodrigues, Jessita Martins. A mulher operária: Um estudo sobre tecelãs.

São Paulo: Editora Hucitec, 1979.
 Winn, Peter. Weavers of Revolution: The Yarur Workers and Chile's Road
to Socialism. New York: Oxford University Press, 1986.
 Wolfe, Joel. Working Women, Working Men: São Paulo and the Rise of
Brazil's Industrial Working Class, 1900–1955. Durham, NC: Duke
University Press, 1993.

Market Size of the Global Textile and Apparel Industry
(2016 - 2022)
 Textile Mills
The textile mills market primarily includes yarns and fabrics. The market
size is estimated based on the value of domestic production plus imports
minus exports, all valued at manufacturer prices.
The value of the global textile mills market totaled $748.1 billion in
2016 (around 83.7% were fabrics and 16.3% were yarns), up 3.5% from a
year earlier. The compound annual growth rate of the market was 2.7%
between 2012 and 2015. The Asia-Pacific region accounted for 59.6% of
the global textile mills market value in 2016 (up from 54.6% in 2015),
Europe and the United States accounted for a further 19.1% and 10.8 of the
market respectively.
The global textile mills market is forecast to reach $961.0 billion in
value in 2021, an increase of 28.5% since 2016. The compound annual
growth rate of the market between 2016 and 2021 is forecast to be 5.1%.
 Apparel Manufacturing Market
The apparel manufacturing market covers all clothing except leather,

footwear and knitted items as well as other technical, household, and
made-up products. The market size is estimated based on the value of
domestic production plus imports minus exports, all valued at
manufacturer prices.
The value of the global apparel manufacturing market totaled $785.9

billion in 2016, up 3.3% from a year earlier. The compound annual
growth rate of the market was 4.4% between 2012 and 2016. The Asia-
Pacific region accounted for 61% of the market value in 2016 and Europe
accounted for a further 15.2% of the market.
The global apparel manufacturing market is forecast to reach $992

billion in value in 2021, an increase of 26.2% since 2016. The
compound annual growth rate of the market during the period of 2016 and
2021 is forecast to be 4.8%.

 Apparel Retail Market
The apparel retail industry consists of the sale of all menswear,

womenswear and childrenswear. The market value is calculated at retail
selling price (RSP), and includes all taxes and duties.
The value of the global apparel retail market totaled $1,414.1 billion
in 2017 (52.6% womenswear, 31.3% menswear and 16.1%
childrenswear), up 4.9% from a year earlier. The compound annual
growth rate of the market was 4.4% between 2013 and 2017. The Asia-
Pacific region accounted for 37.1% of the global apparel retail market in
2017 (up from 36.8% in 2015), followed by followed by Europe (28.5%)
and the United States (23.6%).
The global apparel retail market is forecast to reach $1,834 billion in

value in 2022, an increase of 29.7% since 2017. The compound annual
growth rate of the market between 2017 and 2022 is forecast to be 5.3%.

CONCLUSION:
The Indian textile industry is currently one of the largest and most
important sector in the economy interms of output foreign exchange
earnings and employment in India. The Textile industry has the potential to
scale new height in the globalized economy. The textile industry in India
has gone through significant charges in anticipation of increased
international competition. The industry is facing numerous problems and
among them the most important once are those of liquidity for many
organized sector units, demand recession and insufficient price realization.
The long-range problems include the need for sufficient modernisation and
restructuring of the entire industry to cater more effectively to the
demands of the domestic and foreign markets for textiles as per the needs
of today and tomorrow.

A Study of Textile and Fabrics

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A Study of Textile and Fabrics

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Introduction

Fabric is an essential part of life – Ever since ancient

Study of Textiles & Fabrics 1

Study of Textiles & Fabrics 2

Making Woven Fabrics

Study of Textiles & Fabrics 3

Important Features: Fabrics with plain weave have firm constructions,

Study of Textiles & Fabrics 4

3) Satin Weave Fabric

(Satin Weave Fabric)

Study of Textiles & Fabrics 5

It is a variation of plain weave. Basket weave is made by having groups of

Important Features: Basket weave is a decorative weave and is made with

(Warp Rib Weave) (Wift Rib Weave)

1) Weft Knitted Fabric is made up of looping together long lengths of yarn,

In this method, fabrics are made of fibres held together by an applied

Study of Textiles & Fabrics 7

2) Braided fabrics are created in a fashion similar to braiding of hair.

3) Nets : They are open-mesh fabrics with geometrical shapes. These

4) Laces : Yarns are criss-crossed to create intricate designs. Yarns may

Study of Textiles & Fabrics 8

Cotton is a soft, fluffy staple fiber that grows

Study of Textiles & Fabrics 9

Denim is a sturdy cotton warp-faced

Study of Textiles & Fabrics 10

Felt is a man-made fabric, created from natural fibres. Most man-made

What is Felt Made From?

Felt is typically composed of wool or other natural raw materials, which

How is Felt Made?

As mentioned, the process of creating felt can be pretty labour intensive,

What is Felt Used For?

Study of Textiles & Fabrics 13

Fleece is lightweight, strong and soft, constructed to almost mimic the

What is Fleece Made From?

How is Fleece Made?

Study of Textiles & Fabrics 14

The characteristics of fleece make it incredibly useful for keeping warm,

What is Fleece Used For?

Fleece originated in the 1970s when Malden Mills developed polyester

Malden Mills partnered with outdoor clothing company Patagonia, together

Study of Textiles & Fabrics 15

Polyester fabrics generally have less

Characteristics of polyester fabric

 Polyester is very durable and is resistant to many chemicals

Study of Textiles & Fabrics 16

When talking about fabrics, ‘Rayon’ is not an

What is rayon made of?

Rayon is a natural-based material that is made from the cellulose obtained

What are the advantages of rayon?

• Inexpensive but looks and feels luxurious

Study of Textiles & Fabrics 17

How Is Satin Used?

Satin has a variety of uses from interior decorating to fashion thanks

 Dresses - Satin is a staple for evening gowns and wedding

 Antique satin - Antique satin uses unevenly spun yarns as the

Advantages: Satin Fabric

Study of Textiles & Fabrics 19

Silk fabric is widely known as the most

Silk is renowned for its lustrous appearance,

How Is Silk Made?

The commercial process of making silk fabric is complex and labour

Primary Uses for Silk Fabric

Silk is primarily used in garments and household items, but it is also