MAIN WEAVE ROOM1. Warp beam containing warp.2. Lease Rods.3. Harnesses.4. Dobby Head motion to lift harnesses.5. Jacquard Head motion.6. Cards containing design—working in connection with Jacquard Head motion.7. Whip Roll.
1. Warp beam containing warp.2. Lease Rods.3. Harnesses.4. Dobby Head motion to lift harnesses.5. Jacquard Head motion.6. Cards containing design—working in connection with Jacquard Head motion.7. Whip Roll.
Classes of Weave.The character of the weave offers the best basis for classification of woven goods. Nearly all the varieties of cloth may be classified from the following weaves:
(1) Plain-weaving,(2) Twill-weaving,(3) Satin-weaving,(4) Figure-weaving,(5) Double-cloth-weaving,(6) Pile-weaving,(7) Gauze-weaving,(8) Lappet-weaving.
(1) Plain-weaving,(2) Twill-weaving,(3) Satin-weaving,(4) Figure-weaving,(5) Double-cloth-weaving,(6) Pile-weaving,(7) Gauze-weaving,(8) Lappet-weaving.
Plain or Homespun Weave.Plain cloth is the simplest cloth that can be woven. In this weave one series of threads (filling) crosses another series (warp) at right angles, passing over one and under one in regular order, thus forming a simple interlacement of the threads. This combination makes a strong and firm cloth, but does not give a close or a heavy fabric, as the threads do not lie as close and compact as they do in other weaves. In plain cloth, if not fulled or shrunk in the finish, the result is a fabric perforated with large or small openings according to the size or twist of yarn used. If heavy or coarse threads are used the perforations will be large; if finer threads, the perforations will be smaller.
This weave is used in the production of sheeting, muslin, lawn, gingham, broadcloth, taffeta, etc. In plain weaving it is possible to produce stripes by the use of bands of colored warp, and checks where both warp and weft are parti-colored. This weave is commonly used when the cloth is intended to be ornamented with printed patterns. In weaving cloth of only one color but one shuttle is used, while for the production of checks, plaids, etc., two or more shuttles are required.
GIRL DRAWING EACH THREAD OF WARP THROUGH THE REED AND HARNESS READY TO BE PLACED ON LOOMA, warp beam. B, warp. C, harness frame
Twill Weave.A twill weave has diagonal lines across the cloth. In this class of weaves the filling yarn or threads pass over 1 and under 2, or over 1 andunder 3, 4, 5, or 6, or over 2 or 3 and under 1, 2, 3, or 4, or over 4 and under 4, 3, 6, etc. Each filling thread does not pass under and over the same set of warp threads, as this would not give the desired interlacings. Instead the order of interlacing moves one thread to the right or left with each filling thread that is woven. If there are the same number of threads to an inch in warp and filling, twill lines will form an angle of 45 degrees; if the warps are closer together than the filling, the angle will be steeper; if the filling threads are closer together the lines will approachmore nearly the horizontal. Different effects are obtained in patterns by variation in the sizes of the yarn and twist, by the use of heavy threads to form cords, ribs, etc., and by the mixture of vari-colored materials in the yarn. Often one form of twill-weave is combined with another to produce a fancy twill-weave. The object of the twill-weaving is to increase the bulk and strength of a fabric, or to ornament it. The disposition of the threads permits the introduction of more material into the cloth, and hence renders it heavier, and of closer construction than in the case of plain-weaving.
Satin Weaves.The object of a satin weave is to distribute the interlacings of the warp and filling in such a manner that no trace of the diagonal (twill) line will be seen on the face of the cloth. In weaving a satin design the filling thread is made to pass under 1 and over 4, 7, 9, 11, or more if a larger plush satin is required. The raising of the warp end to allow the filling to pass under is done in such a way as to prevent twill lines from showing in the cloth. The result is that practically all of the filling is on the face of the cloth. This is called a filling-face satin weave. A warp-face satin weave may be produced by reversing the order; in this case practically all of the warp is brought to the face of the cloth. In this way a worsted warp and a cotton filling might be woven so that practically all of the warp would show on the cloth, and give it the appearance of a worsted fabric. A number of classes of silk goods are made in this way, with a silk filling covering a cotton warp.
This weave produces an even, close, smooth surface, capable of reflecting the light to the best advantage, and having a lustrous appearance which makes it resemble satin cloth. Satin cloth is made of silk using a satin weave.
Satin weaves are used very largely in producing different styles of cotton and silk fabrics, and are also frequently found in woolen goods. They are more extensively used in the manufacture of damask and table-covers than for any other class of goods. Satin stripes are frequent in madras, shirtings, and fancy dress goods in connection with plain and figured weaves.
Figure Weaving.To produce complicated and irregular patterns in the loom a large number of different openings (sheds) must be made in the warp, and to secure such a large number an attachment is placed on top of the loom called a Jacquard apparatus. The Jacquard is merely an apparatus for automatically selecting warp threads, by which each separate one can be made to move independently of any of the others. It is provided with weighted strings attached to each of the warp threads. The weighted strings are controlled by wire needles which are in turn controlled by perforated cards. Each motion of the loom changes their position and allows some needles to go through the holes in the cards, thus drawing up the warp, while others strike the card and leave the warp down. In this way the perforations of the cards determine the figure of the patterns. The Jacquard is chiefly used to produce patterns of great width in which all or most of thethreads in the pattern move independently. For the weaving of elaborate effects and flowing lines it is practically indispensable. All elaborate designs are classed under the name of Jacquards.
Double Cloth.Double cloth is a descriptive term applied in weaving to fabrics produced by combining two single cloths into one. Each one of these single cloths is constructed with its own systems of warp and filling, the combination being effected in the loom by interlacing some of the warp or filling threads of one cloth into the other cloth at certain intervals, thus fastening them securely together. The reasons for making double-cloths are many. Sometimes it is done to reduce the cost of heavy weight fabrics by using cheaper materials for the cloth forming the back; again it may be to produce double-face fabric; it allows great freedom for the formation of colored patterns which may or may not correspond in pattern on both sides; it is the basis of tubular weaving such as is practised for making pillow cases, pockets, seamless grain bags, etc.; more frequently, the object is to increase the bulk or strength of certain kinds of fabrics, such as heavy overcoatings, cloakings, pile-fabrics, golf-cloth, rich silk, etc.
Pile Weave.A pile weave is a general term under which are classed numerous varieties of cloth woven with a pile surface, as plush, velvet, velveteen, and carpeting of various kinds. Turkish towels are an excellent illustration of pile weaving. A pile surface is a closely set, elastic face covering various kinds ofwoolen, silk, and cotton fabrics, and consists of threads standing close together, either in the form of loops or as erect thread-ends sheared off smooth so as to form a uniform and even surface. In the production of a pile fabric a third thread is introduced into the weaving and formed into loops usually by carrying it over the wires laid across the breadth of the cloth. The wires are afterward drawn out, leaving the loops standing; the loops may then be cut so as to form a cut pile, as in velvet and plush, or they may be left in their original form as in Brussels carpet and Turkish towels.
Gauze Weaving.In gauze weaving all the warp threads are not parallel to each other, but are made to intertwist more or less among themselves, thereby favoring the production of light, open fabrics, in which many ornamental lace-like combinations can be obtained. Two sets of warp threads are used, one being the ground warp and the other the “douping,” the latter performing the entwining process. Gauze is especially characterized by its openness and yields the lightest and strongest fabric with the least material. When gauze is combined with plain weaving it is styled “leno.” Gauze fabrics are designed for women’s summer gowns, flounces, window-curtains, etc.
Lappet Weaving.Lappet weaving, really a form of embroidery, is used for producing small designs on cloth by means of needles placed in a sliding-frame, the figures being stitched into the warp. Elaborate figures are beyond the range of lappet weaving, but thereare many small effects that can be economically produced in this manner, such as the detached spots in dotted swiss, and narrow and continuous figures running more or less into stripes. This form of weaving imitates embroidery and is used mainly on plain and gauze fabrics.
Dyeing.When a fabric or fiber is impregnated with a uniform color over its whole surface, it is said to be “simply dyed.” On the other hand, if distinct patterns or designs in one or more colors have been impressed upon a fabric, it is called printing.
Vegetable dyes were formerly used, but since the coal tar dyes have been discovered the latter are used entirely. Over fourteen thousand colors have been produced from coal tar. Different fibers and fabrics attract dyestuffs with varying degrees of force. Wool and silk attract better than cotton and linen.
Wool Dyeing.The methods of dyeing wool differ considerably from those employed for cotton and other vegetable fibers. They may be divided into three parts: piece dyed, cross dyed, and yarn dyed.
Piece goods are those woven with yarns in their gray or natural state, and then cleansed and dyed in the piece to such colors as are required. They are woven in plain weaves and in a great variety of twills—in fact, in all styles of weaves—and are also made on the Jacquard loom. The principal fabrics in this classification are all wool serges, cheviots, hopsackings, suitings, satines, prunellas, whipcords, melroses, Venetianbroadcloths, zibelines, rainproof cloths; nun’s veiling, canvases, grenadines, albatrosses, crêpes, and French flannels; silk warp Henriettas, voiles, and sublimes. Whenever it is possible, it is better to dye textile fabrics in the form of woven pieces than in the yarn. During the process of weaving it is impossible to avoid getting yarn dirty and somewhat greasy, and the scouring necessary to remove this dirt impairs the color used in weaving. Piece dyeing is the cheapest method of applying color to textiles. The chief fault of piece dyeing is the danger of cloud spots, stains, etc., which do not appear in the other two methods. Then again in the case of thick, closely woven goods the dyestuff does not penetrate into the fabric, and the interior remains nearly white.
The cloth is dyed by means of passing over a roller into a dye vat. Small pieces or “swatches” are taken from the ends of the fabric, and compared with the pattern. For it must be remembered that no two lots of crude dyes are of equal strength, and the wools and cottons of different growths and seasons vary greatly, so that the use of a fixed quantity of dye to a given amount of goods will not always give the exact shade. In comparing a sample with the pattern the two are placed side by side below the eyes (reflected light), and then held up to the light and the eye directed along the surface. A judgment must be formed quickly, as a prolonged gaze fatigues the eye and renders it unable to perceive fine shades of difference.
DYE ROOM1. Dye tub or vat containing dyestuffs.2. Rolls or cylinders upon which cloth is wound.3. Cloth leaving dye tub—being wound upon No. 2 cylinder.
1. Dye tub or vat containing dyestuffs.2. Rolls or cylinders upon which cloth is wound.3. Cloth leaving dye tub—being wound upon No. 2 cylinder.
Cross Dyed.Cross-dyed goods may be describedas fabrics woven with black or colored cotton warps and wool or worsted filling and afterwards dyed in the piece. Since cotton has not the same attraction for dyestuffs as wool it is a difficult task to dye a fabric woven with cotton and wool so that both fibers will be identical in depth of color, tone, and brightness. In some cases it is possible to dye a mixed fabric at a single operation, but the usual process is to dye the wool in yarn state and then dye the warp a color as near the color of the wool as possible. In the weaving operation the wool is thrown to the surface. In another method the warp is dyed and woven with a white wool orworsted filling, and dyed in the piece with a dyestuff that will not affect the cotton. In this way the cotton does not take the wool dye, but retains its original color. This class of work is generally used in mohair, alpaca, and luster fabrics, because the natural brilliancy of the luster wool, alpaca, or mohair in the filling is not impaired as would be the case if the cotton in the goods were subjected to a cotton-dye bath after being woven. The principal cloths in this classification are cotton, warp figured melroses, Florentines, glacés, brilliantines, lusters, alpacas, and mohairs; rainproof cloths, and fancy waistings, and in these may be found the same great variety of weaves and patterns that is to be found in the piece-dyed goods already described.
Yarn Dyed.Yarn-dyed goods differ from those previously described in that they are made of yarns that are dyed before being woven, or yarns spun from dyed wool. Wool may be dyed in the raw state (fleece), slubbing, or yarn. Fleece dyeing is preferable for goods intended to stand friction, and that in spite of wear and tear must preserve their color. It is preferred for dark colored goods where much friction is to be encountered, but is seldom used for light colors, since these would be soiled during subsequent processes of manufacture. In this case every fiber is colored uniformly all over. The yarn from this wool and the cloth woven from it are dyed through and through and do not become grayish or whitish by wear and tear.
Slubbing dyeing is preferred to yarn dyeing, for the dyestuff penetrates the loosely twisted roving, and ifunevenly dyed, the subsequent operations equalize most thoroughly the irregularities in color.
Yarn dyeing is especially applicable to checks, plaids, and suitings, and in their manufacture the drop box loom (a loom with two or more shuttles) is used. Goods manufactured under this classification include cotton warp checks and mixtures; all wool homespuns, mixture coatings and suitings, storm skirtings, rainproof cloths. These goods are made in a great variety of weaves, the effect in each being secured by the color and the weave.
Piece-dyed fabrics may be distinguished from yarn-dyed fabrics by unraveling threads of each kind. In the case of yarn-dyed fabrics the dyestuff has penetrated through the yarn, while in the case of piece-dyed fabrics the dyestuff has no chance to penetrate as completely as the yarn-dyed fabric.
Textile Printing.Printed fabrics such as print cloths can generally be distinguished by observing the back side of the cloth. If the figure or pattern on the face of the cloth does not penetrate through to the back but only shows the outline, the fabric has been printed. Fabrics are printed by coming into contact with rotating rollers on which the pattern is engraved.
The attraction of cotton for coloring is generally feebler than that of wool or silk. Few of the natural dyestuffs attach themselves permanently without use of a mordant. A mordant is a substance which has an affinity for, or which can penetrate, the fiber to be colored, and which possesses the power of combiningwith the dyestuff and thus forming an insoluble compound upon the fiber. Cotton is dyed in an unspun state, and also as yarn or spun thread, either in the hank or skein. Silk is dyed in unspun skeins, although to a considerable extent it is also dyed in the piece.
Styles.Since styles and designs are constantly changing it is necessary for the mills to meet this demand by producing new styles. Some of the patterns which are at this time considered to be in the best style would have appeared much out of date two or three years ago, while perhaps a few years hence, the patterns which are now almost obsolete will, with some changes, become the most popular sellers of the season. As the mill officials or designers are not out among the trade, they are not in a position to judge what lines or patterns would most likely appeal to the market. This information is obtained by the “styler” of the selling house. The styler receives all the latest foreign samples and fashion papers from abroad, and often goes or sends his representative to Europe to ascertain what goods, designs, and colors are taking well over there. The selling agent or styler then supplies the designing department of the mill with all the samples, information, and suggestions necessary in getting out the samples.
Construction of Cloth.In reproducing a sample of cloth in the mill it is necessary that the construction of the cloth be first known, that is, there must be ascertained the width, warp ends, and picks per inch, the number or size of the yarn used for the warp, the number that is used for the filling, and the number ofounces per yard or yards per pound. Then the interlacings of the threads in the sample must be picked out in order to get the design or weave on the design paper, from which the data are obtained for regulating the movement of the harness or heddles. Design paper is paper ruled by lines into a number of squares. An imitation of the cloth can be produced on this paper by showing the interlacings of the warp and filling. This is done by filling in certain squares with paint, or pencil marks, while the others are left empty. In practical work it is the general custom to make a cross with a pencil to indicate the squares that are to be filled in, thus showing that the warp thread is over the filling thread at this point. When a square is left blank it shows that the warp thread is under the filling at this point. When a warp thread is up on a certain pick, the harness which controls this thread must be raised on this pick.
Finishing.The fabric as it comes from the loom is in an imperfect condition for use. When worsted fabrics leave the loom they require but few and simple finishing operations, and in this respect differ much from woolen cloths, which require elaborate finishing operations. The finishing processes of woolen and worsted cloths are similar. The following description of processes and machines gives a clear idea of the necessary finishing processes for a standard woolen or worsted cloth; for particular styles of finish the processes must be varied in accordance with the particular requirements of the style of fabric in hand.
Perching.The fabric as it comes from the loom receives a perching and measuring inspection at the weave room before leaving for the finishing room. This examination is to detect quickly such imperfections as require prompt attention at the loom.
Burling.Every knot that has been tied in the threads during winding, dressing, beaming, and weaving, must be looked for and felt for during burling, carefully drawn to the surface of the cloth, and then clipped off with the scissors, leaving the ends long enough so that no space without a thread will occur. Threads which are found loose on the face or back of cloth, caused by the weaver having tied in a broken end, should be cut off and not pulled off. All places where threads are not woven in are marked so that the sewing-in girl (mender) can adjust such places. The cloth is subjected to perching again. It is examined for imperfections, and when these are found, they are marked with chalk to call the attention of the menders to such places.
Mending.The object of darning or mending is to make all repairs in the structure of the cloth before the process of fulling. The mender must have a good eye for colors necessary to produce various effects and for the interlacing of the threads. More exact work is required for threadbare fabrics that require little if any finishing afterward, than in dealing with a face finish fabric, where the nap is to be raised and will cover many imperfections so that they will never be noticed in the finished cloth.
Fulling.The object of fulling is to render woolen and worsted goods stronger and firmer in body. Fulling is similar to felting, the principal object of each being to condense the fibers, thereby increasing the firmness. Certain varieties of woolens are fulled nearly one-half their original width and length. The process of fulling includes three steps: cleansing, scouring, and condensing the fibers of the cloth. The object of scouring is to get rid of oil used preparatory to spinning, and to remove from the cloth stains and the sizing used in dressing the warp. The cloth is first saturated with hot water and soap, and is then scoured and rubbed between the slow-revolving rollers of the machine from two to eighteen hours, according to the character of goods and the amount of shrinkage desired. The more prolonged the operation, the more the material shrinks. When sufficiently fulled, the length of cloth is scoured to free it from soap. This is done with water, warmed at first, but gradually cooled, until at the end the cloth is worked in cold water. Next the cloth is stretched uniformly in all directions, so that it may dry evenly without wrinkles or curls. Sometimes the cloth is placed in a hot-air chamber to hasten the drying. The fulling or shrinking is effected by the application of moisture, heat, and pressure. Every one is familiar with the fact that woolen blankets, flannels, and hosiery tend to contract with frequent washings, gaining in thickness and solidity what they lose in elasticity. Such shrinkage is greatly hastened when they are rubbed vigorously in hot water and then allowed to cool suddenly.This change is due to the physical properties of the wool fiber.
Such goods as beavers, kerseys, meltons, and fancy cassimeres are seldom fulled more than one-sixth of their woven width, while worsted goods are shrunk but a small fraction of their woven width. The amount of fulling received is the distinguishing feature of many varieties of cloth. In the treatment of broadcloth, doeskin, and all nap finished woolens, the fulling is carried to a point where the fibers become densely matted, obliterating all traces of the weave and giving the cloth the appearance of felt.
Crabbing.After the cloth has been dried in the hydro extractor, where it throws off superfluous moisture, it must be stretched full width for the future finishing processes, and “set” at this width.
Crabbing consists of two operations, first the loosening process, then the setting process. Goods are run on a cylinder, then passed over several rolls, and are kept tight so as to avoid wrinkles. The cylinders are immersed in hot water and the goods are allowed to rotate in this water for about twenty minutes, after which they are taken out for one or two hours. They are then returned to the machine for about twenty-five minutes and are subjected to boiling and also to additional pressure. The boiling water sets the fabric and the additional pressure gives the desired finish.
Tentering.The object of tentering[14]is to straighten and level the fabric. After the cloth leaves thetentering machine it has lost its natural moisture, and is not at all fitted, as far as fiber condition is concerned, for the napping. To bring it into a fit state for this operation it is passed through a trough containing a brush which gives it the desired moisture. It is then ready for napping.
Napping.Most cloths at this stage of finishing are more or less unsightly on account of long and irregular fibers on the surface. A nap may be raised on the surface of a fabric for various reasons: in order to render the material warmer, softer, or more pleasant to the touch, as in the case of blankets and flannels intended to be worn next to the body; or for the purposes of increasing the durability of the fabric, as in the case of melton, kersey, broadcloth, and similar goods; or a nap may be raised with a view to removing all the fiber from the underlying structure in order to leave the pattern of the cloth well defined and free from hairiness. The covering of nap over the surface of the fabric tends to conceal many defects caused by imperfect yarns and faulty weaving. Coarse, inferior yarns at best produce an unsightly fabric, but when the cloth constructed of such threads is finished with a fine, delicate nap the surface takes on a softer and richer appearance. Not only are the defects in the structure concealed, but the material is rendered more sightly and desirable and appears to be more expensive than it really is.
The operation of napping is performed by passing the cloth in a tightly stretched condition over a revolvingcylinder covered with teasels or steel hooks. These thousands of little hooks scratch the entire surface of the cloth, opening up the short fibers and covering the whole with a nap. Since the fibers are of different lengths it is necessary to brush the fabric vigorously and then pass it through the shearing machine in order to make an even and uniform length. The shearing machine acts on the principle of the lawn mower and either cuts the nap completely or leaves a pile surface. The cloth is cleaned by passing through a brushing machine.
Pressing Machine.The fabric now requires consolidating and lustering, or “smarting up” in appearance—practically pressing—before it is forwarded to the warehouse. This is done by passing the cloth over a pressing roll heated to a high temperature. Having obtained a satisfactory luster, it is necessary to fix this by winding the cloth on rollers and allowing dry steam to pass through the piece. This fixes a permanent luster and finish on the piece and sets it so as to prevent shrinkage. The cloth is now packed and sent to the jobbers or tailors to be cut up into suits.
Theories of Coloring in Textile Design.The three primary elements of textile design are weave, combination of form, and blend of colors. They enter either separately or in connection with each other into every species of loom effect. Weave relates specifically to the build or structure of the cloth and is an indispensable factor in any type of cloth. Schemes of weaves will produce in one operation an even and firm cloth, decorated with a type of pattern that usually consistsof minute parts but which is pronounced and decided in combination. Combination of forms is a surface decoration obtained by uniting straight and curved lines. Color brightens and improves the qualities of the design. In fact, the discarding of color shades would diminish the elegance of the design and impoverish its appearance and would practically destroy the woolen industry. Whether the pattern be stripe, check, figure, or intermingled effect, it obtains its outline and detail from methods of coloring adopted. In worsted there is a larger diversity of weave design than in woolen; but still colors are very extensively employed to develop effects due to weave and form, and also to impart a cheerful and lustrous appearance to cloth.
Patterns in dress fabrics, shirtings, and other articles made entirely of cotton are frequently mere combinations of fancy shades, while fabrics composed of silk and jute materials, including silk ties, handkerchiefs, etc.—in fact the cloths in which fancy shades are used—show that coloring and its combinations in all woven product embellished with design, are elements which give tone and character to the styles. Though the cloth may be soft to the touch, substantially made, of uniform structure, and skilfully finished, yet a lack of brightness and elegance in coloring so powerfully detracts from the appearance of the pattern that these qualities alone are not sufficient.
On subjecting cotton, silk, wool, and worsted goods to inspection, color is found to have a different tone or cast in each fabric. Fancy colors in cotton, whiledecidedly firm and clear in effect, are non-lustrous, raw, and dull in toning. Silk colorings, on the contrary, possess both compactness and brilliancy; woolen colorings have a unique depth and saturation of hue characteristic of the material employed in the manufacture of woolen goods; while worsted colorings are bright, definite, and smart in appearance.
These differences are due to the physical properties of the several fibers. Thus a filament of silk is transparent and shines like smooth glass when light falls upon it; that of wool is solid and opaque in the center, but its exterior consists of a multitude of semi-transparent scales which, when of large dimensions and uniformly arranged—as in the best qualities of wool—reflect light with a small amount of dispersion and impart to the woven material a lustrous aspect. Cotton has no such partially transparent sheath. What light is reflected is so broken up that the color is poor. Compare three plain woven crimson textures made of silk, wool, and cotton respectively. The first literally shines; luster, brilliance, and richness are the elements of its coloring. Though bright, it lacks that fulness and depth of color which belongs to the wool product, whose millions of filaments, closely compounded, all tinted alike, possess a peculiar bloom and weight of color not to be found either in the silk or cotton article. Lastly, take the crimson calico. How deficient in warmth and richness it seems to be, after examining the woolen and silk texture! It is dull and has a raw and deficient character.
The various methods of employing fancy shades in patterns obtained in the loom may be briefly summarized:
I. In mixture cloths, for suitings, coatings, etc.
a.By combining or blending various colors of materials.b.By combining several classes of twist threads.
a.By combining or blending various colors of materials.
b.By combining several classes of twist threads.
II. In plain, twilled, mat, and fancy weave designs for trouserings, coatings, suitings, jackets, dresses, costumes, flannels, shirtings, etc.
a.By introducing colors into the warp, forming stripes.b.By introducing colors into the filling, producing spotted patterns.c.By introducing colors into both warp and filling, giving checks, broken styles, etc.
a.By introducing colors into the warp, forming stripes.
b.By introducing colors into the filling, producing spotted patterns.
c.By introducing colors into both warp and filling, giving checks, broken styles, etc.
III. In figured designs for dresses, vestings, etc.
a.By using one or several series of extra warp yarn.b.By using one or several series of extra filling.
a.By using one or several series of extra warp yarn.
b.By using one or several series of extra filling.
Dress goods fall naturally into two distinct classes when regarded from the standpoint of fashion—staples and fancies. Staples are those fabrics which are made of the same construction year in and year out. They vary only in coloring to meet the changes of fashion.
The Staples are:
Brilliantines,Sicilians,Mohairs,Imperial Serges,Storm Serge,Cheviots,Panamas,Batistes,Taffetas,Voile,Nun’s Veiling,Cashmere,Shepherd Checks.
The Fancies are:
Produced throughVariation of weave,Variation of color,Variation of color and weave:Brocades,Cuspettes,Meliores,Hopsacking, etc.Coloring includes:Stripes,Checks,Plaids,Malenges,Mixtures.
Prior to the factory era our fathers and mothers made homespun clothes and wore them till they had passed their period of usefulness. The average consumption of wool at that time averaged not more than three pounds per capita. As wealth increased the home loom and spinning-wheel were slowly supplanted by the mill and factory. The different textile manufacturers at length found that competition was so keen that it was necessary to adulterate, particularly any fabric that was popular. The classes of goods that are most adulterated are the expensive fabrics, those of wool and silk. There are such changes of fashion in dress at the present day that garments composed of materials formerly considered good enough are often thrown aside as old-fashioned when only half worn. Manufacturers cater to the whims and fancies of people and import to this country foreign styles. The rapidly changing styles cause people to throw upon the market a great amount of cast-off clothing only partially worn.
SALES DEPARTMENT OF THE SELLING AGENT OF A LARGE MILL
The result is that there is not wool enough to provide the public with clothing made of new wool. Therequirement per capita has risen to six pounds. The immense amount of fiber in cast-off clothing does not find its way into the paper mills, but rather into the shoddy mill, where it is remanufactured into cloth again, or where part of the fiber is mixed with good wool to make “pure wool” cloth. In other words, the rapidly changing styles of to-day and the limited supply of wool are responsible for the wholesale adulteration which is being practised in modern cloth manufacture. This adulteration furthermore is becoming more and more difficult to detect by reason of the rapid improvements made in the finishing processes of cloth manufacture. Hence the necessity for people to know how and why adulteration occurs, how it affects prices, and what are the means of detecting it. Shoddy is considered a legitimate adulteration in woolen and worsted goods. The following adulterations are not legitimate unless sold as such:
1. Cotton combed with wool.
2. Thin cotton threads twisted in with worsted during the process of drawing.
3. Cotton threads of the same color as the wool or worsted used as filling or warp.
4. Cotton veneered with wool.
5. Cotton threads of the same color as wool used in weaving.
FOOTNOTE:[14]Tentering is carried on in the English mills.
[14]Tentering is carried on in the English mills.
[14]Tentering is carried on in the English mills.
Albatross.A dress fabric of worsted warp and worsted filling; of open texture and fancy weaves.
Alpaca.A thin fabric of close texture made from the fibers of an animal of the llama species; mixed with silk or with cotton. It is usually woven with cotton warp and mohair filling. Imitations of all cotton are manufactured and sold under this name.
Corded Alpaca.Corded weave, lengthwise of the piece, cotton warp alpaca filling; one of the first products of the American loom.
Angora.The fiber of this goat is commercially known as mohair. The skins are largely used in the making of children’s muffs, for the scalps of dolls, and for trimming coats and capes. Carriage robes also claim a good share of the skins; the hair, being nearly one foot in length, makes them beautiful and serviceable. The fiber enters largely into that class of goods known as Astrakhan, Crepons, Plushes, Brilliantines, Zibelines, fine Cashmeres, and many other fabrics usually sold as all wool or worsted, according to themode of preparing the stock before spinning into yarn. It is found in the finest of silk and worsted fabrics for ladies’ wear, also in linings, mittens, and fine cloaking and overcoating. It is noted especially for its water repelling qualities, its beauty, and high luster; and not so much for its warmth-retaining properties, for which wool stands unequalled.
Astrakhan.A fabric manufactured from Astrakhan fiber; of a curly, wavy surface applied to a curly faced cloth resembling Astrakhan fleece.
Bandanna.From the Indianbandanna, to bind or tie. In dyeing, the cloth is tied in knots when dipped, and thus has a clouded effect.
Beaver.A heavy cloth manufactured of fine wool, with a finish on the surface to resemble the fur of the animal by that name.
Fur Beaver.Similar in many respects to Beaver, but having on its surface a long, dense nap, in imitation of the fur of the Beaver. Used for overcoats, cloaks, and capes.
Bedford Cord.A fine woolen fabric, with fine recesses running with the piece, and extensively used for ladies’ dress goods. An all wool cloth of close texture for gentlemen’s clothing. The recesses may also be made with fine cotton yarn hidden in the wool filling.
Beige.Cloth of undyed or natural wool. The name is the French word for “natural.”
Bindings.A species of narrow fabric of silk, worsted or cotton, for binding the edges of garments, the bottom of dress skirts, etc.
Bombazine.A twilled fabric of which the warp is silk and the filling is worsted.
Bottany.A term applied to worsted yarns made from bottany wool. It is considered the finest of all worsted yarns, and is used for fine fabrics of close texture.
Boucle.Curled hair or wool woven in any cloth in such a way as to show the curl makes boucle. The word is French for curl.
Broadcloth.Broadcloth is a soft, closely woven material with a satin finish. The best qualities are called satin broadcloth.
The origin of broadcloth dates back to early times, the first historical mention of it being made in 1641. In America, among the first products manufactured by the colonial woolen mills were black and colored broadcloths, and these (with satinets) formed the distinctive character of American woolen fabrics at that time. They were honestly made of pure, fine-fibered Saxony wool, and sold as high as $6.50 per yard.
The warp and filling are made of carded wool so that the web (cloth) will shrink or full evenly. The stock is generally dyed in the raw state when used for men’s wear. When taken from the loom it does not have the smooth, lustrous appearance which is its distinctive feature. It is rough and dull colored, with the threads showing plainly. To improve its appearance it is first subjected to the action of the fulling mill, with the result that the fibers of the warp and weft become entangled to such an extent that the cloth never unravels. Then the cloth is slightly napped and sheared down close,in order to produce a smooth, even surface. Next it is successively wetted, steamed, calendered, and hot pressed for the purpose of bringing out the luster. It is commonly twill woven, but is sometimes plain, finished with a slightly napped and lustrous face. It must have a bright, beaver finish, and be close and felty in the weave.
The broadcloth used for women’s clothing is of a lighter weight and is generally piece dyed. It is used for ladies’ suits, coats, and gentlemen’s evening dress suits, frock coats, and tuxedos. It is expensive; prices range from $1.75 to $3.50 per yard in ladies’ broadcloth, and higher for men. The price depends on the quality of wool used, and uniformity of the nap and perfection of the finish.
Bunting.A plain even thread weave of mohair, wool, or worsted, used mostly for making flags. The name is from German,bunt, meaning variegated or gay colored.
Caniche.A name given to curled wool fabric showing the effect of the coat of the caniche, a French dog.
Cashmere.A cloth made from the hair of the Cashmere goat. The face of the fabric is twilled, the twills being uneven and irregular because of the unevenness of the yarn. Cashmere yarn was first hand spun. The goats are grown for their wool in the vale of Cashmere in the Himalaya Mountains.
All Wool Cashmere.As no material by this name exists there can be no definition. When the term is used in defining a fabric, it is a delusion and a snare.
Cashmere Double.A cloth having Cashmere twill on one side or face and poplin cord on the reverse.
Cassimere.The name is a variation of Cashmere. Cassimere, when properly made, is of Cashmere wool. Usually a twill weave.
Castor.Same as beaver, of a light weight.
Challis.(Also spelledchallie.) A name given to a superior dress fabric of silk and wool first manufactured at Norwich, England, in 1832. In texture the original material was soft, thin, fine, and finished without gloss. When first introduced it ranked among the best and most elegant silk and wool textures manufactured. It was composed of fine materials, and instead of giving it a glossy surface, such as is usually produced from silk and fine wool, the object was to make it without luster. The name is now applied to an extremely light weight summer dress fabric, composed of either cotton or wool, or a mixture of these fabrics. In structure it is both plain woven and figured, the ornamental patterns being produced either in the loom or yarn, dyed or printed. It is not sized. All wool challis does not differ essentially from the old-fashioned muslin delaine. Most challis patterns are copied from the French silks, and this accounts in part for their tasteful designs and artistic effects. French challis is a material similar to the above, though usually characterized by a more glossy finish.
Cheviot.A descriptive term of somewhat loose application, being used indiscriminately of late years to denote almost any sort of stout woolen cloth finishedwith a rough and shaggy surface. Originally the fabric known as cheviot was woven in England, from the strong, coarse wool of the Cheviot sheep, whence the name.
It is at present a worsted or woolen fabric made of cheviot or “pulled wool,” slightly felted, with a short even nap on the surface and a supple feel. Worsted cheviots, in plain colorings or of fancy effects, are manufactured from combed yarn. Woolen cheviots are made from carded yarn. The greater portion of this class of goods in carded yarns contains little or no new wool in its make-up. Shoddy, mungo, and a liberal mixture of cotton to hold it together, blended in the many colorings, help to cover the deception. Prices range from 50 cents to $3.00. The material is plain or twill woven, and has many of the qualities of serge.
The distinguishing feature of cheviot, whatever the grade of cloth, is the finish, of which there are two kinds. One is known as the “rough” finish, and the other as the “close” finish. Real cheviot is a rough-finished fabric, composed of a strong, coarse wool and fulled to a considerable degree. The process of finishing cheviot is simple, and practically the same methods are followed for both the “rough” and the “close” styles. On leaving the loom the cloth is first washed in soap and water to remove any dirt or other foreign matter it may contain. It is then fulled, which consists in shrinking the cloth both in length and breadth, thus rendering the texture heavier and denser. Next it is “gigged” or napped. This is accomplished by passing the face of the matted cloth against a cylinder covered with sharppointed teasels which draw out the fibers from the yarn. This operation is continued until a nap more or less dense is raised over the entire surface.
From the gig the cloth is taken to the shearing machine, the revolving blades of which cut the long, irregular nap down to a uniform level. Sometimes the style of finish called for is that approaching a threadbare cassimere, and in this case great care is necessary to prevent the blades from cutting the yarn. In the rough finish the nap, although sparingly raised, is comparatively long. Having been napped and sheared, the cloth is pressed and carefully examined for defects, then brushed, pressed, and highly steamed. When measured, rolled, and steamed, it is ready for market, and is used mostly for ladies’ and gentlemen’s suitings. The pattern and design are light stripes and checks of small dimensions. Cheviot is a name given to many materials used for suiting.
Chinchilla.Heavy coating with rough wavy face. The name is Spanish for a fur-bearing animal of the mink species.
Chudah.Applied to billiard cloth; relates to color. Chudah is the Hindoo name of a bright green cloth.
Corduroy.Heavy corded cotton material used for servants’ livery. The name is from the FrenchCorde du Roi—king’s cords.
Côte Cheval.In France corded cloth for riding costumes, such as Bedford cord, is called côte cheval, the application being throughcheval, horse;côte, ribbed or lined.
Coupure.Coupure is French for cut through. Coupure or cut cashmere is a cashmere weave showing lines cut through the twills lengthwise of the piece.
Covert.Heavy twilled cloth in natural undyed shades, used in England for men’s overcoats worn while riding to covert in fox hunting.
Delaine.From the French “of wool”; applies to the most primitive weave of plain wool yarn. Thirty years ago delaine was the staple dress goods stock. It was made in solid colors.
Diagonal Cheviot.Same as cheviot, only in the weaving the pattern is marked by zigzag lines or stripes.
Doeskin.Of the broadcloth range, made with shiny napped face, soft finish, as the pelt of a doe.
Drap d’Été.A heavy cashmere or double warp merino, with the back teasled or scratched, used mostly for clergymen’s clothing and in lighter weights for women’s dresses. The name is French for “cloth of summer.”
Empress Cloth.Similar to poplin; made of hard twisted worsted filling and cotton warp. Was made a success in the early seventies of the last century by the Empress Eugenie of France. Empress cloth was a staple in all well-regulated dress goods lines.
Épingline.A fine corded fabric of wool or silk, showing the cords woven close together and appearing as if lined with a pin point. This application is fromépingle, French for pin.
Etamine.French name for bolting or sifting cloth, made of silk for sifting flour; applied to mesh or net weaves in America.
Felt.Fabric made by rolling or pressing a pulpy mass or mixture of wool into a flat mat. The name is from the process. To felt is to mix and press into shape.
Flannel.Wales appears to have been the original home of flannel, and history informs us that this was the only textile produced in that country for hundreds of years. It is constructed either of cotton or wool, or of an intermixture of these fibers, and is a coarse-threaded, loosely woven, light-weight fabric, more or less spongy and elastic, with an unfinished, lusterless surface. Generally speaking all grades of plain colored flannel are piece dyed, the soft open texture of the goods permitting the fibers to absorb the dye as readily in the web as in the yarn. Flannels are subjected to several finishing operations, such as fulling, teaseling, pressing, and stretching. Flannels do not require a great deal of fulling. All that is necessary is enough to give a degree of stability and body to the goods.
Dress Flannel.All wool fabric used chiefly for women’s winter dresses; also called flannel suiting. It has a diversity of qualities, colors, and styles of finish. It is commonly put up in double fold, width from twenty-six to fifty inches.
French Flannel.A fine, soft twill, woven variety dyed in solid shades, and also printed with patterns after the manner of calico; used for morning gowns, dressing sacques, waists, etc.
Shaker Flannel.A variety of white flannel finished with considerable nap, composed of cotton warp and woolen weft.
Indigo Blue.A superior all wool grade used in the manufacture of men’s suits and particularly for the uniform of members of the G. A. R.
Mackinaw.The name applied to an extra heavy blanket-like material used in cold climates by miners and lumbermen for shirts and underwear.
Navy Twilled Flannel.A heavy all wool variety commonly dyed indigo blue, commonly used in the manufacture of overshirts for out-door laborers, firemen, sailors, and miners.
Silk Warp Flannel.A high grade, pure variety of flannel woven with a silk warp and a fine woolen weft. It is a very soft, light-weight, loosely woven flannel and runs only in narrow widths, twenty-seven inches. If the finishing process is carried beyond fulling the texture is rendered hard and firm, the cloth thus losing its softness and elasticity. In the teaseling process it is necessary for the nap to be raised only slightly, and this is commonly done in the direction of the grain or twist of the warp. The perfection of a flannel finish lies not in the smooth appearance of the cloth, but in its full, rich softness. Sometimes the nap is sheared, but more often it is pressed down flat upon the face of the cloth. After a thorough drying, and careful examination for defects, the goods are rolled on boards, and are ready for market. It is used for infants’ wear and shawls, for undergarments, bed coverings, and alsoto some extent for outer garments in weights and styles adapted for that purpose.
Baby Flannel.A very light-weight variety woven of fine, soft wool, smooth finish, bleached pure white.
Florentine.A heavy twilled mohair fabric for men’s wear which is sold largely to Italy and Spain. The name is from Florence, Italy.
Foule.A twilled, unsheared cloth; that is, the face appears to be unsinged, and shows the woolly roughness in a slight degree. The cloth when woven in the gray is fulled or shrunken in width by soaking in soapsuds and passing it while wet through holes of different sizes in a steel plate. The name is fromfouler, French, to full or shrink.
Frieze.Frieze is a coarse, heavy cloth with a curly surface and made at first of lamb’s wool. It is now made from coarse grades of wool. It is thick and heavily napped, and is used in the manufacture of warm outer garments, particularly for men’s wear. It was named after the people of Friesland in Holland in the 13th century, and is famous to-day as an Irish fabric. Irish frieze has extraordinary durability, and the fibers are the longest and strongest made. The weave is plain, small twill, or herring bone. When not of a solid color it is usually a mixture, the colors being mixed in the raw state. The wool is dyed in the raw state in mass, then doubled after spinning.
Gloria.Plain weave of silk and wool, and silk and cotton; first made for umbrella covering. Name means bright.
Granada.Popular weave of mohair, made in coating weight for Spanish trade. Granada is a city in Spain.
Grenadine.Originally a plain, openwork, net-like fabric of silk, mohair, cotton, or wool. We have grenadines in Jacquards and in set patterns. The name is an adaptation of Granada.
Henrietta Cloth.A twilled cashmere of light weight and high finish, originally made with silk warp and wool filling in Yorkshire, England. The name was given in honor of Henrietta Maria of England, Queen of Charles I. The silk warp, hand-woven fabric was first produced about the year 1660.
Homespun.A rough, loosely woven material made from coarse yarn. It is soft but rather clumsy. A general term used to designate cloth spun or wrought at home. The homespun of the present day is a woolen fabric in imitation of those fabrics made by hand before the introduction of textile machinery. It is made of a coarse, rough, and uneven thread; usually of plain weave and no felting. It was woven by the early settlers of the Eastern and Southern States. It is now used as woolen suiting for men’s wear and in various kinds of coarse, spongy, shaggy cloth for women’s gowns.
Hop Sacking.A coarse bagging made commonly of a combination of hemp and jute, used for holding hops during transportation. The name hop sacking is also applied to a variety of woolen dress goods made from different classes of yarn. It is made of carded woolen fabric of the plainest kind. The cloth ischaracterized by an open weave, and a square check-like mesh, the structure being designed to imitate that of the coarse jute bagging. It has very little finish, is usually dyed in solid colors, and is used for women’s and children’s dresses.
Jeans.Cotton or woolen coarse twilled fabric. In cotton used for linings, in wool for men’s cheap clothing. The name is from a Genoese coin, relating to the price of the cloth; so much for one jean.
Kersey.A very heavy, felted, satin finish woolen cloth made with the cotton weave or cross twill for face, and cotton weave or four harness satin for back. It was originally made with fine Merino lamb’s wool for face, and somewhat coarser grade for back. The cheaper grades are manufactured from a fine-fibered wool and shoddy, with low grades of shoddy and mungo for back. It is named from an English town, Kersey, where from the eleventh to the fifteenth century a large woolen trade was carried on. The Kersey of early history was a coarse cloth, known under different names, and before knitting was used for stockings. In the construction of Kersey the cloth is woven a few inches wider in the loom (and correspondingly longer) than it is to appear in the finished state. This is done in order that the meshes may be closed up in the fulling mill to insure a covering of threads. Previous to fulling, however, the face of the cloth is gigged to produce a good covering for the threads by forming a light nap, which is fitted in. In the fulling operation, which comes next, the cloth is shrunk to its proper width and density, usually to a degree renderingit difficult to see the individual warp and filling threads, so closely are they matted together. Fulling is followed by gigging, and in this process a nap more or less heavy is raised on the face of the goods by means of teasels. The cloth is run through the gig several times and then sheared in order to render the fibers forming the nap short, even, and of uniform length. Great care is exercised in the shearing, as the nap must be cropped quite close and yet not expose the threads or cut the face. The next operation is scouring or steaming, in which live steam is forced through every part of the goods for the purpose of developing the natural luster of the wool. In case the goods are to be piece dyed, the dyeing follows scouring. After steaming, the cloth is thoroughly matted and gigged again, care being taken to avoid stirring up the ground nap. It is then dried and the nap briskly brushed in a steam brusher and laid evenly in one direction. Again the cloth is slightly steamed and primed, face up. The result of this treatment is the production of a texture firm, yet pliable, with a highly lustrous face and one not liable to wear rough or threadbare. Kersey is used for overcoats.
Kerseymere.Light weight twilled worsted; same derivative of name as Kersey.
Linsey Woolsey.Coarse cloth of linen and wool used as skirtings by the British peasantry. The name is from the components of the cloth.
Melrose.Double twilled silk and wool fabric; named for Melrose, a town on the Tweed, in Scotland.
Melton.A thick, heavy woolen fabric with shortnap, feeling somewhat rough. Meltons are made firm in the loom. The weaves for single cloth meltons are usually plain, and three or four harness twill. For double cloths the plain weave is used, or a weave with a plain face and a one-third weave on the back. All trace of the weave is destroyed in the finishing. The colors usually black or dark blue.
Meltonette.A cloth of the same general appearance as melton, of light weight, for women’s wear.
Merino.A fabric woven of the wool of the Merino sheep, twilled on both sides, the twill being uneven. Merino resembles cashmere.
Mohair Brilliantine.A dress fabric resembling alpaca, of superior quality, and sometimes finished on both sides. The name is from the Arabicmukayyan, cloth of goat’s hair. It is made from the long, silky hair of the Angora goat of Asia Minor, a species which is being introduced into the United States. The fabric has a hard, wiry feel, and if made from the pure material has a high luster. It has cotton warp and luster worsted filling. The weave is plain ground, or with a small Jacquard figure, and when a very lustrous fabric is wanted, the warp yarn is of finer counts than the filling yarn. The warp and filling yarns are dyed previous to weaving. They may be of the same color or different colors. The contrast of colors in connection with the weave gives the fabric a pretty effect. Fabrics made with dyed yarns are usually given a dry finish, that is, simply run through the press and cylinder heated, after which they are rolled and then packed. Those madewith undyed filling are first scoured, then dyed, after which they are run through a rotary press with fifty or sixty pounds of steam heat. Mohair brilliantine is used for dress goods.
Montagnacis heavy overcoating. The Frenchmontagne, for mountain, is the origin of the name, being for mountain wear.
Orleans.Cloth of cotton warp and bright wool fulling, made in Orleans, France. Many of the so-called alpacas and mohairs of to-day are Orleans. These fabrics are mostly cross-dyed, that is, fabrics with warp and filling of different shades. After weaving they are cross-dyed or redyed to give solid colors and glacé effects.
Panama Clothis a plain weave worsted fabric of no uniform construction or finish. Fabrics sold under this name vary considerably. They are of solid colors, usually piece dyed, and are used for suitings.
Prunella.From the Frenchprunelle, which means plum, a stout worsted material named from its color, which is a purplish shade similar to that of a ripe plum. The name was originally applied to a kind of lasting of which clergymen’s gowns were made. It is now used to denote a variety of rich, satin-faced worsted cloth employed for women’s dresses. The fibers are worsted. Prunella is dyed either in piece or yarn state and is hand finished.
Sacking.Plain solid color flannel in special shades for women’s dressing sacks, also applied to a fabric made of hemp for grain sacks.
Sanglier.A plain fabric of wiry worsted or mohair yarn, closely woven, with a rough finished surface. Sanglier is French for wild boar, the hairy, wiry cloth resembling the coat of the animal.
Sebastopol.A twill-faced cloth named from Sebastopol, the Russian fortified town captured by the English and French in 1855.
Serge.Under this name are classed a large number of fabrics of twill construction. In weight and texture a modern serge resembles flannel, except that it is twill woven and composed of fine yarn finished with a smoother surface. Serge comes from the Italian wordsergea, meaning cloth of wool mixed with silk. Serges are woven of worsted, of silk, or of cotton yarn, and variously dyed, finished, and ornamented, as silk serge, serge suiting, storm serge, mohair serge, etc. Worsted serges of various kinds and degrees have been known since the twelfth century. Worsted serge appears to have come into general use as a material for men’s wear in the sixteenth century. Modern serges vary but little from those made two centuries ago. They are dyed in a great variety of colors. On leaving the loom the cloth is washed and scoured with soap and water to remove the dirt and oil (if these remain the cloth will not take the dye properly). After dyeing, it is passed through a pair of metal rollers under pressure, which renders the surface more regular and even and of a better luster. This process accomplishes more than is required, for it produces a bloom on the surface which will show rain specks when in the garment, if itis allowed to remain. This is ordinary serge. In order to make storm serge it is necessary to remove part of the bloom, and to accomplish this the cloth is steamed sufficiently to neutralize the effect of pressing. Steaming deadens the bloom and prevents the effects of rain showing on the cloth. The wearing qualities of serge are good, but it gets a shine easily. It is used for dress goods and suitings. Serge suiting used for men’s clothing is a variety of light, wiry, worsted yarn woven with a flat twill, and dyed black or in shades of blue, fifty-four inches in width. Mohair serge is woven with a cotton warp and a mohair filling, thirty-two inches in width. This is dyed in a variety of colors and largely used as lining material for women’s clothes, men’s coats, and overcoats. Storm serge, designed to withstand exposure to stormy weather, is a coarse variety of worsted dress goods produced in a wide range of colors and qualities. The twill is wider, the texture stouter, and the surface rougher and cleaner than that of ordinary serge. Iridescent serge is a variety of worsted dress goods woven with warp and filling of different colors, causing a shimmering or iridescent effect. Cravenette serge is a fine twilled variety having a firm, closely woven texture, dyed black and in colors, and is used for women’s gowns, men’s summer suits, etc. Serge de Barry is a high-grade dress goods of fine texture, with fine twill, and wiry feel.
Shoddyis made from old woolen stockings or rags, shredded or picked by hand or machine, to render the yarn suitable for spinning a second time, or to give afiber that can be woven or felted with a wool or cotton warp. The name has come to mean cheap, make-believe.
Sicilian.Heavy weight cotton warp, mohair filled cloth. Sicilienne, the proper name, was made in the Island of Sicily as a heavy ribbed, all silk fabric.
Sultane.Twilled cloth of silk and wool; finished in the rough, not singed or sheared. The name is from Sultana, the first wife of the Sultan.
Tamise.Similar to etamine, with a very close mesh, made first of silk and wool.Tamisis French for sieve.
Tartans.Plaids of the Scottish clans worn by men in the Highlands of Scotland as a diagonal scarf, fastened on one shoulder and crossing the body. Each clan had a distinctive tartan or plaid. The name was adapted from the Frenchtiretaine, a thin woolen checked cloth.
Thibet.Heavy, coarse weave of goat’s hair, made by the Thibetans in Asia for men’s wear.
Tricot.A heavy, compound fabric characterized by a line effect running warp way or filling way of the piece, usually produced with either woolen or worsted yarn. Tricot was originally a name given to fabrics made of woolen yarn or thread by hand knitting, and is the French word meaning knitting. The term was later applied to materials made on a knitting frame and now known as jersey cloth. Since 1840 the name tricot has been applied to finely woven woolen cloth, the weave of which is intended to imitate the face effect of a knitted fabric. The fabric is composed of woolen and worsted fibers, sometimes with cotton warp woven so as to hidethe cotton in finishing. The tricot line is similar to the rib line in a ribbed cloth except that it is not so pronounced. All tricots are constructed with two sets of warp thread and are characterized by a texture which, while dense, is singularly elastic, in this respect being somewhat similar to heavy jersey cloth. Tricots are commonly dyed in plain colors, and are finished clear so as to show the filling. When intended for trousers they are ornamented with small, neat patterns.
Tweed.A rough unfinished fabric of soft, open, and flexible texture, of wool or cotton and wool, usually of yarn of two or more shades; originally the product of the weavers on the bank of the river Tweed in Scotland. The face of the cloth presents an unfinished appearance rather than a sharp and clearly defined pattern.
Veilingincludes light weight, usually plain weave fabrics of various constructions; generally made with singed or polished yarns. They are in solid colors. The use is designated by the name.
Venetian.Venetian cloth has a worsted or cotton warp and worsted filling; named from Venetia, a country around Venice. The warp yarns are firmly twisted, the twist being in the opposite direction to the twist in the filling yarn. Venetian is a trade term of wide application, in use since early times as a descriptive title for various fabrics, textures, and garments. One of the many varieties is a species of twill weaving in which the lines or twills are of a rounded form and arranged in a more or less upright position, hence a closely woven worsted cloth. The name is also applied to other fabrics, as atwilled lining fabric woven with a cotton warp and a worsted filling known as Italian cloth. It is dyed in plain colors and is piece or yarn dyed for men. For women’s wear it has light weight and plain colors with mixed effects and closely sheared nap. It is finished smooth so as to show the yarns prominently. Venetian cloth has not so much felting as broadcloth; it shows the weave more, but has the same lustrous finish.
VigogneorVicuña.A soft wool cloth of the cheviot order, with teasled face, made from the wool of the vicuña, a South American animal. Vigogne is the French name for the animal.
Vigoureux.A name applied to a plain or twill mixture, woven of undyed natural wool yarns. The French spinners found that the strongest yarns were those of the undyed wool. Sometimes two or more shades or tones are spun into one thread. The name is French for strong.
Voiles.Voiles are plain weave worsted fabrics made with hard twisted yarns. As clear a face as possible is secured in finishing, the cloth being singed or sheared closely if the yarns are not made comparatively free from loose fibers before being woven. Voiles are dyed in solid colors, and are used principally for dress goods.
Whipcord.Hard twisted worsted twills, either solid or mixed colors. The name is from the hard twisted lash of a whip.
Worsted Diagonalsare characterized by prominent weave effects running diagonally across the cloth. The goods are usually of a solid color, and are given a finishwhich brings the weave into prominence. Diagonals are used for suitings.