Selecting Textiles & Fabric Construction
From Fibre to Yarn to Fabric
Before a fabric can be made, raw fibres must be transformed into yarn. Short staple fibres (such as cotton or cut synthetic staples) are carded to align the fibres, then drawn out and twisted together in a process called spinning. The twist locks the fibres together, giving the yarn strength: the more twist, the stronger but less soft the yarn. Continuous synthetic filaments can be used directly or twisted with other filaments to form a multi-filament yarn. The structure of the yarn — smooth, textured, thick, or fine — influences the drape, feel and appearance of the finished fabric.
Woven Fabrics
A woven fabric is produced on a loom by interlacing two sets of yarns at right angles. The yarns running lengthways are the warp; those running widthways are the weft. The pattern in which warp and weft cross determines the weave structure and the fabric's properties:
- Plain weave — the weft passes over one warp thread and under the next in a simple alternating pattern. This produces a firm, hard-wearing fabric with no clear right or wrong side. Examples include calico, muslin and many shirting fabrics. Plain weave is the most common weave structure.
- Twill weave — the weft passes over two (or more) warp threads before going under one, with each row offset by one thread, creating a distinctive diagonal rib on the fabric surface. Twill fabrics are softer, more flexible and more durable than plain weave equivalents. Denim and gabardine are classic twill weaves.
- Satin weave — the warp floats over four or more weft threads before going under one. These long floats reflect light to create a smooth, lustrous surface. Satin-weave fabrics drape beautifully but snag easily and are less durable than plain or twill weaves. Satin and sateen are typical examples used in evening wear and bed linen.
Woven fabrics are generally stable — they do not stretch significantly (except on the bias, i.e. at 45° to the grain), they fray when cut and they hold their shape well. The tightness of the weave (thread count) affects strength, opacity and feel.
Non-Woven Fabrics
Non-woven fabrics are made directly from fibres or filaments bonded together by mechanical, chemical or thermal means — without spinning into yarn or weaving on a loom. They tend to be cheaper and quicker to manufacture than woven fabrics but are generally weaker and do not drape as well.
- Bonded/needle-punched non-wovens — fibres are laid in a web and then either punched together with barbed needles (needle punching, which mechanically entangles the fibres) or bonded with heat (thermal bonding, where thermoplastic fibres melt slightly to fuse together) or adhesive chemicals. Products include interfacing (used to stiffen collars and waistbands), disposable medical gowns and geotextiles.
- Felt — wool fibres are agitated with heat, moisture and pressure, causing the scales on the wool fibre surface to interlock and mat together. Felt does not fray when cut, making it easy to use for craft projects, hat bodies and industrial filter pads. Synthetic fibre felts mimic this by needle punching rather than scale entanglement.
Knitted Fabrics
Knitted fabrics are made from a single yarn (or multiple yarns) forming interlocking loops. The looped structure gives knitted fabrics their characteristic stretch, comfort and ability to conform to the body. There are two main types:
- Weft knit — the yarn runs horizontally across the fabric, forming rows of loops. A stitch dropped in one row can cause a ladder to run down the fabric. Weft-knit fabrics stretch in all directions and are used for T-shirts, socks and jumpers. Jersey is the most basic weft-knit structure.
- Warp knit — multiple yarns run vertically (in the warp direction), with each yarn looping diagonally to interlock with adjacent yarns. Warp-knit fabrics are more stable than weft knits — they are less likely to ladder — and have less stretch. Examples include tricot (used in lingerie and sportswear lining) and lace fabrics.
The forces and stresses a fabric must withstand depend on its end use. A woven fabric has high tensile strength along the warp and weft but very little stretch in those directions — suitable for structures like bags, sails or tailored jackets that must hold their shape. On the bias (45° to the grain), woven fabric has far more stretch and drape, which couture dressmaking exploits. A knitted fabric accommodates stretch in multiple directions because the loops can extend without the yarn itself stretching — making knits ideal for close-fitting activewear and undergarments. A non-woven typically has low tensile strength and minimal stretch but can be very uniform in thickness and density, useful for filtration or single-use medical applications. Designers must match fabric construction to the forces the product will experience in use.
Selecting Textiles by Function, Aesthetics, Cost and Sustainability
When selecting a fabric for a specific product, designers balance multiple criteria simultaneously. Function considers the mechanical and physical performance needed: does the fabric need to be waterproof, fire-retardant, stretch under load, or withstand repeated washing? Aesthetics includes colour, texture, pattern, drape and lustre — how the product looks and feels to the consumer. Cost encompasses fibre price, fabric production cost and the end retail price point the brand is targeting. Availability and lead times affect whether a fabric can be reliably sourced in the required quantities and colours.
Environmental considerations are increasingly significant in fabric selection. Certifications such as GOTS (Global Organic Textile Standard) verify that organic cotton meets environmental and social standards throughout the supply chain. The Higg Index, developed by the Sustainable Apparel Coalition, allows brands to measure and compare the environmental footprint of different materials, helping designers choose fabrics with lower water use, carbon emissions and chemical inputs.
No single fabric is perfect for every application. A designer choosing fabric for a children's raincoat needs waterproofing and durability; for a ballet costume they need lightweight drape and freedom of movement; for a hospital gown they need hygiene, ease of sterilisation and affordability. Context determines the criteria hierarchy.
Thread count refers to the number of warp and weft threads per square inch (or 10 cm) of woven fabric. A higher thread count generally indicates a finer, smoother, more tightly woven fabric — which is why high thread counts are marketed in premium bed linen. However, thread count alone does not determine quality: the fibre type, yarn quality and finishing treatments matter equally. A 200-thread-count sheet made from long-staple Egyptian cotton may feel superior to a 400-thread-count sheet made from short-staple fibre with multi-ply yarns artificially inflating the count. Understanding this helps designers critically evaluate fabric specifications rather than relying on a single marketing number.