Japanese Embroidery (Shishu)[1]Art EssayMarie-Therese Wisniowski

Preamble
For your convenience I have listed other posts on Japanese textiles on this blogspot:
Discharge Thundercloud
The Basic Kimono Pattern
The Kimono and Japanese Textile Designs
Traditional Japanese Arabesque Patterns (Part I)
Textile Dyeing Patterns of Japan
Traditional Japanese Arabesque Patterns (Part II)
Sarasa Arabesque Patterns (Part III)
Contemporary Japanese Textile Creations
Shibori (Tie-Dying)
History of the Kimono
A Textile Tour of Japan - Part I
A Textile Tour of Japan - Part II
The History of the Obi
Japanese Embroidery (Shishu)
Japanese Dyed Textiles
Aizome (Japanese Indigo Dyeing)
Stencil-Dyed Indigo Arabesque Patterns (Part V)
Japanese Paintings on Silk
Tsutsugaki - Freehand Paste-Resist Dyeing
Street Play in Tokyo
Birds and Flowers in Japanese Textile Designs
Japanese Colors and Inks on Paper From the Idemitsu Collection
Yuzen: Multicolored Past-Resist Dyeing - Part 1
Yuzen: Multi-colored Paste-Resist Dyeing - Part II

Introduction
The forces that combine to define a culture are language, creed, food, clothing and shelter. The first two reflect the human condition; that is, the condition of a collective mindfulness. The last three reflect a more basic animal need; that is, the need to live.

The kimono, like other national costumes, has a practical aspect assigned to it; namely, it protects the body, decorates it and it expresses social status. This blogspot contains two posts that centers on this costume alone namely: The Kimono and Japanese Textile Designs and The Basic Kimono Pattern. The Japanese kimono, like the clothing from other cultures, was woven from vegetable or animal fibers. Nowadays most kimonos are made from man-made fibers.

Today's post will concentrate on one aspect of embellishing the kimono, namely, Shishu (Japanese embroidery).

Japanese Embroidery (Shishu) [1]
The oldest embroidered cloth in Japan, the Tenjukoku Mandala (Heavenly Paradise Mandala) in Chuguji Temple at Nara, is a piece of silk ra executed during the first part of the seventh century. Only a small piece of the original embroidered silk remains intact. It is in the form of Chinese characters stitched in parallel lines of twisted silk thread on the back of two tortoises. This national treasure gives us a glimpse into the long history of the art of embroidery in Japan.

Tenjukoku Shucho Mandala, Chuguji Temple, Nara.

Embroidered Shakyamuni preaching to the disciples surrounding him.
Tang Dynasty (7th to 10th Century), China.
National Treasure.
Tokyo National Museum.
Courtesy of Reference [1].

As early as the Jomon Period, people used fishbone needles for simple stitchery. By the seventh century, creative stitching decorated ceremonial robes for the emperor and the nobility. However, most of the early embroideries were used for Buddhist banners, sewn by friends and relatives of the deceased for the purpose of helping him along his way to heaven.

Gorgeous embroidery work on the back rinzu kosode with motifs of pine, bamboo, chrysanthemums, rippling water, snowy herons and baskets in rich colors. The family crest is done by gold couching.
Edo Period.
Tokyo National Museum.
Courtesy of reference [1].

During the Muromachi Period (1336 - 1573) embroidery was used as a substitute for expensive brocades. This versatile form of fabric decoration appeared on kosode and Noh costumes, which glittered with niihau (the combination of embroidery and imprinted gold or silver leaf).

Magnificent Noh costume embroidered with exceptionally dainty autumn-flowered motifs on a black background.
EiseiBunk Collection.
Courtesy of reference [1].

The softer silks of the Momoyama period (1573 - 1615) were embellished with stitchery., using untwisted silk and gold or silver thread to create small, simple designs. By the end of this affluent era, embroidery had reached its height. Under the patronage of Toyotomi Hideyoshi, fabulous Not costumes and kimono entirely covered with embroidered designs were created.

In the isolation of the Edo period (1603 - 1868) embroidered motifs became more Japanese in style and the popularity of this decoration increased. Embroidery was in such high demand that one shogun ordered thirty-two elaborately embroidered kimono over a period of sixteen years. The popularity of this decorative form soon declined, however, because of its extravagance, and the simpler and less expensive method of appliqué emerged.

Japanese embroidery employs several stitches, some of which are: French knot (sagaranui) dating from the Nara period (710 AD to 794 AD); the outline satin stitch (nuikiri); back-stitch outline (matsuinui); and long couch stitches (watashinui). The gold or silver thread used for couching is made by wrapping silk thread with gold- or silver-covered paper. The thread is applied to the fabric by stitch (Kamon) used on the outer garment for family identification.

With a thinner thread careful couching is done over the silver or gold thread [1].
Courtesy of reference[1].

Roundels of plum, chrysanthemum, pine, maple, peony, bamboo and bellflower in a basketvpattern by Mitsuko Kashimura [1].
Courtesy of reference[1].

Flying birds, weeping cherry tree in bloom, and ocean wave on an obi by Shizuka Kusano[1].
Courtesy of reference[1].

Embroidered forewoman's headgear with gold thread couching[1].
Edo Period (1603 - 1868).
Tokyo National Museum.
Courtesy of reference[1].

Lower part of a kimono embroidered in motifs of pretty flowers, grass, and shippo tsunagi (interlocking rings) in bright colors by Shizuka Kusano[1].
Courtesy of reference[1].

Four obi embroidered with different techniques by Hyakutei Hashio. The flowers almost seem to be dyed[1].
Courtesy of reference[1].

Reference:
[1] S. Yang and R. ZM. Narasin, Textile Art of Japan, Tokyo (1989).

The Effects of Fabric on Your Figure[1]Wearable ArtMarie-Therese Wisniowski

Preamble
For your convenience I have listed other posts in this series:
The Effect of Fabric Designs
The Effects of Color on Your Appearance

Introduction[1]
Fabrics, like lines, can also influence your apparent size. Often a person can select just the right style and lines for figure flattery and then ruin the effect by selecting the wrong fabric. Whether a fabric reflects or absorbs light, is rough or is smooth, stiff or clings to you, will account to some degree for its effect on your appearance.

Remember: Never be ashamed of your body shape! Clothes are there not only to keep you warm and to complement your figure, but more importantly they advertise to the world your personality!

New Arrival: Burgundy long-sleeve lace chiffon celebrity dress. Oprah Winfrey at 2014 BAFTAs Red Carpet Gown plus size Evening Gowns

Light reflection
Shiny fabrics which reflect a great deal of light will make your figure appear larger, while dull surfaces with tend to minimise your size. The illusion created is the same as when an object is placed in a bright clear light, then in a dim diffuse light. Naturally the more light it receives and reflects, the larger the body appears. So, the heavy person who selects a design with long, tall vertical lines and then makes the dress shiny satin is defeating the original purpose. She may wonder why she looks so large, yet if she had used a dull silk broadcloth, the gown would have been just as dressy and vastly more flattering.

Some fabrics both reflect and absorb light. Valvet is a good example of this type in which the pile catches light and also casts shadows. As long as the fabric is not a bulky one, it will not noticeably affect the apparent size of the figure.

A bulky velvet dress can add weight to your figure.

Rough nd Smooth Textures[1]
Rough-textured fabrics tend to appear bulkier than they are, and will increase the size of the figure in proportion to their roughness and bulkiness.

Even on this this figure a rough textured fabric has made her look heavier.

Naturally pebbly crepes will not noticeably add kilos, but a very rough nubbly wool tweed may have the decided effect.

Badgley Mischka Pebble Crepe Dress
Smooth textures will not affect the appearance of the figure as long as they are not shiny.

Stiff Textures[1]
Stiff materials tend to conceal the outline of a figure because they do not follow it. However, although they can hide some figure flaws, they usually make the body seem somewhat larger. For example, a person with heavy hips, but with a waistline and bustling in proportion to her height, could wear a stiff fabric to advantage, whereas a person who is heavy all over should avoid it.

Clinging Textures
Fabrics of this type have a double personality. When used for straight, tubular designs, clinging materials outline the figure so completely that they often make it seem larger or thinner than it actually is. However, when they are draped into soft silhouettes, they can be very flattering.

Transparent Textures[1]
Although see-through materials can often be draped in soft, graceful folds, they also reveal the outline of the figure. It is not wise to use transparent fabrics if you wish to hide aspects of your body (e.g. folds of flesh or a thin boney structure).

Reference:
[1] McCall's Sewing in Color, Paul Hamlin, London (1968).

The Art of Arthur Pambegan Jr[1]Art EssayMarie-Therese Wisniowski

Preamble
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II

Introduction[1]
WARNING: This post contains images of dead aboriginal man - Arthur Pembegn Jr.

Arthur Pambegan Jr is a well-known and respected indigenous artist. He was an Aurukun artist. He was born in 1936 in Aurukun, Cape York Peninsula and lived in the community all his life.

From an early age he was engaged in the ceremonial life of Aurukun, learning from his father Arthur Koo’ekka Pambegan Sr, and later performing, carving and painting. He was a senior member of the Wik-Mungkan people and an elder of the Winchanam ceremonial group. He died in 2010.

Arthur Pambegan Jr.

Pambegan showed his work in 2000 at National Gallery of Australia, Canberra. In 2002 his work made a strong impact in the large exhibition Stories from Australia: Aboriginal and Torres Strait Islander Peoples at the National Museum of Australia, Canberra.

Untitled #18 (2009).
Arthur Koo’ekka Pambegan Jr and son, Alair Pambegan.
Size: 61 × 81 cm.

In 2003 Pambegan made impressive large painted sculptures commissioned for the exhibition Story Place: Indigenous Art of Cape York and the Rainforest at Queensland Art Gallery. In 2007 Pambegan participated in the first National Indigenous Art Triennial Cultural Warriors at the National Gallery of Australia.

He was a feature artist in the exhibition, 'Cultural Wars' at the Australian Museum.

Internationally Pambegan has shown his work at the Guangzhou Museum of Art, Guangzhou China, and at the Hermitage Museum St Petersburg, Russia. His works are in the collections of National Gallery of Australia, Queensland Art Gallery, National Gallery of Victoria, and the Australian National Maritime Museum.

The coastal region north of Aurukun township has an distinctive formation of cliffs, where the area’s dark red bauxite is layered with strata of white clay. These are the very markings of red and white bands of color used in traditional body painting for ceremony and for sculpture decoration and more recently canvas painting of Aurukun.

Anthropologist and linguist Peter Sutton identifies that in traditional Aboriginal cultures, it is the “ritual ceremony” that influences aesthetics bringing to “the spiritual and social frameworks of life … a visual order”. Aesthetic excellence were seen to be those markings emanating “powerful distinct expressions of Wik law”.

Bad memories of a by-gone era.

The Art of Arthur Pambegan Jr[1]

Arthur Pambegan Jr.
Untitled III (Walkan-aw and Kalben designs) 2007.
Materials: Ochres and Charcoal with synthetic polymer binder on linen.
Size: 117 x 183 cm.
Held in a private collection.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr.
Untitled V (Walkan-aw and Kalben designs) 2007.
Materials: Ochres and Charcoal with synthetic polymer binder on linen.
Size: 102 x 91 cm.
Held in a private collection.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr and Alair Pambegan.
Untitled #9 (Walkan-aw and Kalben designs) 2009.
Materials: Ochres and Charcoal with synthetic polymer binder on linen.
Size: 61 x 92 cm (diptych).
Collection of the National Gallery of Australia.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr.
Untitled XXVI (Walkan-aw and Kalben designs) 2008.
Materials: Ochres and Charcoal with synthetic polymer binder on linen.
Size: 76 x 66 cm.
Collection of the National Gallery of Australia.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr.
Untitled XXIX (Walkan-aw and Kalben designs) 2008.
Materials: Ochres and Charcoal with synthetic polymer binder on linen.
Size: 61 x 46 cm.
Held in a private collection.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr and Alair Pambegan.
Untitled XVIII (Kalben design) 2007.
Materials: Ochres with synthetic polymer binder on linen.
Size: 46 x 61 cm.
Held in a private collection.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr and Alair Pambegan.
Note: Only one half of the actual installation.
Kalben (a bone fish story place) ND WALKn-aw (A sacred site in the flying fox story) 2008-2009.
Materials: Ochres and charcoal with synthetic polymer binder.
Size of total installation: 193 x 512 x 23 cm. installed
Collection of The University if Queensland - purchased in 2009.
Photograph courtesy of Mick Richards.

Arthur Pambegan Jr.
Untitled VI (Walikan-aw and Kalben designs) 2007.
Materials: Ochres and charcoal with synthetic polymer binder on linen.
Size: 91 x 102 cm.
Collection of The University if Queensland - purchased in 2008.
Photograph courtesy of Mick Richards.

Reference
Editor S. Butler, Before Time Today, National Library of Australia, Canberra (2010).

Shrinkage - Part II[1-2]Art ResourceMarie-Therese Wisniowski

Preamble
This is the ninety-first post in the "Art Resource" series, specifically aimed to construct an appropriate knowledge base in order to develop an artistic voice in ArtCloth.

Other posts in this series are:
Glossary of Cultural and Architectural Terms
Units Used in Dyeing and Printing of Fabrics
Occupational, Health & Safety
A Brief History of Color
The Nature of Color
Psychology of Color
Color Schemes
The Naming of Colors
The Munsell Color Classification System
Methuen Color Index and Classification System
The CIE System
Pantone - A Modern Color Classification System
Optical Properties of Fiber Materials
General Properties of Fiber Polymers and Fibers - Part I
General Properties of Fiber Polymers and Fibers - Part II
General Properties of Fiber Polymers and Fibers - Part III
General Properties of Fiber Polymers and Fibers - Part IV
General Properties of Fiber Polymers and Fibers - Part V
Protein Fibers - Wool
Protein Fibers - Speciality Hair Fibers
Protein Fibers - Silk
Protein Fibers - Wool versus Silk
Timelines of Fabrics, Dyes and Other Stuff
Cellulosic Fibers (Natural) - Cotton
Cellulosic Fibers (Natural) - Linen
Other Natural Cellulosic Fibers
General Overview of Man-Made Fibers
Man-Made Cellulosic Fibers - Viscose
Man-Made Cellulosic Fibers - Esters
Man-Made Synthetic Fibers - Nylon
Man-Made Synthetic Fibers - Polyester
Man-Made Synthetic Fibers - Acrylic and Modacrylic
Man-Made Synthetic Fibers - Olefins
Man-Made Synthetic Fibers - Elastomers
Man-Made Synthetic Fibers - Mineral Fibers
Man Made Fibers - Other Textile Fibers
Fiber Blends
From Fiber to Yarn: Overview - Part I
From Fiber to Yarn: Overview - Part II
Melt-Spun Fibers
Characteristics of Filament Yarn
Yarn Classification
Direct Spun Yarns
Textured Filament Yarns
Fabric Construction - Felt
Fabric Construction - Nonwoven fabrics
A Fashion Data Base
Fabric Construction - Leather
Fabric Construction - Films
Glossary of Colors, Dyes, Inks, Pigments and Resins
Fabric Construction – Foams and Poromeric Material
Knitting
Hosiery
Glossary of Fabrics, Fibers, Finishes, Garments and Yarns
Weaving and the Loom
Similarities and Differences in Woven Fabrics
The Three Basic Weaves - Plain Weave (Part I)
The Three Basic Weaves - Plain Weave (Part II)
The Three Basic Weaves - Twill Weave
The Three Basic Weaves - Satin Weave
Figured Weaves - Leno Weave
Figured Weaves – Piqué Weave
Figured Fabrics
Glossary of Art, Artists, Art Motifs and Art Movements
Crêpe Fabrics
Crêpe Effect Fabrics
Pile Fabrics - General
Woven Pile Fabrics
Chenille Yarn and Tufted Pile Fabrics
Knit-Pile Fabrics
Flocked Pile Fabrics and Other Pile Construction Processes
Glossary of Paper, Photography, Printing, Prints and Publication Terms
Napped Fabrics – Part I
Napped Fabrics – Part II
Double Cloth
Multicomponent Fabrics
Knit-Sew or Stitch Through Fabrics
Finishes - Overview
Finishes - Initial Fabric Cleaning
Mechanical Finishes - Part I
Mechanical Finishes - Part II
Additive Finishes
Chemical Finishes - Bleaching
Glossary of Scientific Terms
Chemical Finishes - Acid Finishes
Finishes: Mercerization
Finishes: Waterproof and Water-Repellent Fabrics
Finishes: Flame-Proofed Fabrics
Finishes to Prevent Attack by Insects and Micro-Organisms
Other Finishes
Shrinkage - Part I
Shrinkage - Part II
Progressive Shrinkage and Methods of Control
Durable Press and Wash-and-Wear Finishes - Part I
Durable Press and Wash-and-Wear Finishes - Part II
Durable Press and Wash-and-Wear Finishes - Part III
Durable Press and Wash-and-Wear Finishes - Part IV
Durable Press and Wash-and-Wear Finishes - Part V
The General Theory of Dyeing – Part I
The General Theory Of Dyeing - Part II
Natural Dyes
Natural Dyes - Indigo
Mordant Dyes
Premetallized Dyes
Azoic Dyes
Basic Dyes
Acid Dyes
Disperse Dyes
Direct Dyes
Reactive Dyes
Sulfur Dyes
Blends – Fibers and Direct Dyeing
The General Theory of Printing

There are currently eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms, which has been updated to Version 3.5. All data bases will be updated from time-to-time in the future.

If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document etc. for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.

The Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip over those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will hopefully be useful in parts to most, but unfortunately may not be satisfying to all!

Relaxation Shrinkage and Methods of Control

Knit Fabrics
Knit fabrics shrink because the loops are elongated 10 to 35% lengthwise in knitting and in wet finishing, as shown in the figure below, thus making the fabric longer and narrower than it should be.

Knit Stitches. Left, before orientation. Right, after orientation.

During home laundering the stitches will reorient themselves to their normal shape, and the garment will become shorter and wider. Mechanical methods of shrinkage control for knit fabrics consist of using a spreader to stretch the fabric crosswise to reorient the stitches.

The fabrics are then dried on a special tensionless calendar or they may be tumble dried. Completed garments may also be tumble dried to give them a controlled shrinkage. At the present time, mechanical relaxation shrinkage control treatments are usually done in conjunction with a resin finish.

Woven Fabrics
All woven fabrics shrink when the strains of weaving, warp yarn sizing, and wet finishing are released when the fabric gets wet in laundering. The warp yarns are stitched out straight, while they are on the loom, and the filling is inserted in a straight line. The filling takes on a crimp as it is beaten back into the cloth, but the warp stays straight. When the fabric is thoroughly wet and allowed to relax, the yarns re-adjust themselves and the warp yarns move to a strip position.

Left: position of the fabric on the loom. Right: After the fabric relaxes when it becomes wet.

This crimp shortens the fabric in the warp direction. With the exception of crepe fabric, less change occurs in the filling direction.

Compressive shrinkage processes are used on woven fabrics of cotton, linen and high-wet-modulus rayon. Regular rayons will not hold a compressive shrinkage treatment because of the high swelling and wet elongation of the rayon fibers.

Sanforize and Rigmel are trade names for compressive shrinkage processes used on woven cloth. The principles involved can be demonstrated by placing a rubber band over the cloth. When the fist is opened and the band is released, the cloth will be squeezed or compressed.

Sanforizing Process
The sanforizing is a mechanical finishing process of treating textile fabrics to prevent the normal dimensional alternation of warp and weft. It is also called anti-shrinkage finishing process. It is a process of treatment used for cotton fabrics mainly and also for some other textiles made from natural and synthetic fibres. It is a method of stretching, shrinking and fixing the woven cloth in both length and width, before cutting and producing to reduce the shrinkage which would otherwise occur after wash.

Principle
Sanforizing process is based on the principle that when an elastic felt blanket is passed around a metal roller in contact with it, its outer surface is extended and the inner surface contracted. So the process is called controlled compressive shrinkage process. The process of sanforizing includes the stretching and manipulation of the fabric before it is washed.

During the sanforization process, the fabric is fed into a sanforizing machine where it is treated with water or steam to promote shrinkage, then pressed against a heated rubber band to relax and re-contract the fibers.

The amount of potential wash shrinkage must be determined prior to shrinking. A full width sample is wash-tested according to the test method. After the lengthwise and width wise shrinkage has been determined, the compressive shrinkage machine can be adjusted accordingly.

The cloth is continually fed into the sanforizing machine and therein moistened with either water or steam. A rotating cylinder presses a rubber sleeve against another, heated, rotating cylinder. Thereby the sleeve briefly gets compressed and laterally expanded, afterwards relaxing to its normal thickness. The cloth to be treated is transported between the rubber sleeve and heated cylinder and is forced to follow this brief compression and lateral expansion, and relaxation. It thus gets shrunk.

The greater the pressure applied to the rubber sleeve, the bigger the shrinking afterwards. The process may be repeated.

Schematic Process
The process of Sanforizing can be described by the following schematic below:

* Fabric (F) passes through the skyer (S) or other moistening device and is moistened by water and/or steam. This will lubricate the fibers and promote shrink ability within the fabric.
* Fabric is moistened in such a way that every single thread achieves a moisture content of approximately 15%.
* Above step allows compression of the fabric with very little resistance.
* When the fabric passes through the clip expander (C), we obtain the required width. The clip expander also transports the fabric to the most important part of the machine: the rubber belt unit (indicated by arrows in above figure).
* In the close-up of above figure, we see the endless rubber belt (R). By squeezing rubber belt (R) between pressure roll (P) and rubber belt cylinder (RB), we obtain an elastically stretching of the rubber belt surface.
* The more we squeeze the rubber belt, the more the surface is stretched. This point of squeezing is known as the pressure zone, or the nip point.
* Fabric (F) is now fed into the pressure zone.
* When leaving the pressure zone, the rubber belt recovers itself and the surface returns to its original length carrying the fabric with it. The effect of this action is a shorting of the warp yarn which packs the filling yarns closer together. At this actual moment, shrinkage occurs.
* After compaction within the rubber belt unit, the fabric enters the dryer (D). Here the fibers are locked in their shrunken state by removing the moisture from the fabric.
* After the compressive shrinkage process is completed, another sample of the fabric is taken.
* This sample is also wash-tested. The final result of this test must meet the Sanforized Standard, in length and width before it may carry the Sanforized label.
* All Sanforized Licensees are contractually obligated to follow the required test method and meet the standards set forth by The Sanforized Company.

Research has shown that faulty laundering will cause compressively shrunk fabrics to shrink as much as 6%. Tumble drying may also compress yarns beyond their normal shrinkage.

The trade name "Sanforized Plus" may be used on wash-and-wear and durable-press garments that meet specified standards of shrinkage control, wrinkle resistance, smoothness after washing, tensile strength and tear strength.

London shrunk process is a 200-year-old relaxation finish for wool fabrics, which removes strains caused by spinning, weaving and finishing.

At first the wool was laid out in the fields of the city of London and the dew soothed away the stresses and so improved the hand of the fabric. While techniques have been modernised, there is still much hand labour involved. A wet blanket, wool or cotton, is placed on a long platform, a layer of cloth is then spread on it, and alternate layers of blanket and cloth are then built up. Sufficient weight is placed on top to force the moisture from the blankets into the wool. The cloth is left in the pile for about 12 hours. The cloth is then dried in natural room air by hanging it over sticks. When dry, the cloth is subjected to hydraulic pressing by building up layers of cloth and specially made press boards with a preheated metal plate inserted at intervals. A preheated plate is also placed on the top and bottom of the pile. This set-up of cloth, boards, and plates is kept under 3,000 pounds pressure for 10 to 12 hours. London shrinking is done for men's wear fine worsteds - not for woollens or women's wear.

Today the right to use the label "Genuine London Process" is licensed by the Parrott group of companies. Clothworkers of London, Leeds and Huddersfield to garment makers all over the world. A label from a suit is shown below.

The permanent set finish Siroset, which produces washable, wrinkle free wool fabrics, is now applied to some fabrics during the London Shrunk processing.

Skirt produced using the Siroset process.

A similar method for home use is that of rolling wool cloth in a wet sheet, allowing it to stand for six hours, and then placing it flat on a table or floor to dry. If it is straightened while wet, pressing may be unnecessary. This is the best means for straightening wool which has been tendered or debated "off-grain". It should not be used on wool crepe. Fabrics that have a napped surface, such as wool broadcloth or some wool flannels, may be changed in appearance. Wool fabrics should always be tested for shrinkage prior to cutting. A simple method of testing is to draw a right angle on the ironing board, place the warp edge along one side and the filling edge along the other side, and hold a stream iron over the fabric. If either edge draws away from the pencil line, the fabric will shrink during steam pressing and it should be shrunk.

References:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).

[2]https://textileinsight.blogspot.com/2014/09/sanforizing-machine-and-process.html