Preamble
This is the ninety-third 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!
Durable Press and Wash-and-Wear Finishes[1]
Surveys have shown that ironing is the household task that women hate the most.
Durable press and wash-and-wear finishes for cotton, linen and rayon fabrics have greatly reduced the amount of time spent ironing. The cellulose fibers have always been low in resiliency and fabrics made from them have had very poor recovery from wrinkles.
No caption needed!
Wrinkles are undesirable mussiness and puckering in fabrics caused by wear and washing. They are formed under a wide range of pressures, temperatures, humidities and they take various times to recover. This makes the finishing of a fabric, primarily to improve its behaviour, a complicated affair. Creases are sharp folds added to a fabric deliberately by pressing (e.g. pleats and the like) for purposes of styling.
The introduction of the first finish by Tootal, Broadhurst, Lee of England for improvement of wrinkle recovery, coincided with the development in the United States of the first wash-and-wear synthetic fibers, in and around 1940. The finishing substance was a resin. Urea formaldehyde, the first resin finish, was used on linen and rayon; but because of poor chlorine resistance and loss of strength, its use on cotton was limited. Regular rayon fibers have always had poor wash-ability and the resin treatments further reduce rayon's wet abrasion resistance, so the finish was limited to dry-cleanable rayon fabrics, which were sold as "crease resistant" materials.
Urea formaldehyde is a very common chemical and is mostly used because of its chemical properties. Examples are textiles, paper, foundry sand molds, wrinkle resistant fabrics, cotton blends, rayon, corduroy, etc.
In 1940, melamine formaldehyde resins were developed for use on cotton and that's when the wash-and-wear finishes got their start. The polyester/cotton blends were introduced in 1954 about a year after the first polyester - Dacron - was made. Only the cotton component of the blend required a resin finish. Dacron was a higher-priced fiber and was not used in low-cost items, whereas 100% cotton was used at all price levels.
Samuji Dacron Dress.
The idea of setting permanent shape (i.e. durable press) in a garment began in 1955 when Korot of California asked their suppliers to apply and dry the resin monomer on the cotton cloth, but not to cure it. Korot then cut and pleated the fabric and oven cured the garment to set the pleats. The wash-and-wear industry took little interest in this change in the conventional process until 1964 when Levi Strauss introduced "Oven-Baked" pants of 100% cotton under the Korot trade name, Koratron.
1960s black flat front cuffed pants.
They were a trendies and instantaneous success even though the first pants split at the creases and cuff edges frayed after two or three washings. Men's shirts were next given the durable press finish shown in the two figures below.
Durable-dress shirt[1].
Durable press shirting fabrics[1].
Within two years, dresses, blouses, rainwear, jackets, sheets, and pillow cases were made with a durable-press finish.
It is said that each garment has an associated drama. For example, in slacks the focal point is the crease; and if it is a good sharp crease, some puckering or wrinkling does not dissatisfy the consumer. This might account for the immediate acceptance of the durable press concept.
To overcome the high strength loss and the lowering of abrasion resistance caused by the resin and the high heat of curing, manufacturers gradually shifted to the use of "reinforcing" synthetic fibers blended with cotton (Nylon 420, Tough Stuff Vycron, etc.)
Research into 100% cotton was intensified to find a durable-press finish that would leave the cotton fiber with most or all of its natural good wearing qualities but that would give the additional durable-press performance.
1970s durable press red floral cotton shirt XL.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
This is the ninety-third 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!
Durable Press and Wash-and-Wear Finishes[1]
Surveys have shown that ironing is the household task that women hate the most.
Durable press and wash-and-wear finishes for cotton, linen and rayon fabrics have greatly reduced the amount of time spent ironing. The cellulose fibers have always been low in resiliency and fabrics made from them have had very poor recovery from wrinkles.
Wrinkles are undesirable mussiness and puckering in fabrics caused by wear and washing. They are formed under a wide range of pressures, temperatures, humidities and they take various times to recover. This makes the finishing of a fabric, primarily to improve its behaviour, a complicated affair. Creases are sharp folds added to a fabric deliberately by pressing (e.g. pleats and the like) for purposes of styling.
The introduction of the first finish by Tootal, Broadhurst, Lee of England for improvement of wrinkle recovery, coincided with the development in the United States of the first wash-and-wear synthetic fibers, in and around 1940. The finishing substance was a resin. Urea formaldehyde, the first resin finish, was used on linen and rayon; but because of poor chlorine resistance and loss of strength, its use on cotton was limited. Regular rayon fibers have always had poor wash-ability and the resin treatments further reduce rayon's wet abrasion resistance, so the finish was limited to dry-cleanable rayon fabrics, which were sold as "crease resistant" materials.
In 1940, melamine formaldehyde resins were developed for use on cotton and that's when the wash-and-wear finishes got their start. The polyester/cotton blends were introduced in 1954 about a year after the first polyester - Dacron - was made. Only the cotton component of the blend required a resin finish. Dacron was a higher-priced fiber and was not used in low-cost items, whereas 100% cotton was used at all price levels.
The idea of setting permanent shape (i.e. durable press) in a garment began in 1955 when Korot of California asked their suppliers to apply and dry the resin monomer on the cotton cloth, but not to cure it. Korot then cut and pleated the fabric and oven cured the garment to set the pleats. The wash-and-wear industry took little interest in this change in the conventional process until 1964 when Levi Strauss introduced "Oven-Baked" pants of 100% cotton under the Korot trade name, Koratron.
They were a trendies and instantaneous success even though the first pants split at the creases and cuff edges frayed after two or three washings. Men's shirts were next given the durable press finish shown in the two figures below.
Within two years, dresses, blouses, rainwear, jackets, sheets, and pillow cases were made with a durable-press finish.
It is said that each garment has an associated drama. For example, in slacks the focal point is the crease; and if it is a good sharp crease, some puckering or wrinkling does not dissatisfy the consumer. This might account for the immediate acceptance of the durable press concept.
To overcome the high strength loss and the lowering of abrasion resistance caused by the resin and the high heat of curing, manufacturers gradually shifted to the use of "reinforcing" synthetic fibers blended with cotton (Nylon 420, Tough Stuff Vycron, etc.)
Research into 100% cotton was intensified to find a durable-press finish that would leave the cotton fiber with most or all of its natural good wearing qualities but that would give the additional durable-press performance.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
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