Glossary: Wool Flannel and Fulled Wools

Wool flannel is a fabric made from wool, a natural fiber which comes from the fleece of sheep. For more information, see the entry Glossary: Wool Fiber. The term flannel refers to woven fabrics which have been fulled to make them denser and thus, warmer. Often, the fabrics are also brushed to raise a nap, on one or both sides, which gives the fabric a soft, fuzzy texture. Historically, wool broadcloth is a similar textile, undergoing a process of fulling and brushing. Modern cotton flannel, sometimes called flannelette, is very different; in historical references, “flannel” typically means wool flannel (see the entry on cotton flannel for more information). Fulled wool fabrics are usually made of woolen, rather than worsted, yarns. For more information on the distinction, see the entry on wool tabby.

Note that many fabrics of this type available today are made of synthetic fibers, or blended wool with synthetic fibers; blends, and especially fully synthetic fabrics, do not look, feel, or behave the same way as natural, 100% wool or animal hair (such as cashmere) fabrics. For more information on the differences between natural and synthetic fibers, see the entry on synthetic fiber.

Definitions of flannel and other fulled wool fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 12, on the subject of fibers, it is stated that “Wool or woolen is a staple fiber, meaning it is of relatively short length. Short staple wool is carded before spinning and creates fluffier yarn and fabric. Longer staple wool is called ‘worsted.’ Worsted fibers are combed to lay them parallel before spinning, creating a smoother yarn and thus a smoother fabric. Natural colors of wool range from creamy white to beige to brown to black. Wool dyes well because it is absorbent upon prolonged exposure to moisture. Overlapping scales that cover the fiber (seen under magnification) give wool its felting ability, because they interlock and entangle the fibers with the application of heat, moisture, and agitation. This is important in the fulling process, which shrinks and felts the wool to a desired degree. The scales also trap air, which makes wool warm to wear.”

There are no specific references to “flannel,” but on page 24, the fabric swatch for “baize” is something that could be termed a heavy flannel. The text states that “This plain-weave woolen cloth was heavily fulled so that the fibers became felted. Both sides were brushed to raise a nap. The linings of many early nineteenth century cloaks appear to be home-woven baize (commonly green), and are of a lighter weight than the same shown here, which represents a factory-woven baize.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

Under the heading of “Texture Finishes” on page 46, it is stated that “Napping is a common finish by which short fiber ends of spun yarn are raised to the surface of a fabric by a series of revolving wire brushes to create flannel or fleece.” On the same page, it is also stated that “Fulling takes advantage of the natural shrinkage capacity of wool. Subjecting the cloth to moisture, heat, and pressure compacts the yarns, strengthens the weave, and imparts warmth, body, and stability. It is similar to the felting of non-woven fibers.”

• Clark, Elizabeth Stewart. The Dressmaker’s Guide; 1840-1860. 2nd edition, Revised & Expanded. Idaho Falls, Idaho: Elizabeth Stewart Clark & Company, 2009.

While discussing wool textiles for mid-19th century reproduction clothing on page 61, it is stated that:
“When you come across references to ‘flannel’ in mid-century sources, this is most often a wool flannel, not cotton. Wool flannel can be made in a plain weave, or in a twill weave; it may be fuzzed on one or both sides. Woolen flannel generally has a loose weave, and is resistant to creasing; the woolen fibers give it an almost springy feel. Worsted flannels are firm, with a very slightly fuzzed surface, and tak[e] well to tailoring and creasing. Worsted flannel also tends to be less itchy, due to the longer fibers.
“Similarly, when you find references to ‘broadcloth’ in mod-century sources, it is most often a wool broadcloth, not cotton.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 175, “broadcloth” is defined as “fine, stout, smooth-faced wool cloth, felted or given a nap finish to avoid raveling, much used for men’s clothes.” On page 176, “Georgian cloth” is defined as “light-weight broadcloth, first popular in 1806.” Also on page 176, “ladies’ cloth” is defined as “a light-weight broadcloth used for dresses.”

On page 180, “wool” is defined as “fabric made from the fleece of sheep, woven in many different styles, has warmth and elasticity.” On page 181, “worsted” is defined as “wool fabric made of well-twisted yarn of long-staple wool, combed to lay the fibers parallel.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 375, “woolen” is defined as “Cloth made of carded short-staple fibers. After weaving, the cloth was fulled for shrunk to make it denser and heavier. Broadcloth was England’s traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting.” On page 177, “broadcloth” is described as being “Made of carded wool in plain weave and fulled after weaving.”

On page 152, “baize” is defined as “A heavy woolen cloth, well felted and usually raised, or napped, on both sides. Dyed brown or green it is used for covering tables, especially billiard tables.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics
• “Quick Look: Cashmere” by Rachel at The Coletterie
• “Quick Look: Flannel” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Wool Tabby

Wool tabby is not a specific type of fabric, but rather a general term which I am employing to refer to the whole range of light- to mid- to heavy-mid-weight wool fabrics in a plain, or tabby, weave. For more information on wool, see the entry Glossary: Wool Fiber. Many different terms have been used historically to refer to wool textiles in this range, and many terms are used today. Often, wool fabrics in this range are currently sold as suiting, though the majority of suitings are in some type of twill weave. A significant distinction in wool fabrics is between “woolen” and “worsted” wools; in the latter, before weaving, the yarns have gone through additional combing to remove short fibers and produce a smoother, higher quality yarn. Worsted wools are smoother and less scratchy. Woolen wools tend to be fuzzier, and can be warmer, because they trap more air.

See also the entry on wool challis.

Note that many fabrics of this type available today are made of synthetic fibers, or blended wool with synthetic fibers; blends, and especially fully synthetic fabrics, do not look, feel, or behave the same way as natural, 100% wool or animal hair (such as cashmere) fabrics. For more information on the differences between natural and synthetic fibers, see the entry on synthetic fiber.

Definitions of light and mid-weight plain-woven wool fabrics from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 12, on the subject of fibers, it is stated that “Wool or woolen is a staple fiber, meaning it is of relatively short length. Short staple wool is carded before spinning and creates fluffier yarn and fabric. Longer staple wool is called ‘worsted.’ Worsted fibers are combed to lay them parallel before spinning, creating a smoother yarn and thus a smoother fabric.”

On page 16, on the subject of weaves, it is stated that “Plain or tabby is the simplest of weaves. The weft (crosswise) yarns cross the warp (lengthwise) yarns in an over-one, under-one pattern, with each pass of the weft alternating with the row before it.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

On page 39, it is stated that “Woolen and worsted yarns are, respectively, the wool counterparts of carded and combed, yarns in other fibers,” after stating that “Carding produces a loose strand of more or less parallel fibers about and inch (25 mm) in diameter. Further combing eliminates shorter fibers and produces a strand of higher quality.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 175, “broadcloth” is defined as “fine, stout, smooth-faced wool cloth, felted or given a nap finish to avoid raveling, much used for men’s clothes.” On page 176, “challie” is defined as “fine, delicate fabric without gloss of wool or of silk and wool, usually printed in colors.” On the same page, it also defines “chale” as “the same as challie, or French for shawl” and “challais” as “the same as challie.” Also on page 176, “Georgian cloth” is defined as “light-weight broadcloth, first popular in 1806.” Also on page 176, “ladies’ cloth” is defined as “a light-weight broadcloth used for dresses.” Also on page 176, “de laine” is defined as “a light-weight wool or wool and cotton fabric.” On page 177, “kersey” is defined as wool cloth, usually coarse and ribbed.”

On page 178, “mouseline-delain” and “mousseline de laine” are both defined as “wool muslin,” while “muslin” is defined as “stout, light, open cotton fabric of varying fineness, used for summer dresses, plain, printed, dyed, dotted. A general term used for similar fabrics as lawn, mull, cambric.” On page 179, “poplinette” is defined as “wool or linen fabric resembling poplin,” while “poplin” is defined as “fine, smooth, strong fabric with a plain silk warp and coarse silk weft, or of all cotton.”

On page 180, “stuff” is defined as “plain wool fabric.” Also on page 180, “tartan” is defined as “wool fabric crossbarred by narrow bands of different colors.” Also on page 180, “wool” is defined as “fabric made from the fleece of sheep, woven in many different styles, has warmth and elasticity.” Also on page 180, “algerine wool” is defined as “from Algeria, a soft fabric with bright colored stripes.” Also on page 180, “woolen saxony” is defined as “fine glossy wool fabric made in Saxony.” On page 181, “woolen valencia” is defined as “fabric for waistcoats; probably made entirely of wool.” Also on page 181, “worsted” is defined as “wool fabric made of well-twisted yarn of long-staple wool, combed to lay the fibers parallel.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 375, “woolen” is defined as “Cloth made of carded short-staple fibers. After weaving, the cloth was fulled for shrunk to make it denser and heavier. Broadcloth was England’s traditional fine woolen manufacture. The soft fluffy fibers of carded wool were also suitable for knitting.” Also on page 375, “worsted” is defined as “Lightweight cloth made of long-staple combed wool yarn. The name was derived from the village of Worstead near Norwich, a center for worsted weaving. The smooth, shiny fibers were suitable for embroidery and indeed were synonymous with the word crewel, or crewel yarn.”

On page 177, “broadcloth” is described as being “Made of carded wool in plain weave and fulled after weaving.” On page 195, “challis (challie)” is defined as “A soft wool, or wool-cotton cloth, plain, printed, or figured.” It also states that “It was twill woven.” On page 215, “delaine” is defined as “A fine woolen fabric, first called mousseline de laine, or muslin of wool, developed by the French.” It goes on to state that delaines were often printed, and were wiry and hard in texture. On page 325, “plaid” is defined as “A twill or plain woven cloth with a pattern of intersecting stripes in both the warp and the weft. The patterns may also be printed.”

On page 353, “stuff” is defined as “A general term for worsted cloths.” Drawing from an 1833 list, stuff was available twilled or plain, in such varieties as merino, shalloons, lastings, prunella, florentine, tammies, calimancoes, camblets, and plaids. On page 360, “tammy” is defined as “A strong, lightweight worsted of plain weave and open texture, often glazed.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Wool Challis

Challis is a fabric made from wool, a natural fiber which comes from the fleece of sheep. For more information, see the entry Glossary: Wool Fiber. The term is used with various spellings, and has historically been used for silk and wool fabrics, and for wool and cotton fabrics. It is a fine, delicate textile with a soft drape, suitable for dresses. I have seen mixed references about whether it is a twill or plain woven fabric, though quoted here I only have a reference to twill. Historically, challis was often printed. Unfortunately, it is extremely rare to find printed wool fabric today.

See also the entry on wool tabby.

Note that many fabrics of this type available today are made of synthetic or man-made fibers (especially rayon), or blended wool with synthetic or man-made cellulosic fibers; blends, and especially fully man-made fabrics, do not look, feel, or behave the same way as natural fabrics. For more information on the differences between natural and man-made fibers, see the entries on synthetic fiber and rayon fiber (which includes information on other man-made, cellulosic fibers).

Definitions of challis from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

Challis is not mentioned.

• Clark, Elizabeth Stewart. The Dressmaker’s Guide; 1840-1860. 2nd edition, Revised & Expanded. Idaho Falls, Idaho: Elizabeth Stewart Clark & Company, 2009.

In the textile primer section on page 60, it is noted that “Challis” is “pronounced ‘shallee’; plain weave, very soft, often printed.” I believe that the note about it being “often printed” refers to the challis commonly available in the mid 19th century.

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 176, “challie” is defined as “fine, delicate fabric without gloss of wool or of silk and wool, usually printed in colors.” On the same page, it also defines “chale” as “the same as challie, or French for shawl” and “challais” as “the same as challie.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 195, “challis (challie)” is defined as “A soft wool, or wool-cotton cloth, plain, printed, or figured.” It also states that “It was twill woven.”

Online Resources:

• “Wool” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Wool” by Caitlin at The Coletterie
• “Worsted Wool vs. Tropical Weight Wool,” a thread at The Sewing Academy which discusses different terms for and characteristics of wool fabrics

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Silk Satin

Silk satin is a fabric made from silk, a natural fiber produced by silkworms. For more information, see the entry Glossary: Silk Fiber. Silk is the fiber traditionally associated with the term “satin,” though strictly speaking “satin” is a weave rather than a specific fabric. Satins have also historically been available in wool and sometimes cotton, though cotton is more commonly available in sateen than satin. Satin is type of weave with long floating yarns which produce a shiny surface; sateen is a variant of that weave. Note that light, drapey fabrics such as silk charmeuse are different from traditional, true satins, despite being of a type of satin weave. “Duchess satin” or “silk duchesse” are modern textiles which generally seem to be closest to historical satins, however some duchess satin has a synthetic or rayon component, which gives it different properties from 100% silk satin. Synthetic satins and rayon satins are very different from silk satin.

Definitions of satin, especially silk satin, from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On the topic of “Weaves” on page 16, it states that “Satin is both a weave structure and the name of a fabric. Satin weaves are much like twill weaves. However, the warp yarns float over from four to as many as twelve weft yarns, and the offset of each successive pick is different, so that no diagonal ridge is formed. Sateen is like satin, except that the weft yarn forms the float, rather than the warp. Sateen is generally woven with cotton. Satin weaves are less durable than other weaves, because the long floats of yarn are easily abraded, and they also tend to pick up and hold dirt. For this reason, and because of the elegant luster that the satin weave creates, these fabrics tend to be used for more formal purposes–evening clothes, or high quality table linen.”

On page 45, under the heading “satin,” along with a swatch of figured satin, the text states that “satin is both a weave structure and the name of a fabric. The satin weave can be used with any fiber. Figured, or ‘flowered,’ satin (also called ‘damask’) is woven with complex designs, in small to large scale, generally in a single color. The play of light across the monochrome woven pattern brings out the design, which is reversible. Reversibility had advantages: it was considered economical to invest in a figured satin, because a garment made from such a fabric could be taken apart, turned, and reconstructed to make the garment last an extra long time. Both plain satins and figured satins have been woven for centuries, but in the early 1800s, the invention of the jacquard mechanism made these fabrics much easier to produce.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

Page 41: “Satin weave has a characteristic luxurious shine. The surface is composed of floats, or warp yarns, which may pass over many filling yarns before being caught under one. The surface yarns, usually of filament fibers, intersect cross threads at points randomly spaced so the smooth texture appears unbroken. A variation called sateen has similar surface floats, but they run in the filling direction and are usually of a spun staple yarn.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 179, “satin” is defined as “thick, close textured silk fabric with the warp threads completely covering the weft threads,thus producing a glossy surface.” Further types of satin, including thinner varieties, are also defined on the same page, including “satinet,” which is “thin or imitation satin.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On pages 339-340, “satin” is defined in several quotes from historical sources, similar to previous definitions listed on this page. It is also clarified, on page 340, that “The warp threads are ordinarily much finer than the weft threads and more numerous to the square inch so that they conceal the weft and make an unbroken, smooth, and lustrous surface.”

Online Resources:

• “Silk” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Silk” by Caitlin at The Coletterie
• “This Girl’s Tips & Tricks on Working With Silk” by Sunni at The Cupcake Goddess
• A thread about “silks” for mid-19th century use at The Sewing Academy
• “Tips on Sewing With Silk” by Tasia at Sewaholic
• “Quick Look: Satin” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Silk Twill

Silk twill is a fabric made from silk, a natural fiber produced by silkworms. For more information, see the entry Glossary: Silk Fiber. “Silk twill” is a term commonly used in modern fabric terminology, generally referring to a light- or light-mid-weight material in an even twill weave. The hand of these materials varies, and can range from quite soft and drapey to very crisp. Historically, twilled fabrics woven from silk were referred to by a wide variety of names, including foulard, sarcenet, serge, and armure silk.

Definitions of twilled silk fabrics, and of the twill weave, from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

There are no twilled silks in the book.

Under the heading “Weaves” on page 16, it is stated that “There are many variations of twills, but the distinctive feature of the weave is that it creates parallel diagonal ridges through the cloth. This effect is created by passing the weft yarn, for example, over two warps, under one, over two, under one and so on. The next weft yarn is offset by one warp yarn and then continues as before: over two, under one, over two, under one. The ‘float’ (the yarn that passes over the multiples of the yarn in the opposite direction) can be the weft or the warp, and passes over two or three yarns. The float can reverse directions to create a zigzag pattern, called a ‘herringbone’ twill, or it can form diamonds, for example ‘goose-eye’ or ‘bird’s-eye’ twills. Depending on the fiber, yarn size, and compactness of the beat, twills can be soft and drapey or very tough and stiff.”

• Butterick Publishing Company, The. Vogue Sewing. Revised edition. New York: The Butterick Publishing Company, 2000.

On page 41, it states that the “Twill weave is often used to produce strong, durable fabrics such as denim and gabardine. A handsome weave characterized by a diagonal ridge usually running from lower left to upper right, its appearance depends to a large extent on the yarn weight and specific twill construction.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 177, “foulard” is defined as “soft, lightweight fabric of silk, or silk and cotton, having a twilled weave, sometimes with a satin finish, often used for handkerchiefs.” On page 179, “sarcenet, sarcenett” and “sarsnet, sarsenet, sarsinet” as well as “sasnet” are all defined as “fine, thin silk fabric, plain or twilled.” Also on page 179, “serge” is defined as “twilled fabric of wool or silk, or both, or of cotton” and “silk serge” is defined as “twilled silk fabric often used for lining.” On page 180, “armure silk” is defined as “a twilled fabric of silk.” Also on page 180, “surah silk” is defined as “soft, strong, twilled India silk fabric.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 242, under the heading “foulard (Fr. foulas),” it is stated that “Three silk handkerchiefs in the Holker manuscript, circa 1750, identify this material as printed…or checked twill, Holker says that such materials were bought in Paris as Indian merchandise, although of English manufacture, for women’s dresses and were called foulas.”

On page 339, “sarsenet (sarsnet; Fr. armoisin)” is defined as “A thin, transparent silk of plain weave.”

On page 369, “twill (tweel)” is defined as “A kind of weave producing a diagonal effect in the finished cloth.” A sample of varieties of twill weaves are listed on page 369: “diamond, herringbone, and bird’s eye.”

Online Resources:

• “Silk” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Silk” by Caitlin at The Coletterie
• “This Girl’s Tips & Tricks on Working With Silk” by Sunni at The Cupcake Goddess
• A thread about “silks” for mid-19th century use at The Sewing Academy
• “Tips on Sewing With Silk” by Tasia at Sewaholic

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Silk Taffeta

Taffeta is a fabric made from silk, a natural fiber produced by silkworms. For more information, see the entry Glossary: Silk Fiber. Taffeta is a light-mid- to mid-weight fabric with a crisp hand, in an even plain weave. Synthetic taffetas are also available today, but they are quite different, and very prone to shredding. Generally, they have a very plastic appearance and do not strongly resemble silk taffeta, though taffeta made from acetate, a man-made cellulosic fiber similar to rayon, is generally more silk-like than substitutes made from noncellulosic synthetic fibers such as polyester and nylon. If seeking an less expensive substitute, some lengths of silk dupioni can be found which are quite smooth and have very few slubs, which can be used as imitation taffeta fairly convincingly in some applications. However, dupioni is not an even-weave fabric; it is plain-woven, but the weft threads are thicker than the warp threads, and are uneven to varying degrees. It is not a perfect substitute, and is not always appropriate.

Definitions of taffeta from a variety of print resources, each of which contains further information:

• Bassett, Lynne Zacek. Textiles for Regency Clothing 1800-1850: A Workbook of Swatches and Information. Formerly titled Textiles for Clothing of the Early Republic. Arlington, Virginia: Q Graphics Production Company, Product division of Sally Queen & Associates, 2001.

On page 29, under the heading “Changeable (Shot),” there is a swatch of changeable silk taffeta. The text states that “‘Changeable’ silk–that is, silks woven with one color in the warp and another color in the weft–have been around for centuries and are still easily found today. The play of light on a shimmery changeable silk gives it an iridescent look. The terms ‘changeable’ and ‘shot’ are most commonly used in reference to silk.”

On page 37, under the heading “Lutestring (Lustring),” there is a swatch of crisp, evenly plain-woven silk of a weight closer to habotai than to most taffeta, but with a crisp hand like taffeta. The text states that “Lutestring is a plain-woven silk, similar to taffeta in that it has a crisp hand and even thread count, but lighter in weight than taffeta. Its smooth, glossy surface made it a favorite for elegant dresses for women in the early nineteenth century.”

• Marsh, Heidi, Compiled by. Styles and So Forth of the Era of the Hoop; with Glossary. Greenville, California: Heidi Marsh, 1994.

On page 180, “taffeta, taffetas” is defined as “fine, even-textured, smooth silk fabric with a luster.”

Also on page 180, “tabby, tabi” is defined as “strong, heavy silk taffeta, shiny with a watered finish, also used to describe a plain weave.” On page 177, “gros” is defined as “a heavy silk fabric with a dull finish.” On page 179, “paduasoy” is defined as “plain stout smooth silk, formerly a rich heavy corded silk.” Also on page 179, “pou de soie” is defined (identically to the above) as “plain stout smooth silk, formerly a rich heavy corded silk.”

On page 178, “lustring” is defined as “lustrous paper-thin silk” while, oddly, “lutestring” is defined as “plain, stout silk fabric with a lustrous finish.” On page 180, “silk tissue” is defined as “fine, transparent silk fabric.”

On page 180, “shot silk” is defined as being “woven with warp and weft threads of different colors, so that the fabric changes in tint according to the angle from which it is viewed” and “changeable silk” is “also called shot silk; fabric that is one color from one angel, another color from another angle.” On page 177, “glace,” or glacé, is defined as “usually silk, with a smooth glossy finish, sometimes with a shot effect.” On page 178, “moire,” or moiré, is defined as “a watered effect given fabrics by the pressure of engraved rollers that displace and flatten threads.”

• Montgomery, Florence. Textiles in America 1650-1870: A Dictionary based on original documents, prints and paintings, commercial records, American merchants’ papers, shopkeepers’ advertisements, and pattern books with original swatches of cloth. New York: W. W. Norton and Company, 2007.

On page 358, there is an entry for “Taffeta (taffety),” which states that “In seventeenth-century trade with Bengal, the term covered a wide variety of silk and silk/cotton goods, many of them striped or checked, among which were alachas, seersuckers, sousaes, and charconnaes.” It also states that “Most European taffetas were plain woven silks with weft threads slightly thicker than warp and related to tabby, alamode, Persian, and lutestring.”

On page 355, “tabby” is defined as “A plain silk, slightly heavier than lustring and stronger and thicker than taffeta. A cloth woven in a plain weave. Many were given a watered or waved finish.” On page 314, “Paduasoy (padaway, pattisway, poudesoy)” is defined as “A rich and heavy silk tabby with a self-colored pattern and usually brocaded. It was generally corded and was the heaviest of dress silks.” On page 321, “Persian” is defined as “A thin plain silk, principally used for linings in coats, petticoats, and gowns in the eighteenth century. Silks from Persia were the most highly esteemed of all Eastern fabrics, and the name Persian may have been given to English imitations to promote their sale.”

On page 195, “changeable fabrics” are defined as “Plain weave fabrics with warp of one color and weft of another. Chambray, caungeantrie, and modern Oxford cloth used for men’s shirts are included among these textiles.” On page 347, “shot” is defined as “A term used to describe textiles made partly of silk.” This may be an earlier usage of the term; I cannot recall having seen the term used this way in nineteenth century sources.

Online Resources:

• “Silk” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Silk” by Caitlin at The Coletterie
• “This Girl’s Tips & Tricks on Working With Silk” by Sunni at The Cupcake Goddess
• A thread about “silks” for mid-19th century use at The Sewing Academy
• “Tips on Sewing With Silk” by Tasia at Sewaholic
• “Quick Look: Taffeta” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012

Glossary: Silk Charmeuse

Charmeuse is a fabric made from silk, a natural fiber produced by silkworms. For more information, see the entry Glossary: Silk Fiber. Charmeuse is also available with a small spandex component to make stretch charmeuse, and there are synthetic versions of charmeuse, usually polyester, available as well. Charmeuse is a type of lightweight satin fabric, thin and with a very soft, drapey hand. It is not what is meant by “silk satin,” in modern or historical use. It is very useful for twentieth century vintage styles, especially lingerie and bias cut 1930s styles. Note that it is quite slithery and difficult to work with, though in my opinion less so than its synthetic equivalents.

Note that some fabrics of this type available today are made of synthetic or man-made fibers, or sometimes silk blended with artificial fibers; blends, and especially fully synthetic/man-made fabrics, do not look, feel, or behave the same way as 100% silk fabrics, though rayon, which is a man-made cellulosic fiber (not a synthetic) is a closer substitute than synthetic fibers. For more information on the differences between natural and man-made fibers, see the entries on synthetic fiber and rayon fiber (which includes information on other cellulosic man-made fibers).

Online Resources:

• “Silk” on Wikipedia (Remember to read critically!)
• “The Prewash” by Sarai at The Coletterie
• “Fabric Series: Silk” by Caitlin at The Coletterie
• “This Girl’s Tips & Tricks on Working With Silk” by Sunni at The Cupcake Goddess
• A thread about “silks” for mid-19th century use at The Sewing Academy
• “Tips on Sewing With Silk” by Tasia at Sewaholic
• “Quick Look: Satin” by Rachel at The Coletterie

For more information about an individual fiber, fabric, or other material, select it on the right side menu for “Fibers, Fabrics, and Materials.” This will bring up all entries which have that tag, including (in most cases) a Glossary post like this one, which will offer a definition of that fiber, fabric, or material, and sometimes also offer useful links to outside sources on working with it. For more general information, visit the core entry for the Glossary: Fibers, Fabrics, and Materials. For a directory of all textile glossary posts, go to the Glossary Table of Contents.

Updated January 10, 2012