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A to Z Challenge 2026 – Yarn (non-wool) Types (No “Y” Fabrics)

April 29, 2026April 27, 2026humanist55

“Choose any subject you would like to write about…” that is the object of the A to Z Challenge, and thinking of things that interest me is not a problem for me, but choosing a subject not only to write about, but to write in a way that other people will catch my interest – that is the real challenge! This year I turn to a subject, close to our skin if not our hearts, and yet, again, I wonder if this subject will get some people past the title on the list – dismissed as niche? For this year, my theme is What We Wear – Fabrics and Fibres

Yesterday we looked at Woolen yarns but of course there are many other yarns to choose from, both natural and synthetic or blends thereof. Much of what was said yesterday regarding ply, weight, etc. will apply here too…

Common animal fibres used in yarns include:

wool

mohair

cashmere

angora

alpaca

silk

Plant fibres you will regularly see used in yarns include:

cotton

bamboo

tencel

linen – often used as a blend

Common man-made fibres used in yarns include:

polyester – usually used as a blend

nylon – regularly used as a blend

acrylic

Animal Fibre Yarns (other than wool)…

Mohair – Mohair is a fluffy fibre, which has a beautiful sheen to it. It is much more elastic than wool, which is great for resisting creases but that makes it prone to stretching. You will therefore often find it either blended with a wool fibre, or recommended for lighter accessories, rather than garments. Mohair is one of the oldest fibres used by man, dating back to the 8th century. The yarn is produced from the wool of the Angora goat. The name is often confused with Angora yarn which comes from the fur of the Angora rabbit.

Cashmere – Cashmere is an expensive yarn, but is beautifully soft to wear, making it a wonderful choice for luxury knits. It has a warming effect and a ‘cloud-like halo’, which means it is slightly fluffy to the eye. Cashmere is also prone to stretching, which is why you will often find it heavily blended with wool, like Merino.

Angora – Angora is the fur of a rabbit and so as you can imagine it is light, soft and fluffy to wear. A great option for luxury accessories. Not unlike mohair (although much finer) you will often find it blended with wool, because of its elasticity and cost.

Alpaca yarn – Spun from the fleece of alpaca, this fibre is known to be hypoallergenic. This is why it is often used in next-to-skin garments and baby clothes.
It can stretch, so like most other animal fibres you will often find it blended with the sturdiness of wool.

Silk Yarn – Silk can be spun into a yarn in any size from fine weaving, though embroidery and even up to knitting, but it is fearsome expensive… See the “S” post

Plant Fibre Yarns

Cotton yarn – Cotton is thought as the most commonly used plant fibre and as it is widely grown, it is fairly inexpensive compared to most other plant based fibres. It is very inelastic because of the short length to the fibres, which gives the yarn a smooth finish. This allows for really great stitch definitions, but not much elasticity. Due to this, it can be known to split during knitting, especially in larger projects where the weight of a project pulls down on the working stitches. Alternatively, it can be blended with other fibres to address its shortcomings. See the “C” post.

Linen – Linen is a sturdy plant fibre, much more dense and unforgiving than cotton, but it does make a lovely blend for summer, because of its moisture-wicking capabilities. It is usually mixed with other plant-based fibres to soften the resulting yarn.

from A Bee In The Bonnet – Everything You Need to Know About Knitting with Linen Yarn

Semi-Synthetic Yarns

Tencel – This fibre is made from wood pulp from eucalyptus trees, and is used increasingly in clothing manufacture. Tencel yarn is similar to bamboo; it is smooth and soft, with a wonderful silk-like drape and sheen. It is a strong yarn which is comfortable to wear against the skin.

Bamboo yarn – Bamboo is fast becoming popular as an alternative to cotton and because it is easy to grow, we are seeing more use of this yarn by yarn manufacturers. It has a good stretch, which is great for smaller projects, but needs to be considered for those larger garments. See Semi-Synthetics in the “S” post

Ecovero Viscose – See Semi-Synthetics in the “S” post

Synthetic Yarns

Synthetic yarn clothing, commonly made from materials like acrylic, polyester, and nylon, is prized for being durable, affordable, lightweight, and easy to machine-wash. These petroleum-based fibers are popular for sweaters, socks, and accessories because they are hypoallergenic and often mimic wool or cotton, though they are less breathable and release microplastics when washed. Also, given the current price of oil due to the war in Iran, these fibres will inflate in price too…

Nylon – This is a synthetic, or man-made fibre and often blended with wool for sock yarn. Its elasticity makes it perfect for allowing socks to stretch over your feet and create ease in movement. See the “Silk, Synthetics, Semi-synthetics and “S” Fabrics…” post

Polyester – usually blended with animal or plant fibres to help with drape and ease of care. It is much more inexpensive by comparison to natural alternatives, so has become more popular in recent years. See the “Silk, Synthetics, Semi-synthetics and “S” Fabrics…” post

From Polyester vs Acrylic Yarn: What’s the Difference?

Acrylic – The most commonly used man made fibre has to be Acrylic. It is inexpensive and easy to care for, making it a great choice for those on a budget. But it can stretch and have a crunchy feeling which isn’t always great during wear. Long term a wool alternative will outperform every time. See the “Silk, Synthetics, Semi-synthetics and “S” Fabrics…” post

In the global Textiles and Fashion Industry, recycled acrylic yarn is emerging as a truly innovative and Sustainable choice for various applications such as Sweaters, innerwear, hoodies, etc. As fabric manufacturers look for eco-friendly alternatives without compromising on quality, the appeal of **Regel** (recycled acrylic yarn) is undeniable. From Recycled Acrylic Yarn

I hope this whistlestop guide to yarns has given some food for thought, including using recycled yarns…

I compiled a list of as many fabrics, fibres and related items as possible (278 items), from several sources, the most comprehensive of which was Wikipedia. Since there are only 26 letters in the alphabet, I could not write in detail about every instance so I have taken snippets of text for the brief descriptions and linked to the source in the name of the item. I am indebted to all the contributors to those Wikipedia pages and the depth of knowledge to be found there…

A to Z Challenge 2026 – Wool – Part 2 (No “X” Fabrics)

April 28, 2026April 27, 2026humanist55

Seeing as there are no “X” fabrics, I decided to give more space to wool – yarns in particular. Knitting is such a popular hobby and there are so many vendors offering helpful guides, I’m not sure I can add anything original, but hopefully some quirky fact will emerge…

Ply

If you look back to yesterday’ post on Wool – Origins, you will find the lovely picture of wools of some British breeds, spun in their natural colours and if you look closely, you can see that each yarn is comprised of more than one spun strand or “ply” which have been spun together. Back in the “A” post, I icluded a quote “that Stone Age tooolmakers grasped the significance of twisting, which increases strength by diverting part of any tensile strength into lateral pressure” and if you twist two ply or more, together, then the strength becomes even greater and the resistance to a garment being holed, likewise (except nobody told the moths that…). So wool yarns commonly come in Single, 2-Ply and 3-Ply and even up to 8-Ply.

Weight and Length

‘Weight’ in this case refers to the thickness, or gauge of a knitting yarn (otherwise known as ‘wraps per inch’). Typically, there are only a few ‘weights’ of yarn you will choose for most projects, but it is worth discovering all of your options. Different weights of yarn have different lengths, for example there will be a much longer length of finer yarn in a laceweight than in a 4ply yarn.

LACE WEIGHT

Great for lighter garments, usually shawls, lace weight is the finest yarn you can buy. It is usually knit on 2.00mm – 2.50mm needles or hooks.

4PLY

Great as an all round yarn, you can make anything from socks, hats and shawls to lightweight garments. It is usually knit on 2.50mm – 3.5mm needles or hooks.

SPORT WEIGHT

Originally an American weight, sport weight yarn sits somewhere between a 4ply and a double knit (in the UK we might call it 5ply) and depending on the fibres it can be a great all rounder yarn. It is usually knit on 3mm – 3.50mm needles or hooks.

DOUBLE KNITTING

This is probably one of the most commonly used yarn weights for garment knitting and is usually knit on 4mm needles or hooks. This yarn weight is also known as DK.

ARAN WEIGHT

We are getting into those heavier winter knits now with Aran weight yarns. These are usually worked on 5mm needles or hooks.

CHUNKY

Chunky (and superchunky) is a term of a weight of yarn thicker than Aran weight and can vary widely from yarn used on needle size 6mm and above, to finger knitting yarn.

It is generally used for accessories, purely because the length of yarn per skein would require a much bigger expense for larger garments.

From Knitting Yarn Guide: Types, Weights, and How to Choose the Right One

Wool or Yarn?

A yarn can be spun from any fibre from natural, like silk, cotton or wool, but wool refers only to a yarn spun from wool. Some people are irritated by wool (and some other natural fibres) and so must stick to synthetic or semi-synthetic yarns. I will look at non-wool Yarns under “Y”.

From Comprehensive Guide on Wool and Yarn: All You Need to Know

Terminology

Here are some useful terms you may encounter in wool descriptions from British Wool’s Wool Types and how they are used

Grease wool: Wool as it is shorn from the sheep, before any processing.

Staple: Refers to the length of a lock of shorn wool; in the wool trade “staple” refers to the longer length wools within a grade.

Staple length: The average length of fibre in a fleece measured from the skin to the tips of the individual fibres.

Crimp: The natural waviness of the wool fibre; it varies with the diameter of the fibre.

Micron: A measure of fineness used in the fibre industry. One micron is one millionth of a meter; when fibre is tested for fineness it is expressed in microns and usually is accompanied with “Standard deviation and co-efficient of variation” of micron.

Kemp: Brittle, chalky white, weak fibre found as an impurity in the fleece.

Lanolin: Wool grease; this substance, sometimes called “yolk” is a secretion from the sebaceous glands of the sheep skin.

Scouring: The actual separation of dirt, grease and foreign matter from grease wool; this is usually done in a lukewarm, mildly alkaline solution followed by a rinse.

Types of Wool

The list of links below is from Types of Wool Yarn: A Complete Guide for Crafters which is a commercial site but also a very good guide. Amongst the products they sell, are laundry Dryer Balls (They speed drying and help to conditiong clothes in the dryer), Felt Shoes, and Felt Rugs…

Merino Wool

Lambswool

Shetland Wool

Corriedale

Lambs Wool – not just for babies (even if it is in Baby Blue) from M & S

*Norgay and Hillary wearing Shetland jumpers on Everest photo © Copyright Shetland Museum and Archive Photo Archive*

British Wool have this classification of wool types.

Fine wool, often associated with breeds like the Suffolk and Portland, these down-land sheep breed have generally short and springy staples. The diameter of the wool fibre very much influences the end use of the wool and, with a micron count of between 29 and 35, and therefore wool in this category can be used for many end products, including; fabric, tweed, bedding and knitwear.

Medium wool, from breeds such as the Romney, strikes a balance between softness and durability. Not quite as fine as down-land breeds, the micron count is usually between 31-35 and represent some of the most versatile wools in the British clip. Mostly white wools which will dye well, with some springiness. The finer qualities are suitable for apparel yarns for cloth and knitwear. The rest is selected for harder wearing tweeds and, sometimes, carpets.

Crossbred wool, such as that of the Mule and Masham, influenced by the sire, usually the Bluefaced Leicester. Because of this, this wool type has a huge variety depending on which parental traits are more prevalent in the fleece. The wool can be fairly fine, with a micron count of 29-35. With the fine qualities used in blends for knitwear and cloth. With the courser wool being used in carpets, underlay, insulation and packaging. This wool type currently represents approximately 25% of the the UK’s annual clip.

Lustre wool, these wools have a sheen which dye effectively. They are long-stapled, usually curly or crimped, and have a soft, almost ‘soapy’ handle. The variation in the thickness of the fibre is considerable with the Bluefaced Leicester the finest in the British clip, approximately 26 micron, while the Devon and Cornwall Longwool is coarser. Finer types are used in fine tailoring, knitwear and hand knitting yarn, coarser wool is generally used in upholstery and tweeds.

Hill wool, including Kerry Hill and Cheviot. Wool from native hill breeds varies from fine, fairly soft handling fleeces which are used in yarns, bedding and fabric, to a coarser, crisp fibre which has some resilience and ‘body’. It is usually within the 30-33 micron range. Kemp, brittle white fibre, that will not easily dye, occurs in some of the coarser wools. If not excessive, this can be used for effect in tweeds and carpets.

Mountain wool, typified by breeds like the Blackface and Swaledale. These sheep are native to the harsh environment and weather of the fells and mountains. Necessarily producing a bulky fleece of coarser quality, which protects the animals. Measuring 35 micron and above. This type of wool is particularly resilient, contains brittle white kemp and is very hard wearing. Mainly used in carpets, underlay, insulation and packaging.

Naturally coloured wool, like Jacob, Herdwick and Zwartbles, showcases a spectrum of hues from creamy whites to rich browns and blacks, adding depth and character to artisanal textiles and handcrafted goods. With a micron range of 30 – 35+, the thickness of the fibre can vary enormously, depending both on the breed and where it is farmed. Shetland is one of the finer, Herdwick, with considerable brittle, white kemp, is usually coarser. Finest qualities of these wools are used in cloth and hand knitting yarns. Coarser grades are used for carpets and insulation.

To find out more about how the different wool types are used in different products, why not purchase British Wool’s Sheep Breed and Wool book

Black Blazer in Lustre Wool Flannel by Ukrainian Fashion Department

Tension and Yarn Choice

Choosing the right yarn is not just a matter of the yarn, but also your personal knitting style – how tighly (Tension) do you knit. You should always knit a sample firrst to guage the tension, especially if you are working to a pattern – experienced knitters can vary the tension of their work to suit but they still need to mae a sample first…

So tomorrow I will continue with non-wool yarns…

A to Z Challenge 2026 – Wool -Origins and “W” Fabrics

April 27, 2026April 27, 2026humanist55

The Countryside Classroom’s Rare Native Sheep Breed Poster

The British economy, in the Middle Ages, was founded on wool, the Speaker of the House of Lords (the upper chamber of Parliament) sits on a Woolsack to this day and the landscape of Britain, once extensively forested, even in the highlands, has been shaped by sheep. Beginning with the introduction of a breed similar to the Soay by settlers around 4,000 BC, boosted by the development of spinning and weaving techniques from around 1900BC and furthered by improved breeding techniques introduced by the Romans circa 55 BC–400 AD, the roots of Britain’s relationship with wool run deep.

By the 12th century, wool was England’s most important export and a massive source of national wealth with Cistercian monasteries, such as Fountains Abbey, being major producers, controlling vast flocks and exporting high-quality wool to Flanders and as far as Italy.

from History of the Wool Trade [in England]

By the 15th and 16th centuries, England shifted from exporting raw wool to exporting finished cloth and with the coming of the Industrial Revolution, beginning in the 18th century and growing through the 19th, the industry shifted from a cottage industry to factory-based production, particularly in Yorkshire, which became a global hub for worsted wool manufacturing.

The 20th century has seen a decline in the importance of wool in Britain. Post-World War II, the rise of synthetic fibres and a shift in sheep farming towards meat production caused a decline in the British wool textile industry.

The splendid, Gothic Bradford Wool Exchange- a veritable cathedral for wool sales in the 19th century now a Waterstones bookshop…

I live in West Yorkshire – long a major wool-producing region, and when I drive to work in Bradford, a city which once had more millionaires than any city in the world, due in no small part to woolen mills, I pass several remnants of the wool industry. There is a dyeing mill still operating in nearby Keighley, Haworth Scourers near my factory workplace, but first and foremost, British Wool – where every day, I see bales of wool being loaded to go all over the world. So I knocked on the door one day and conducted an informal interview with Richard Smith, who although being the accountant, knew enough to answer all my questions and then gave me a tour of the factory. British Wools is the best place to consider what the wool industry in Britain is today.

British Wool is a cooperative run for the benefit of all its farmer members. Britain’s 33.3 million sheep produce around 30 million kilos of fleece wool per year and this is a secondary adjunct to the meat trade and although the value of the wool is relatively low compared to the meat, British Wool is there to maximise the profit for farmers. Clipping takes place between July and September in the Lake District. In warmer parts of Britain, shearing begins in May and then the British Wool warehouse in Bradford and seven other locations around the country begin to fill up, to be sorted over the rest of the year. When I saw it, the warehouse was relatively empty.

The wool comes in as “sheets” from individual farms and contain 60-70 kilos of fleece – a small farm might only produce one sheet whilst large farms send in many.

There are some 90 breeds of sheep and coincidentally, there are about 90 categories into which British wool sort and grade the wool. I say coincidentally, because they don’t sort by breed but by colour, quality, cleanliness and fibre type. Cleanliness does not just include the amount of dirt on the wool (which can be considerable), but also the amount of grease – mostly lanolin – in the fleece and this can be analysed and taken into account when valuing the wool, but in the first instance, it is down to the skill and experience of the men sorting the opened “sheets” of shorn fleeces. Grease can account for up to 40% of the fleece weight!

Sorters at British Wool grading the fleeces into the 90 categories and placing in bins. There are not 90 bins visible here because they begin with a rough idea of what the various “sheets” will contain and bring the relavent bins forward to the grading area.

This display of some of the types of wool is more for the benefit of visitors…

The wool accumulates until British Wool can put together an 8-ton bale, which will then be auctioned; however, the members will be paid according to the average price across the year, since it can fluctuate considerably.

There is very little machinery at British wool – only these baling machines that pack the 8-ton bales.

So British Wool don’t deal with end users – they sell to wholesalers and in some cases the bales go directly overseas to places like China whilst others go to local firms like Haworth Scourers who both clean (scour) it and are also wholesalers as well. So the photograph below, is nothing to do with British Wool per se being several steps further down the chain, but it is interesting to see the wools spun, unbleached and in their natural colours, as I saw in British Wool’s warehouse, and demonstrating some of those different breeds.

From The Evolution of the British Wool Industry by Ossian

Some other sites worth visiting:-
BBC Countryfile
Best Sheep Breeds for Wool Production by Bivatec
The Evolution of the British Wool Industry by Ossian

“W” Fabrics

Wadmal – I mentioned the name in “H” for Historical Fabrics, but with this post being about Wool – Origins, it deserves a bit more detail… Wadmal a coarse, dense, usually undyed wool fabric woven in Iceland , Norway, Sweden, Denmark, (Wadmal was used as currency in Scandinavia), Greenland, and the Orkney, Faroe and Shetland Islands from the Middle Ages into the 18th century. Wadmal was woven on the warp-weighted loom used throughout these areas of Norwegian influence, and was usually a 2/2 twill weave, although some medieval sources outside Iceland describe wadmal as tabby or plain-woven. In remote regions, wadmal remained the primary fabric for working people’s clothing into the 18th century. It is very similar to Broadcloth inasmuch as it is “felted” following weaving whereby it becomes even denser and like Broadcloth, it has been used for military and naval uniforms. Wadmal is still produced today.

Vadmal from the Craft Atlas see also Everything you need to know about wadmal outdoor clothing

Waffle Cloth – also known as honeycomb fabric, has a surface texture that looks like a waffle with raised threads that form small rectangles, hence the name. It is woven partly on tabby (plain) areas surrounded by ridges of long floats. The weave consists of warp and weft floats arranged around a plain weave center. The warp and weft threads are interlaced and floating in a way that creates small square ridges and hollows in the fabric in a regular pattern. The three-dimensional face/texture of waffle make it more absorbent, useful for absorbing liquids, typically as a towel. Waffle fabric is usually made of cotton or microfibre, sometimes of linen, and is woven in a way that makes it very absorbent. The waffle weave allows air to flow through the fabric so that it dries quickly. I thank my friend Akua Lezli Hope for a list of fabrics that included this one.

Whipcord – Whipcord fabric is a strong worsted or cotton fabric made of hard-twisted yarns with a diagonal cord or rib. The weave used for whipcord is a steep-angled twill, essentially the same weave as a cavalry twill or a steep gabardine. However, the ribs of whipcord are usually more pronounced than in either of those fabrics, and the weft (filling) may be visible between the ribs on the right side, which is usually not the case for gabardines. In practice, marketing considerations, rather than technical details, determine when the specific term whipcord is used.

Wigan – Wigan is a stiff cotton material sometimes coated with latex rubber. It is typically sold in bias-cut strips and used as an interfacing or interlining in tailoring to stabilize seams and hemlines. Its name has been derived from Wigan, the name of a former mill town in Greater Manchester (historically Lancashire), England.

Wincey, Linsey-woolsey – (in Scotland Wincey) a coarse twill or plain-woven fabric woven with a linen warp and a woollen weft. Similar fabrics woven with a cotton warp and woollen weft in Colonial America were also called linsey-woolsey or wincey. The name derives from a combination of lin (an archaic word for flax, whence “linen”) and wool. Linsey-woolsey was an important fabric in the Colonial America due to the relative scarcity of wool in the colonies./

Americana – a contemporary Linsey-woolsey from Elizabeth Eakins

Worsted – this term,confusingly, has several meanings – a yarn size, a yarn type, a woven fabric, and fine knitted socks that even royalty wanted to wear… not to mention the name of a town. See here. Worsted yarn is made from longer fibred wool which have been combed to lie parallel and any shorter fibres removed. When spun, this then creates a thinner, smoother yarn than wool which comprises shorter fibres in a fluffier yarn. Worsted yarn is more expensive because of the source fibres and the extra processing, but it can be used to make finer fabrics such as for men’s summjer weight suits which because of their lightness and loose weave, are breathable. While less insulating than woollen items (which trap more air), worsted is better at blocking wind and rain due to its tight structure. “Worset” or worsted stockings were once considered a sign of wealth and worn by folks as a fashion statement including, it is recorded, Mary Queen of Scots on the scaffold…

from Woollen vs Worsted by Gathenor Organic

Allen, Larry (2009). The Encyclopedia of Money (2 ed.). ABC-CLIO. p. 73. ISBN 978-1-59884-251-7. Retrieved 22 April 2010.

A to Z Challenge 2026 – “V” Fabrics

April 25, 2026April 25, 2026humanist55

So we are getting to som e difficult letters V, X and Y – X I am going to steal to give Wool a whole post to itself, Y there was one fabric Youghal Lace but I lumped that in with Lace under “L” so for V I am just going to elaborate on the V fabrics and eschew a topic…

Velvet, Velveteen and Velour…

I have felt a bit nerdy making the deep dive into Fabrics and Fibres that this A to Z subject has turned out to be, but there are other bloggers who have made textiles the entire and permanent subject of their blogs and for Velvet, I discovered a video that answers everything I was going to write on the subject – Textile with Alberto is a YouTube channel of videos made by Alberto – an Italian textile technician, so, take it away, Alberto…

Honestly, the video left me nothing to say, but let me summarise: once made from silk, by a complex and labour-intensive weaving process, Velvet became more affordable once mechanical looms could do the job and also with the use of cheaper yarns ranging from cotton to synthetics. The essence of the process is that two layers of cloth are woven at the same time – linked by an extra warp (or in the case of Velveteen, weft) and then a knife cuts the linked threads and separates the two layers of velvet. Velvet is soft, shiny and will take all sorts of finishing, printing, polishing or creating areas where the pile is selectively dissolved away (devoré).
Velour is a velvety-looking fabric but is produced by knitting rather than weaving. Right there, we can see how velvet has become an adjective to describe luxuriance – try finding an ad for drinking chocolate that doesn’t use the word velvety…

This shows the way two layers of fabric (the grey threads) are linked by extra threads (the dark blue) which are then cut apart to create the pile on the two separated fabrics – Wikipedia

Eat your heart out Little Lord Fauntleroy! from Tissura’s guide to velvet fabrics.

from Tips for Sewing with Velvet: How to Sew Velvet Tutorial

A retro-designed velvet dress by British Retro

Devoré – Thanks to my sister for pointing out this fabric. Devore velvet is a textile created using the devoré (burnout) technique, where a chemical paste selectively dissolves cellulose-based fibres in a mixed-fibre velvet, leaving behind a semi-transparent pattern against the remaining protein-based fibres such as silk. This process produces a visually striking contrast of sheer and opaque areas, giving the fabric a textured, elegant appearance. It is often made from blends like silk and viscose, which allow the chemical process to work effectively. (Wikipedia)

A dress from Shein UK showing patterned **Devoré** fabric – note how the fabric is transparent where the pile has been removed, necessitating an underslip.

Velour – Velour is a knitted fabric, which makes it stretchy (unlike velvet and velveteen, which are woven). Velour is soft, allows freedom of movement, and is used for activewear and loungewear.

Searching for an image to illustrate **Velour,** how could I resist this one, lol… A velour onezie!

Velours de Kasaï – Not to be confused with Velour in any way – Velours du Kasaï (Kasaï velvet) is a kind of textile fabric made in Kasai, a province in the Democratic Republic of the Congo (Zaïre). Traditionally, the weaving is done by men of the Shoowa from the Kuba ethnic group, while the embroidery is reserved to women. Ideally, the embroiderers should be pregnant. The technique is still practised. is formed of many triangles of bark, alternately black and white. These are cut out of the raw bark either natural, or dyed black and sewn together.

Velvet Panné – a long and flattened pile velvet, creating a shiny and luxurious look.

Ventile – Ventile, is a registered trademark used to brand a special high-quality woven cotton fabric first developed by scientists at the Shirley Institute in Manchester, England. Originally created to overcome a shortage of flax used for fire hoses and water buckets, its properties were also useful for pilots’ immersion suits, but expensive and leaky if exposed to sweat or oils. Extra-long-staple (ELS) cotton fibres are used to form a low-twist yarn, which is then woven into a tight high-density textile to create a 100% cotton fabric, capable of providing an effective barrier against inclement weather. In wet weather the softly spun yarns – within the tight weave – dynamically expand to form an effective barrier against the elements. (Wikipedia)

from Ventile History: Wartime Innovation to Vintage Icon

Vinyl Coated Polyester – is made up of a polyester scrim, a bonding or adhesive agent, and an exterior PVC coating. The scrim supports the coating (which is initially applied in liquid form) and provides the tensile strength, elongation, tear strength, and dimensional stability of the resulting fabric. Depending on its formula, the PVC coating makes the material waterproof and resistant to dirt, mildew, oil, salt, chemicals and UV rays and gives the material added strength and durability. It can be sewn or heat sealed by way of RF(Radio Frequency) welding or hot-air welding. (Wikipedia)

18 oz. Vinyl Coated Polyester-CPSIA Compliant

Voile – a soft, sheer fabric, usually made of 99% cotton or cotton blended with linen or polyester. Named for its light weight, the fabric is mostly used in soft furnishing. In tropical climates, voile is used for window treatments and mosquito nets. When used as curtain material, voile is similar to net curtains.

I compiled a list of as many fabrics, fibres and related items as possible (278 items which I will make available at the end of the A to Z), from several sources, the most comprehensive of which was Wikipedia. Since there are only 26 letters in the alphabet, I could not write in detail about every instance so I have taken snippets of text for the brief descriptions and linked to the source in the name of the item. I am indebted to all the contributors to those Wikipedia pages and the depth of knowledge to be found there…

A to Z Challenge 2026 -Underwear Fabrics and a “U” Fabric…

April 24, 2026April 24, 2026humanist55

I could only find one fabric beginning with “U” and casting around for a theme for today, Underwear fabrics was what I came up with…

Silk

Following on from the recent S for Silk, silk has long been the fabric of choice for underwear – if you could afford it – after all, what does anyone, female or male want from the garments we wear next to our skin? Silky smoothness – not just for the feel of it, but to allow outer garments to move unimpeded, thinness – minimise the VPL, comfort, breathability and, if we anticipate our underwear being seen in the right circumstances, lustre, the projection of wealth and quality. So a lot rides on silk underwear or whatever other fibres you can afford… Of course there are other factors around choosing underwear fabric other than cost – warmth, practicality, stretchability, longevity, and so the majority of underwear is not silk, even though some modern fabrics may seek to emulate the illustrious silk (which is hard to maintain and wash).

Satin

The first substitute for silk in underwear was probably satin – a fabric where the satin weave creates the lustrous shine of silk – at least on one side (usually the outside) and satin was the affordable fabric for a certain style of underwear up to the present day, although the fibre composing the satin has changed with the advent of synthetics and semi-synthetics.

Synthetics

Synthetic fabric underwear (polyester, nylon, spandex) is popular for its lightweight, stretchy, and moisture-wicking properties, ideal for activewear. However, these materials often lack breathability, trapping heat and moisture, which can cause skin irritation and increase the risk of bacterial or yeast infections. For many women who are more prone to irritation, rashes, and other infections, synthetic underwear is simply not an option for them. This leaves many women feeling torn in their choice of underwear.

Beach Candy are a company who “continues to work to channel all the benefits of synthetic underwear – including flexibility, durability, and mobility – into a more sustainable, yet still comfortable undergarment.”

Cotton

100% cotton is the go-to option for many women who are seeking comfort in their underwear, it lacks the moisture-wicking element.

The picture above shows us, perhaps, two things – firstly, in the 1920’s, when dresses were long, the popular colours for underwear (of the more fashionable kind) were peach and flesh tones but with the advent of the mini-skirt in the 1960’s offering the3 possibility of underwear being glimpsed, colours, patterns and printed words mitigated againdt the underwear being mistaken for flesh and the “boy shorts” above, go further in being deliberately unfeminine rejecting any idea of being for display and sexy.

Blends

Blended fabric underwear combines natural fibres like cotton or bamboo with synthetic materials such as spandex, elastane, or modal to improve elasticity, moisture-wicking, and durability. These blends offer better shape retention after washing, superior comfort, and enhanced breathability compared to 100% cotton. Popular, durable choices include 95% cotton/5% spandex.

Yes! Men wear underwear too! These Boxer Briefs from Step One, have “Bamboo/Viscose, Anti-chafe ‘Technology””

Semi-Synthetics

The Boxer briefs above are blends but they are also semi-synthetics – viscose is made from wood pulp cellulose and bamboo fibre is made by extracting the cellulose from bamboo and spinning it like a synthetic fibre. (See my A to Z “S” post). Modal is another semi-synthetic and you can read a comparison between Modal and Bamboo fabrics here.

So in summary, your choice of fabric for underwear will depend on cost, style, comfort, ethical considerations, breathability, moisture wicking, and durability. Personally, I prefer cotton jersey shorts which fit most of those criteria for me, and may I say that in writing this article, this intrepid researcher has had to look at more pictures of underwear than since discovering catalogues as a teenager… I hope this has been a cogent if scanty rifle through the underwear drawer…

A “U” Fabric

Ultrasuede – Ultrasuede is the trade name for a synthetic ultra-microfiber fabric which mimics suede leather. It has a woven fabric surface, but resists pilling or fraying because it is combined with a polyurethane foam in a non-woven structure.

Manufacturing Process of Ultrasuede Fabric:

Step Process
Fiber Creation Polyester fibers are made through a process called polymerization. These fibers are finer than regular polyester, giving them a smooth texture.
Spinning The fibers are turned into a non-woven fabric through methods like needle-punching or heat bonding, forming a soft and strong material.
Microfiber Treatment The fabric is treated to soften and refine the fibers, giving it a smooth, suede-like finish.
Surface Finishing The fabric is treated with brushing, heat or mechanical processes to improve its texture and durability, giving it a soft, suede-like finish.
Cutting & Shaping The fabric is cut to the necessary size for use in fashion items, upholstery or automotive interiors.
Quality Control The fabric is tested for texture, color and durability to ensure it is soft, stain-resistant and long-lasting.

A to Z Challenge 2026 – Tapestry and “T” Fabrics…

April 23, 2026April 18, 2026humanist55

Tapestry was originally a woven picture, often on a grand scale, to not only grace the walls of castles or stately homes, but also to cover those walls with fabric, to make the places a bit warmer and insulated. Grand tapestries have continued through the 20th Century but with the growth of hobbies and crafting, a smaller scale of stitched tapestry has also developed.

Perhaps one of the most famous tapestries is The Bayeux Tapestry, which records the Norman invasion of Britain in 1066. It The Bayeux Tapestry is approximately 70 metres (about 224 to 230 feet) long. You can explore it here.

The late Medieval period was the zenith for large-scale tapestries, even though painting was on the rise. To produce large-scale works, artists such as Raphael first produced “cartoons” or as we would call them – sketches, which would enable craftspeople to carry out the tapestries to his design. The Raphael Cartoons are considered one of the greatest treasures of the Renaissance in the UK.

The close-up images below give a good idea of the “feel” of traditional tapestry imagery…

Front (left) and back (right) bible cover, tapestry woven in silk, metal & gilt-metal thread, Sheldon Tapestry Workshops, about 1615, England. Museum no. T.45-1954. © Victoria and Albert Museum, London

A modern, large-scale tapestry (below) is by artist Graham Sutherland for the new Coventry Cathedral – the old cathedral having been destroyed during WW2. You can read the story of Sutherland’s tapestry here.

There has been a revival of interest in tapestry on a domestic scale which was no doubt given a boost by covid lockdown, but many practitioners, still on quite large looms, have been part of a tradition throughout the 20th Century, perhaps as a reaction to the industrialisation of fabric making in the 19th Century.

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A “typical” modern tapestry worked by manually lifting warp threads to create a shed for the weft to pass through and using a shuttle or even a large needle for small areas of colour.

On a smaller scale still, Needlepoint Tapestry kits have been popular for a long time, consisting of a screen-printed canvas which the crafter stitches over in wool or cotton yarns to produce the picture. Screen-printing means producing the whole run of canvasses at one go, because a different screen is required for each colour and to store the screens would be prohibitive in terms of both cost and space. A new possibilty came along with heat-transfer printing, where a design is printed onto special paper and then heat-pressed onto the canvas. I started a business in the early ’90’s whilst living in Ireland, offering iconic Irish landscapes.

Atlantic Stitches offering of Irish Landscapes, 2000-2005

This is one of the design images which would be printed onto needlepoint canvas – this one is Drumcliffe Church where W. B. Yeats is buried…

Here is The Rock of Cashel stitched up in Long-stitch by my parents, who were keen needlepoint tapestry crafters. Excuse the quality but my first digital camera back then was only a third of a million pixels…

Kylemore Abbey, Connemara. You can see the lines that I drew out to begin with, working from a sketch or photographs I took on site. then I scanned the drawing into the computer and coloured in with shades that were carefully matched to shades of tapestry wool.

Below is a video explaining the pros and cons of silk-screening versus heat-transfer printing and demonstrating how they are done.

If you are interested in trying tapestry on a loom, here is a site to point you in the right direction…

“T” Fabrics

Taffeta – Plain weave fabric; it is a smooth, structured, papery fabric that can be made with many different fibres…

Tais – is a form of traditional weaving created by the women of East Timor. An essential part of the nation’s cultural heritage, tais weavings are used for ceremonial adornment, a sign of respect, and appreciation towards guests, friends, relatives, home decor, and personal apparel. Dyes are used to create bright colours in the tais; these are mixed from plants like taun, kinur, and teka.[1] Other dyes are derived from mango skin, potato leaf, cactus flowers, and turmeric

Terrycloth – This is a type of fabric used in clothing. Ranging from items such as hoodies, pants and even shirts. The inside of the fabric is crossed with loops, while the outer part is smooth and flat. It can be 100% cotton or be made from a variety of fibers, sometimes with spandex (also known as elastane or lycra). It is often warp-knitted, and the term French terry is colloquially used for all warp-knitted terry. Terrycloth, terry cloth, terry cotton, terry towelling, terry, terry towel, or simply towelling is a fabric woven with many protruding loops of thread which can absorb large amounts of water. It can be manufactured by weaving or knitting. Terrycloth is woven on special looms that have two beams of longitudinal warp through which the filler or weft is fired laterally.

from 10 Terry Cloth Pieces Every Man Needs In Their Wardrobe

Ticklenburgs – A coarse linen or hemp fabric, typically used for work clothes and sailcloth. Possibly german manufacture originally, possibly made for West Indies use?

Toile de Jouy – “Toile de Jouy” simply means “cloth from Jouy” in English and describes a type of fabric printing. “Toile de Jouy”, sometimes abbreviated to simply “toile”, is a type of decorating pattern consisting of a white or off-white background on which is a repeated pattern depicting a fairly complex scene, generally of a pastoral theme. Toile is most associated with fabrics (curtains and upholstery in particular, especially chintz), though toile wallpaper is also popular. Although it has been continuously produced since then, it experienced a marked upsurge in popularity around the year 2000.

Tweed – Tweed is a rough, woollen fabric, of a soft, open, flexible texture, resembling cheviot or homespun, but more closely woven. It is usually woven with a plain weave, twill or herringbone structure. Colour effects in the yarn may be obtained by mixing dyed wool before it is spun.

from **What is Tweed?** – Philip Morris and Sons

A to Z Challenge 2026 – “Q” is for Qualamkari plus Gold and Silver Threads…

April 20, 2026April 20, 2026humanist55

Kalamkari, also commonly spelled as qalamkari, originated in the Indian state of Andhra Pradesh and is an ancient textile printing – it has two main styles – The hand painted style that is largely practised in the town of Srikalahasti and block printed that is practised in the town of Machilipatnam, both located in Andhra Pradesh.

Kalamkari painting of Lord Vishnu lying on the serpent Ananta, displayed at the British Museum.

Srikalahasti style of Kalamkari, where the “kalam” or pen is used for freehand drawing of the subject and filling in the colours, is entirely hand worked. It is produced in Srikalahasti of Tirupati district of Andhra Pradesh. This style flourished in temples centred on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners as well as depictions of deities and scenes taken from the Hindu epics (e.g. Ramayana, Mahabharata and Purana). – Wikipedia

With the Machilipatnam style of block printing, religion comes into play, since they are Persian in character – the Muslim Mughal Empire in northern India were the patrons of this form of printed fabric and hence, Hindu religious images were banned in favour of Persian motifs like interlacing pattern of leaves and flowers, the cartwheel, different forms of the lotus flower, creepers, birds like parrots and peacock, and other intricate leaf designs. One very popular subject with them is the tree of life.

The Wikipedia entry for Kalamkari, has a very interesting account of the dyeing techniques which could be read in conjunction with my earlier post about dyeing. Kalamkari is still produced today, albeit mostly printed and with some changes to the dyes used. You can see some contemporary products here.

Pichwai Floral Kota Kalamkari from the Qualamkari warehouse

Since there is only one fabric on my list beginning with Q, I am going to deal with Gold and Silver Thread here.

Gold and Silver Thread

For centuries, silver [and gold] has been hammered, spun, and stitched into textiles that signal power, holiness, and wealth.
(The Silver Thread That Runs Through Art History: Metallic Threads, Embroidery, and Symbolism – Ruth Millington)²

I found many interesting sites that detail the making and use of metallic threads in embroidery as well as the inevitable Wikipedia page and I list some of them at the bottom of the page. But I will precis the main points here. Metals can be used in embroidery in two main ways, as very fine wires or as thin stips of beaten metal wound around a thread which makes them more flexible and durable to work with. Both gold whic won’t tarnish, silver which will, and also copper which tarnishes to verdigris green, can all be beaten into leaf, but gold and other leaves, are very fragile and although “thin strips(filé or lamella) were then woven into a textile (most commonly as a supplemental brocade weft) or embroidered onto a textile ground”¹ However, winding the strips, or very finely drawn wire, around a thread is much the preffered method.

Wikipedia defines Goldwork³, as “the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term “goldwork” is used even when the threads are imitation gold, silver, or copper.” It goes on to say that mostly, goldwork is surface embroidery or free embroidery and that for the most part, it is couched – that is, laid on the surface and tied down at intervals with very fine threads, often silk.

A style of Mangfu, used as court dress in the Qing dynasty, embroidered with gold and silk metallic thread, late 1700s – Wikipedia, Goldwork³

Wikipedia lists the types of metallic tread which I include almost fully as it is so comprehensive:

Passing – the thin strip of metal wound around a core of cotton or silk. [The silk can be yellow or red and the gold is so thin that this makes a difference to the appearance with some historical writers asserting that gold wound on yellow thread soon loses its colour.⁴]

Japan thread – it appears nearly identical, but rather than a strip of metal, a strip of foil paper is wrapped around the core.

Bullion or Purl – is structurally a very long spring, hollow at the core; it can be stretched apart slightly and couched between the wraps of wire, or cut into short lengths and applied like beads.

Jaceron or Pearl purl – is similar to bullion, but with a much wider piece of metal which has been shaped (rounded) prior to purling it, such that it looks like a string of pearl-like beads when couched down between the wraps of metal. Lizerine is a similar thread that has a flat appearance having not been shaped prior to purling.

Frieze or Check purl – is again similar, but the metal used is shaped differently, producing a faceted, sparkly look.

Faconnee or Crimped purl – is almost identical to bullion, but has been crimped at intervals.

Roccoco and the similar Crinkle cordonnet are made of wire tightly wrapped around a cotton core, with a wavy or kinked appearance.

Milliary wire is a stretched pearl purl laced to a base of passing thread.

Goldwork embroidery on an English court uniform – Wikipedia Goldwork

Broad Plate – is a strip of metal a 2 millimeters wide; often this is used to fill small shapes by folding it back and forth, hiding the couching stitches under the folds.

Flat Worm or simply Oval thread is a thin plate wrapped around a yarn core and flattened slightly. This is used like plate, but is considerably easier to work with.

Twists or Torsade, threads made of multiple strands of metal twisted together are also sometimes used, some of which, such as Soutache, sometimes have different colored metals or colored non-metal threads twisted together. These are either couched like passing, with the couching thread visible, or with the thread angled with the twist to make it invisible.

https://karenfinchtextiles.com/the-history-and-the-techniques-of-the-spinning-of-gold-thread/

From a Victoria and Albert Museum article on how they have been identifyinh the metals in some of the embroidery in their collections…

Metal Thread Embroidery – Textile Research Centre – Leiden

References:

1 Metallic Threads – A Background to Their Use in Textile Work – Gina B Silkworks
2 The Silver Thread That Runs Through Art History: Metallic Threads, Embroidery, and Symbolism – Ruth Millington
3 Wikipedia Goldwork (embroidery)
4 The history and the techniques of the spinning of gold thread – Translation by Karen Finch from the original by Sofus Larsen
5 Textile Research Centre – Leiden

I compiled a list of as fabrics, fibres and related items as possible (278 items), from several sources, the most comprehensive of which was Wikipedia. Since there are only 26 letters in the alphabet, I could not write in detail about every instance so I have taken snippets of text for the brief descriptions and linked to the source in the name of the item. I am indebted to all the contributors to those Wikipedia pages and the depth of knowledge to be found there…

A to Z Challenge 2026 – Printing on Textiles & “P” Fabrics

April 18, 2026April 18, 2026humanist55

I compiled a list of as fabrics, fibres and related items as possible (278 items which I will make available at the end of the A to Z), from several sources, the most comprehensive of which was Wikipedia. Since there are only 26 letters in the alphabet, I could not write in detail about every instance so I have taken snippets of text for the brief descriptions and linked to the source in the name of the item. I am indebted to all the contributors to those Wikipedia pages and the depth of knowledge to be found there…

Printing on Fabrics

There are many techniques for printing on fabric, ranging from ancient and artisanal to the very latest digital and modern chemical processes. A company specialising in digital printing has produced a splendid guide to all the methods here, and I have taken the main ideas from it below, but they give detailed pros and cons for each method – check them out… Needless to say, Wikipedia also has a compendious article on fabric printing which says more about preparing the fabrics and dyestuffs.

Block Printing

This method of carving wooden blocks into a design or pattern, inking it up and applying to a fabr either singly or as a repeat, is centuries old.

Hand carved Indian wooden printing blocks for sale on Etsy

Stencil Printing

Also Artisanal, Stencil printing involve cutting a stencil and applying ink through the holes – it is also labour intensive…

“Japanese paper stencils, or katagami (literally pattern paper), are the pattern-bearing tools used in a textile-dyeing process known as katazome. In this process, a dye-resistant paste is applied to cloth through a stencil made of mulberry paper which has been waterproofed with persimmon juice.” – katazome (stencil printing)

Rotary Printing

Rotary printing is a high-speed fabric printing technique that is commonly used for mass production. It involves the use of cylindrical screens, which are engraved with the desired design and rotated continuously to print the fabric. Rotary printing allows for large quantities of fabric to be printed quickly and efficiently, making it a preferred choice for manufacturers.

Flock Printing

Flock printing is a fabric printing technique that involves applying tiny fibers, called flock, onto the fabric to create a velvety texture. The flock is typically made of nylon or polyester and is adhered to the fabric using adhesive or heat. Flock printing offers a unique and luxurious look, adding depth and texture to the fabric.
Flock printed wallpapers used to be popular but have gone out of fashion but velour and flock printed fabrics are still in demand. The examo#ple below is based on Van Gogh’s Starry Sky and produced, unsurprisingly, by a Dutch company…

Digital Printing

Digital printing has revolutionized the world of fabric printing, offering endless possibilities and creative freedom. Unlike traditional printing methods, digital printing allows for precise and detailed designs to be printed directly onto fabric using specialized inkjet printers. This innovative technique has transformed the textile industry, making it easier and more efficient to produce customized fabrics with vibrant colors and intricate patterns.
House of U blog

Maechouw’s striking design stands out beautifully as the colors and patterns combine nicely with the texture of the fabric. The details also reflect beautifully on the material. – House of U

Silk Screen Printing

Screen printing is one of the most versatile and widely used methods for fabric printing. It involves transferring ink through a mesh screen onto the fabric, creating a vibrant and long-lasting design. Screen printing is particularly suitable for large-scale productions, as it allows for quick and efficient printing on a variety of fabrics.

The process of screen printing begins with the creation of a stencil, which is then attached to a fine mesh screen. Ink is applied to the screen, and a squeegee is used to push the ink through the stencil and onto the fabric.
House of U blog

Sublimation Printing – Heat Transfer

Designs can be prepared on special paper and then heat-pressed onto the fabric. I mself started a business making Needlepoint Tapestry kits by heat transferring designs created on the computer, printed using a laser printer onto the special paper. Traditionally, such kits were silk-screen printed which meant a separate screen for each colour and since that would take up a lot of storage space, the whole print run would have to be done at once and the screens discarded. Using sublimation printing, I was able to print a single print for a customer!

from Your Guide to Heat Transfer Printing

Discharge Printing

Discharge printing is a technique that involves removing the color from a dyed fabric to create unique and faded designs. It utilizes a chemical agent that reacts with the fabric’s dye, causing it to lose its color. The result is a soft and vintage-like appearance, with the design appearing as if it has been bleached or faded over time.

“P” Fabrics

Paduasoy (French: peau de soie) – a luxurious strong corded or grosgrain silk textile that originated in Early Modern Europe. The term paduasoy first appeared in English in 1663. Paduasoy silk was woven in a variation of the satin weave, with bindings arranged to create fine cross-ridges across the fabric.

Percale – a closely woven plain-weave fabric often used for bed covers. Percale has a thread count of about 180 or higher and is noticeably tighter than twill or sateen. It has medium weight, is firm and smooth with no gloss, and washes very well. It is made from both carded and combed yarns, and may be woven of various fibers, such as cotton, polyester, or various blends.

Piqué – using either a specialized weaving or knitting process to create a raised, textured pattern, like a honeycomb or waffle weave. Woven piqué uses a dobby or Jacquard loom with additional “stuffer” yarns for depth. Knitted piqué uses a cross-tuck knit structure on a knitting machine. The resulting fabric is typically medium-weight, made from cotton or cotton blends, and is durable, breathable, and has a structured, polished look.

Pleated Linen – a form of processing linen which results in a fabric which is heavily pleated and does not crease like normal linen fabric. The earliest form of pleated linen dates from ancient Egypt and can be seen in a garment known as the Tarkhan dress, which is over 5000 years old and is believed to be one of the oldest dresses in existence. In the 1950s the Irish fashion designer, Sybil Connolly, developed a method of hand-pleating linen with the handkerchief linen manufacturer Spence Bryson. Handkerchief linen is a light form of linen, and this pleating process used 9 yards of the material to create 1 yard of pleated linen. The pleating of the fabric meant that unlike other linen garments, ones made with pleated linen were uncrushable, could be packed without becoming creased and maintained their shape.

Jacqueline Kennedy’s official White House portrait featuring a pleated linen Sybil Connolly design Wikipedia

Plush – a textile having a cut nap or pile the same as fustian or velvet. Its softness of feel gave rise to the adjective “plush” to describe something soft or luxurious, which was extended to describe luxury accommodation, or something rich and full. This has also been known to be described as früh, or middlefrüh in more affordable varieties. Originally the pile of plush consisted of mohair or worsted yarn, but now silk by itself or with a cotton backing is used for plush, the distinction from velvet being found in the longer and less dense pile of plush. The soft material is largely used for upholstery and furniture purposes, and is also much employed in dress and millinery. Modern plush are commonly manufactured from synthetic fibres such as polyester. One of the largest uses of this fabric is in the production of stuffed toys, with small plush toys made from plush fabric, such as teddy bears, to the point these are often addressed as “plush toys” or “plushies” in North American English.

Polar Fleece – a soft fabric made from polyester that is napped and insulating.

Pongee – a type of slub-woven fabric, created by weaving with yarns that have been spun by varying the tightness of the yarn’s twist at various intervals. Pongee is typically made from silk, and results in a textured, “slubbed” appearance; pongee silks range from appearing similar to satin to appearing matte and unreflective. Though pongee is typically made out of silk, it can be woven from a variety of fabrics, such as cotton, linen and wool.

Poplin, Tabbinet, (US – Broadcloth) – a fine (but thick) wool, cotton or silk fabric with crosswise ribs that typically give a corded surface. Nowadays, the name refers to a strong material in a plain weave of any fiber or blend. Poplin traditionally consisted of a silk warp with a weft of worsted yarn. In this case, as the weft is in the form of a stout cord, the fabric has a ridged structure, like rep, which gives depth and softness to the lustre of the silky surface.[3] The ribs run across the fabric from selvedge to selvedge.

I compiled a list of as many fabrics, fibres and related items as possible (278 items), from several sources, the most comprehensive of which was Wikipedia. Since there aer only 26 letters in the alphabet, I could not write in detail about every instance so I have taken snippets of text for the brief descriptions and linked to the source in the name of the item. I am indebted to all the contributors to those Wikipedia pages and the depth of knowledge to be found there…

A to Z Challenge 2026 -“Other” Fabrics (Odds and Sods) and some “O” Fabrics…

April 17, 2026April 18, 2026humanist55

Beta Cloth

Beta cloth is a type of fireproof silica fiber cloth that was used in the production of Apollo/Skylab A7L space suits, the Apollo Thermal Micrometeoroid Garment, the McDivitt Purse, and in a variety of other specialized applications.

It is a material similar to fiberglass that is woven into a very tiny mesh, resulting in a cloth that does not catch fire and will only melt at temperatures higher than 650 degrees Celsius.

Teflon is used to coat the fibers so that they have less of a propensity to break or fold while they are being handled and so that they last longer.
from Fabriclore

Lest you think that Wikipedia is my only source of knowledge, both Btea Cloth and Buckram (below), are described in another great resource Fabriclore, which although a commercial site, has great articles and tools for fashion designers…

Buckram

Despite its long history, Buckram did not fall into “historical” fabrics because it is still being made today.

The cotton or hemp that is woven into buckram cloth results in a coarse, heavy, and open plain weave fabric.

Because the fabric is soaked in starch and other sizing agents before being dried, the cloth had the characteristics of being stiff and coarse.

Buckram is mostly used in the clothing industry to give clothes shape and structure.
from Fabriclore

Also, our old friend The Dreamstress weighs in with her advice on how to make Buckram yourself and her “experiments in making buckram from both historically accurate gum tragacanth, and modern xanthan gum.”

Change -breathable

You may remember the raincoat materials in “B” for Brands – it seems that nothing has stimulated the development of new technology in the field of Fabrics, like protection from rain, cold, heat and sweating. C_CHANGE® MEMBRANE, by Swiss experts Schoeller-Textilles, contains a membrane layer which is set to a predetermined temperature range. Once the climate inside the garment warms (due to physical exertion or higher ambient temperatures), the polymer membrane structure opens up to allow water vapour to escape through the membrane. As the temperature falls, the membrane closes to its original structure, preserving body heat. This is inspired by pine cones which open and close in response to changes in ambient temperature, and can be regarded as an example of biomimicry …

Char Cloth

We are talking Tinder! No not the kind you swipe for hot action but a fabric that has a low ignition temperature, used as tinder when lighting a fire. It is the main component in a tinderbox. It is a small swatch of fabric made from a natural fibre (such as linen, cotton, jute etc.) that has been converted through pyrolysis. Pyrolysis is defined as “a thermochemical decomposition of organic material at elevated temperatures in the absence of oxygen”.^[1] Essentially, pyrolysis is turning organic matter into charcoal, a low weight, high energy content, very easily ignited matter. (Wikipedia)

“O” Fabrics:-

Organdie/Organdy/Organza

Organdy/Organdie, is a starched plain weave cotton which is transparent and very structured. Organda is a very similar fabric made originally from silk, but now woven with synthetic filament fibres such as polyester or nylon. I first encountered Organdy when learning Silk-screen printing, and I guess Organza gave the name to that art form. Its sheer appearance and crisp finish make it a popular choice for creating voluminous garments such as evening gowns, bridal dresses, and decorative elements like curtains or tablecloths. (What is Organdy Fabric?)

Ottoman

Historically silk but today, cotton, wool, synthetics like polyester, rayon, Ottoman fabric is defined by its large rib effect using different thicknesses or amounts of weft (crosswise) yarn compared to the warp (lengthwise) yarn in a plain weave.

Ottoman fabric has a lifted surface and is densely woven. It feels firm and looks neat. You’ll see tiny, flat lines running across the fabric. These lines come from a special way of weaving, where more threads are added sideways than up and down.

Because of this weave, the fabric looks structured and feels strong. It doesn’t stretch out or wrinkle easily. That’s why it’s often used for sofas, chairs, jackets, and other things that need to hold their shape well.
(What Is Ottoman Fabric Made Of?)

from Awesome Ottoman Fabric : A Complete Guide

A model wears a yellow top piece is made by kutnu fabric, Paris, France, June 24, 2022. (AP Photo)
rench fashion giant Dior displayed the precious fabric used by the Ottoman sultans in the 2022 Paris Fashion Week.

A to Z Challenge 2026 – Non-woven and “N” Fabrics…

April 16, 2026April 11, 2026humanist55

Why, when our Bonobo chimp-like ancestors were forced by climate change to emerge from the shrinking forests and live out in the open, did they become less hirsute such that as we spread to almost all parts of the world, there were places we could only survive by clothing ourselves in the fur of other animals. In warmer places, we had used other things to fashion clothes out of, such as bark, and possibly even the apocryphal fig-leaves! When agriculture enabled us to produce food more efficiently, we had the time to develop new skills like spinning and weaving, but we still use leather and fur to this day, even if, for ethical or economic reasons, we prefer faux-leather and faux-fur. Of course, most leather is also a byproduct of the meat industry (just as much wool is a byproduct of rearing sheep for meat rather than wool) and until true acceptance of the reality of our current climate change forces us to eat less meat, we will continue to produce leather…

Leather

I am not going to lift the entire and very excellent Wikipedia article on making leather, but suffice it to say that there are three main stages – Preparatory (10 possible sub-stages), Tanning, and Crusting with an optional stage of Surface Coating. The reason all this is necessary is because without it, animal skin would be stiff when dried and once wetted again, would resume rotting. So elements of the skin are removed, acidity levels ar manipulated at several points in the process and dyeing and surface treating are used to make the leather we use for shoes, handbags and clothes.

Non-woven Fabric

Nonwoven fabric or non-woven fabric is a fabric-like material made from staple fibre (short) and long fibres (continuous long), bonded together by chemical, mechanical, heat or solvent treatment. The term is used in the textile manufacturing industry to denote fabrics, such as felt, which are neither woven nor knitted.^[1] Some non-woven materials lack sufficient strength unless densified or reinforced by a backing. Wikipedia

And even fashion clothing – remember Paper dresses in the 60’s.

This category of fabrics includes a number of production processes but often, some form of felting (mechanical entanglement of fibres), is followed by heat-treating to melt the “felt” into one cohesive fabric, possibly with some additional filler materials introduced into the felt first. You may not have heard the term non-woven but you are likely using any number of them every day! Check out the links in the picture captions for more…

Felt

Felt from wool is one of the oldest known textiles. Excavations at Çatal Hüyük in Anatolia have revealed possible evidence of felting about 6000 BCE; more definitely, felt hats found in the Mongolian Autonomous Region of China date to c. 1800 BCE. – Wikipedia – Felt

Although Felt can be made from both natural and artificial fibres, natural fibre felt has special properties, it is “fire-retardant and self-extinguishing; it dampens vibration and absorbs sound; and it can hold large amounts of fluid without feeling wet…” and for one of the oldest fabrics, it is still produced for many commercial purposes todat, but is also hugely popular in crafting circles where both matted felting and needle felting are carried out. Both of these processes have their place in industrial felt production too. Here is a great piece of jargon from a description of that industrial felting process – “Fibers are first spun, cut to a few centimeters length, and put into bales. The staple fibers are then blended, “opened” in a multistep process, dispersed on a conveyor belt, and spread in a uniform web by a wetlaid, airlaid, or carding/crosslapping process.”

Felt has been one of the principal materials for Millinery – hat-making due to its ability to stretch into 3-D shapes and then retain that shape…

Paper

Making paper is very similar to felt-making – the fibres – and many materials can be used, including recycled textiles – are dispersed in a water bath and then lifted out in a dekle – a kind of sieve that is agitated to make the fibres “fel” together as the water drains out. The resulting layer is pressed and treated in various ways to make it less porous and more durable. This also makes the paper stiff, but take a brown paper bag, screw it up, carefully smooth it out and repeat several times and you will have a flexible fabric. Add some tougher long fibres into the paper mix and you have a material that can make clothing, albeit of limited lifespan…

From Valerie Steele discusses MFIT paper dresses

Latex

If the fear with paper clothes might be that of them tearing or dissolving in a rain-shower, then the fear (however unfounded) around wearing latex clothing, must surely be that the item might pop like a balloon, shrivelling away to nothing in what would surely be the ultimate fashion accident!

Latex rubber is used in the manufacture of many types of clothing. It has traditionally been used to make protective clothing, including gas masks and Wellington boots. Mackintoshes have traditionally been made from rubberized cloth. However, rubber has now generally been replaced in these applications by synthetic polymers.

Latex rubber as a clothing material is common in fetish fashion and among BDSM practitioners, and is often worn at fetish clubs. It is sometimes also used by couturiers for its unusual appearance. Several magazines are dedicated to its use. Latex clothing tends to be skin-tight, but can also be loose-fitting. – Wikipedia

Moving swiftly on…

“N” Fabrics

Nankeen – (also called Nankeen cloth) is a kind of pale yellowish cloth originally made in Nanjing, China from a yellow variety of cotton, but subsequently manufactured from ordinary cotton that is then dyed.
The term blue nankeen describes hand-printed fabric of artistic refinement and primitive simplicity, which originated on the Silk Road over three thousand years ago.

Noil – refers to the short fibres that are removed during the combing process in spinning. These fibres are often then used for other purposes.
Fibres are chosen for their length and evenness in specific spinning techniques, such as worsted.[1] The short noil fibres are left over from the combing of wool or spinning silk. We already encountered one form of Noil in Matka, made from damaged silk cocoons resulting in a slubby finished silk. Noil is similar in the fabrics spun and then woven from it. Noil fibres can also be added to other fibre blends.