Preamble
This is the ninety-seventh 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 - Part V[1]
Problems
There have been and still are problems for both the consumer and manufacturer in all methods of achieving a "non-iron" fabric.
In the delay-cure process, for example, the sensitised cloth may tend to self cure if it is stored for a very long time before being made-up into garments, it will then tend to resist shaping during the garment-curing step.
Strength Loss
Strength loss of cellulose fibers is one of the most serious problems for the consumer. The high level of resin needed to give durability to the durable press and the heat necessary to shape-set the garment weaken the garment as much as 50%, causing the manufacturer to shift to the use of blends with polyesters and Nylon 420.
Strength loss is due to a change in the mechanical properties of the cellulose fibers and is not due to any chemical tendering of the cloth, since stripping the resin will restore the tensile strength to its original value. The physical position of the cross-links seems to be more important than the exact chemical nature of the cross-links.
If the fabric becomes stiff, there is a loss of tear strength. Wear resulting from lack of abrasion resistance is usually shown first in the edges of cuffs, pockets, closures and in the roll of the collar.
Fabric construction can be adjusted somewhat to compensate for strength loss and to improve abrasion resistance. Weaves with long floats, such as sateen, and basket weaves, such as Oxford, are more flexible and tend to resist abrasive wear better than the firmer weaves.
Slightly coarser filling yarns will improve the strength of broadcloth. Balancing the weave crimp in both the warp and the filling is also helpful.
Color Loss
"Frosting" is the term widely used in the textile industry to refer to the loss of color from durable press and wash-and-wear fabrics. It is caused by localized wear. In single fiber constructions, frosting occurs where there is variation due to incomplete penetration of dyestuffs. In fiber blends, differential wear produces frosting where fibers do not match in shades. Color that wears away is permanently lost from the garment.
Soiling
Soiling is a problem that became more acute when the polyester/cotton blends began to replace 100% cotton in durable press. Soil does not wash out easily. The introduction of soil release finishes consists of a suitable chemical grafted, cured or polymerised on the surface of the cloth. Visa by Deering-Millikin, Come-Clean by Burlington and X-it by Graniteville were the first three introduced. The use of soil release finishes are particularly important in white shirts, blouses, uniforms and sheets.
Chlorine Damage
Chlorine bleaches will cause yellowing and tendering of the cellulose. The nitrogen groups (NH) pick up the chlorine and hang on to it during rinsing and dry storage. The heat of ironing releases the chlorine in the form of hydrochloric acid (HCl) and the acid weakens the fabric causing strength loss.
If there is no hot ironing there is no damage. Rinsing with antichlor, such as sodium thiosulfate, will remove the chlorine. The amount of chlorine retained need not be high to cause damage. More chlorine is retained with urea formaldehyde than with melamine. In the cyclic ureas, the amine groups (NH2) are not free to pick up chlorine, and the aldehydes do not contain nitrogen, thus they are non chlorine-retentive.
Odors
The fishy amine odor is produced during the curing step and is held in the fabric as an amine salt. When articles are stored or when clothing is worn during hot, humid weather, the amines combine with the moisture and a fishy odor results. The odor is due to the formation of free formaldehyde.
Sewing Problems
Resin-treated fabrics create problems for the home sewer. Fabrics can seldom be straightened if they are "off grain". In plaid gingham, this makes matching impossible. It is difficult to ease-in excess fabric. Creases will not lie flat. Collars and cuffs must be edge stitched if a flat effect is desired. Pin marks show, and if machine stitching must be ripped, the needle holes show and the fabric might tear easily.
The alteration of the durable-press garments created a big problem. Garments could not be lengthened or seams let out because the original crease could not be pressed out and would show. Alter-Ease a spray product by J. P. Stevens, was developed to remove the original creases and to permit new ones to be pressed into the cloth.
Care
Durable-press garments should be laundered before the fabrics become heavily soiled and as soon as possible after soiling. Turn the garment inside out to prevent "frosting" and to prevent wear on the creases. Launder in the coolest water that will remove the soil. For heavily soiled spots, apply a liquid detergent full strength to the spot. Soak in hot water, let water to cool and agitate for six to eight minutes. Agitation time should be as short as possible to remove soil. Rinse in cool water. Use of a fabric softener will reduce the build up of static, which attracts soil and which causes garments to cling.
For drying, keep loads small and set the heat at wash-and-wear. At the end of the period, let garments tumble for a cool-down period of five to ten minutes. Remove the garments as soon as the dryer stops.
Reference:
[1] N. Hollen and J. Saddler, Textiles, 3rd Edition, MacMillan Company, London (1968).
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