`
`T
`THE GLOBAL '?
`COMPLEX J 3:14:11
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`
`
`ELEVENTH EDITION
`
`Textiles
`Sara J. Kadolph
`
`Iowa State University
`
`
`
`Indianapolis NewYork San Francisco Upper Saddle River
`Boston Columbus
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`Copyright © 2011. 200?, 2002. 1993, 1993 Peers: 7: Education, inc., publishing as Prentice Hall, One Lake
`Street. Upper Saddle River. NJ 07458. All rights
`erved. Manufactured in the United States of America. This
`publication is protected by Copyright, and 5'
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`Many of the designations by manufacturers and seller to c-siinguish their products are claimed as trademarks. Where
`those designations appear in this book, and the publisher was aware ot a trademark claim. the designations have been
`printed in initial caps or all caps.
`
`Library of Congress Cateloging-in-Puhlication Data
`
`Kaoolph. Sara J.
`Textiles r' Sara J. Kadoiph.—Eleventh ed.
`p. cm.
`includes bibliographical references and index.
`ISBN—13: 978—0—I 3—500759—4 (Casebourtd)
`ISBN—10: 0—13—500759—8 icasebound]
`i. Textile industry.
`2. Textile fibers.
`3. Textile fabrics.
`T81 446K553 2009
`6?? — dc22
`
`I. Title.
`
`20090501 24
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`1098705432
`
`Prentice Hall
`an imprint of
`
`PEARSON
`
`
`
`
`
`www.pearsonhighered.com
`
`ISBN—13:978—0-18—500759—4
`
`ISBN—i O: 0-13-5oor59—e
`
`
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`.0003__ _.
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`0003
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`

`

`
`
`
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`
`
`
`Understanding fibers and their performance is essential because fibers are the basic unit of most
`
`fabrics. Fibers 'ntluence product aesthetics. durability. comfort. appearance retention. care. en—
`
`vironmental im oact. sustainability. and cost. Successful textile fibers must be readily and contin—
`
`uously availabe and cost—effective. They must have sufficient strength, pliability.
`
`length, and
`
`cohesiveness o be processed into yarns, fabrics. and products that satisfy customer needs.
`
`Textile fibers have been used to make fabric for several thousand years. Until 1885. when
`
`
`
`the first menu actured fiber was produced commercially, fibers were produced by plants and
`
`animals. The f'bers most commonly used were wool. flax. cotton. and silk. These four natural
`
`fibers continue to be used and valued today, although their economic importance relative to all
`
`fibers has dec eased. Natural fibers are those that are in fiber form as they grow or develop
`
`and come from animal. plant. or mineral sources. Manufactured {or man-made] fibers are
`
`made into fiber form from chemical compounds produced in manufacturing facilities and in—
`
`clude such fibers as acrylic used in sweaters and awnings and aramid used in bullet—proof vests
`and brake liners. See Table 3.1 for a list of natural and manufactured fibers. Several new fibers
`
`on the market are made from plant materials. but these new fibers are not considered natural
`
`Natural fibers are in fiber form as they
`
`grow or develop and come from animal.
`
`plant. or mineral sources. Manufactured
`
`(or man-made) fibers are made into fiber
`
`form from chemical compounds produced
`
`in manufacturing facilities.
`
`Fiber Classification Chart"
`
`Bee Individual i'iber' chapters for more complete lists. Only select fibers are included here.
`
`32
`
`chapter ti;
`
`0004
`
`0004
`
`

`

`When examining a fabric with staple fibers, the fabric will have a soft or matte luster and
`
`feel fuzzy, and fiber ends protrude above the surface when the fabric is viewed closely.
`
`if the
`
`fabric is folded and the folded area is vieWed over a contrasting surface. the fiber ends can be
`
`seen, making the edge of the fabric look slightly fuzzy or hazy. When a yarn is unraveled from
`
`these fabrics, short fiber ends can be seen protruding from the yarn. When the yarn is un—
`
`tWisted, short fibers can be pulled from the yarn and the fibers may vary slightly in their length.
`
`No fiber is as long as the yarn or the piece of fabric from which the yarn was reveled.
`
`Smooth filament yarns will produce a fabric that is shiny. lustrous, smooth, and slick. No
`
`fiber ends can be seen on the surface. When a yarn is removed, it usually takes fewerturns to
`
`unravel it. The only fiber ends that exist are where the fabric has been cut and the fibers are as
`
`long as that piece of fabric. If the fabric is folded and viewed over a contrasting surface, the
`
`edge of the fabric will look sharper or crisper than that of a spun yarn fabric. if the filament yarn
`
`has been textured or bulked, it will resemble spun yarns in some aspects and filament yarns
`
`in other aspects. The fiber ends only occur where the fabric is cut and the yarns are as long
`
`as that piece of fabric. But the hand is not as smooth and slick and the surface will not look
`
`as flat and even as a smooth filament yarn fabric. Consumers will not see filament tow. Fila—
`
`ment tow is used to produce spun yarns—either of a single fiber type or blends such as cot—
`
`ton and polyester chambray for shirts or wool and acrylic herringbone for skirts and trousers.
`
`Diameter Fiber diameter greatly influences a fabric’s performance and hand (how it feels).
`
`Large fibers are crisp, rough, and stiff. Large fibers also resist crushing—a property that is
`
`important in products such as carpets. Fine fibers are soft and pliable. Fabrics made with fine
`
`fibers drape more easily and are more comfortable next to the skin. Large fibers are used to
`
`produce durable products such as book bags and luggage. Fine fibers are used to produce
`
`softer and more comfortable products such as apparel and bed linens.
`
`Natural fibers like cotton, ramie, wool, and silk are subject to growth irregularities and are
`
`not uniform. in natural fibers, fineness is one factor in determining quality—fine fibers are of better
`
`quality. Fineness is measured in micrometers [a micrometer is Vi 000 millimeter or 1/25,400 inch}.
`
`The diameter range for some natural fibers is 16 to 20 micrometers for cotton, 12 to i 6 for flax,
`
`10 to 50 for wool, and 11 to 12 for silk.
`
`For manufactured fibers like rayon, nylon, and polyester. diameter is controlled at several
`
`points during production. Manufactured fibers can be made uniform in diameter or can be thick
`
`and thin at regular intervals throughout their length. The fineness of manufactured fibers is de-
`
`scribed as denier ortex. Denier is the weight in grams of 0,000 meters of fiber or yarn. When
`
`used to describe a fiber, denier refers to the fineness or coarseness of the fiber—small
`
`Learning Activity 2
`
`Use Fabrics #3, 5, and 6 from your swatch kit. identify the fiber lengths in each fabric as
`filament or staple. Suggest one or two textile products that might be made using each
`‘abric. Describe the serviceability for each product that would be related to fiber length.
`Explain your reasoning. From the clothes you are wearing and the other textile products
`you have with you today, identify the items that are made from staple fibers and those
`made from filament fibers. How does the serviceability of those items relate to fiber
`
`
`
`ength?
`
`textile fibers and their properties
`
`0005
`
`0005
`
`

`

`Fibst Property
`
`Abrasion resistance ts the ability ni‘ a fiber in rears:
`damage. lirani rubbing or surface Latrnlaci
`
`Absorbancy m moisture: regain IS rim: peme-rriagn at
`moisture a bone-dry libel will ahfiorh lrhin me air when
`at filanljat'd temperature and relative l’iufl'ildllti.
`
`Tough outer laya-r'. scales. or skin
`Fiber toughness
`Flelllhifi l‘iIUlfi‘C-Liiaf chain:
`
`Chemical COltiFIOSlIlBri
`Ainnrphoua areas
`
`Contributes to Fabric Property
`
`Uilfahllll‘,‘
`AbraSlOll rearstance
`
`Flesrstancaa to Spilllll IQ Oi riillll'ig
`
`Comic-rt. warmth, Walls” repelleiruy.
`absornencv. Bialir. buildup
`DVBEIDIHN. sailing
`Shrinkaue
`WI'IFWIiB reaiatarice
`
`Aging resistance IS resrstance to deleterious changes
`river time.
`
`Allargenlc patential i.-; the ability to cause physrcal
`rear-lions Such as skin mines-5.
`
`Cheriilcal structure-
`
`Fabric. and product alor'age
`
`Cher‘nlt-Hl coihricrsitinrr, ar'lclriives
`
`CO mini l
`
`Sliiflifiss drape, comlun
`
`Dimensional stability is the ability to reimrr a given Size
`and shape through use and care. lr'ir-lirdes shrinkage
`resistance. which is 1hr:- ati'rlilir m a laitrrrr. lri retain llS
`gr'ICllrral dimei'islom’: during Claal'ill'rq
`
`Chemical reactivity describes» in»;- allecl oi 3-2105. alkaiis.
`OHEHLIHQ agents, Hollie-rim, hr other chemrnals
`
`PU-lfll’ gii‘iui'rr; til l‘i'IICHEClJlFL-r
`Chemical c-ninrposiiion
`
`Coheliveness is the ability or “bars in Clll‘lg together
`{luring “-fJIiil'lliit]
`
`Compresaibility I5 msrslance to rt-rLrEl'rinu
`
`Cumm lllf:a :ttJllllv it: LLOI iCt-u! (Jr [li'nlm‘l
`
`Creep is delaveei or gradual recowaw from fiillllqa‘llflrl
`rir Kilian—r.
`
`Density anti specific gravity are irieaaiires of the
`WE'lql'lI of a fiber Density is in; werglrl in grams per
`Crihrr. cenlrriiatw Specific gravity la the tEihU (if lilriei
`mass to an equal irolrrriie -:rf wale- al -1"C
`
`Qrimp m lwml, TlllllECH contour
`
`Molecular airuclure. lilier cliameter,
`arid filtlfHEFi-S
`
`Crimp. L'Ji'll. or lwrsl
`Dose—sectional shape
`
`Lack oi curls. chains, CFOSS lrrilr's,
`sire-rig minds, [ram orient-alien
`
`ML‘IIEE'Lllal' warghl and Slrtifllltl'fi
`
`CIBBDIHQ requirements-
`Ability to talc certain Ilrll‘EheF.
`
`RE'ElSlflP’lGF Ir. rairE-lrng
`Hamster-ice Irr Vififl‘l slippage
`
`Liarsh and wrinkle regs-lance
`
`F-ii‘JIIC' opacrlv
`[Zeal—less fiber needed
`
`Streak. dyeing and shiner‘s in labrrr;
`
`Warmil-r Wltl‘liT'Lll wergni
`LLrllirre-gs
`Fabric liiic.vari-;\.
`
`Physrcal 'EmCl chemical EtrllcflirE'.
`r: [railings
`
`‘fiii-irinliago, growth. care: appearance
`
`Drape is the manner in whirli .i liilrrrir. miles or hangs
`over a lhr‘ee-dimerisronal i‘oim
`
`Fiber SIZE and stiffness
`
`Dyaability re- the titre-r3 recefitrurw In: imitarnlinn lay
`wives; Litre ai'linrlv
`
`Amorphous areas and dye cine-5..
`chemical structure
`
`Elasticity IE. ll ie ability Di a strained rrialei'ial lu ref-over
`Ila Gllglllfill dirt-Ernsrons. immediatelv altar removal oi
`arm-.355.
`
`Elastic recovery is the degree to which lilJPr'E WIH
`i'E‘fi'LE‘JEF from attain
`
`Chemical and molecular SlIIiClIJti-‘J
`side chains. any: links. slrohct
`hon-‘13
`
`Chemical and molecular Structure
`Side t'.‘l'i:_'iiF:B_ risrrciss links. sliarig
`trends
`
`ADDFBIRIII'ZF
`Comiurl
`
`Aesthetics airirl rzolrrr-fasiness
`
`FII .‘il'lfJ appeararriji-i: resilriar'ir'ir
`
`Proce-ssabillii..' ni lahrict—
`Resrlienrty and ringer:
`
`Electrical conductivity la the atrilily m trimmer
`EelElCtm,-zi| Charge-3.
`
`r_.lii.-"li'ircrai strucluru pain-i (iltlriias
`
`Prior -::onrJi_Ir3li\riti- Qidlit". lat-mi; ( ling
`
`Elongation is til»:- ability :0 be fill'E’lChm. extended. ur-
`lfimflllltrar'iéw:l. waiter: with c-oi‘rditioi'is twetfdrvl and
`tei'rr'peialums
`
`Fiber crimp
`Molecular “sllllt‘lllte.
`:3er rirrianlniiion
`
`ll’lUI-F'CUJSI L‘T'lr'llffl
`
`increased Mar stienglh
`Reduce-I] brittleness,
`
`Prowcteg "givin'
`
`Flammability Gee-cube? “(Mr a fabric reacts I0 lgnilr-“ii'r
`SIQUl'Lr-E'S
`
`Chemical composnlun
`
`Fabrlc‘s ability lo ignite and burn
`
`Flexibility r5 W? amlfly to bend repeatedly without weal-ring.
`
`Flexible molecular chain
`
`0006
`
`

`

`Table 3.2 Fiber Properties (continued)
`
`Fiber Property
`
`Hand is the way a fiber feels. a tactile sensation: silky.
`harsh. soft. crisp. dry.
`
`Cross—sectional shape. surface
`properties, crimp. diameter. length
`
`Contributes to Fabric Property
`
`Fabric hand
`
`Heat conductivity is the ability to transfer heat
`through a fabric.
`
`Crimp. chemical composition
`Cross-sectional shape
`
`Comfort: cooling effect
`
`Heat retention is the ability to retain heat or insulate.
`
`Heat sensitivity is the ability to shrink. soften. or melt
`when exposed to heat.
`
`Crimp. chemical composition
`Cross-sectional shape
`Chemical and molecular structure
`Fewer intermolecular ferces
`and cross links
`
`Comfort: warming or insulating effect
`
`Determines safe cleaning and pressing
`temperatures
`
`Hydrophobic describes fibers with low affinity or
`attraction f0r water.
`
`Chemical composition
`
`Hydrophilic or hygroscopic describes fibers with a strong
`affinity or attraction for water.
`
`Chemical composmon
`Amorphous areas
`
`Light resistance is the ability to withstand degradation
`from sunlight.
`
`Chemical composition
`Additives
`
`Loft, or compression resiliency, is the ability to
`spring back to Original thickness after being
`compressed '
`
`Fiber crimp
`Stiffness
`
`Soiling. comfort. care
`Static build-up
`
`Soiling. comfort. care
`
`Fabric durability
`
`Springiness. good cover
`Resistance to flattening
`
`Luster is the light reflected from a surface. More subdued
`than shine: light rays are broken up.
`
`Smoothness of fiber. yarn.
`and/”or fabric
`
`Fiber length, shape. or additive
`
`Mildew resistance is resistance to the growth of mold.
`mildew. or fungus.
`
`Low moisture absorption and
`chemical composition
`
`Luster
`
`Storage
`
`Moth resistance is resistance to insect damage.
`
`Chemical composition
`
`Storage
`
`Oleophilic describes fibers with a strong affinity or
`attraction for oil.
`
`Chemical compositiOn
`
`Soiting: care; appearance
`
`Pilling is the formation of balls of fiber on the fabric
`surface.
`
`Fiber strength
`High mofecular weight
`
`Pilling
`Unsightly appearance
`
`Resiliency is the ability to return to original shape after
`bending. twisting. compressing. or a combination of
`deformations.
`
`Molecular structure: side chains.
`
`cross links. strong bonds
`
`Wrinkle recovery. crease retention.
`appearance. care
`
`textile fibers and their properties
`
`Strength is the ability to resist stress and is expressed
`as tensile strength {pounds per square inch) or as
`tenacity (grams per denier). Breaking tenacity is the
`number of grams of force to break a fiber.
`
`Specific gravityu—see Density
`
`Stiffness, or rigidity. is reSIstance to bending or
`creasing.
`
`Sunlight resistance is the ability to withstand
`degradation from sunlight.
`Texture is the nature of the fiber or fabric surface.
`
`Translucence is the ability of a fiber. yarn. or fabric to
`allow light to pass through the structure.
`
`Chemical and molecular structure
`
`Fabric body. low drape
`characteristics
`
`Difficult to make spun yarns
`
`Molecular structure: orientation.
`crystallinity. degree of
`polymerization
`
`Durability. tear strength. sagging.
`pitting
`Sheerest fabrics possible with strong.
`fine fibers
`
`Chemical composition
`Additives
`
`Fabric durability
`
`Physical structure
`
`Luster. appearance. comfort
`
`Physical and chemical structure
`
`Appearance. cover
`
`Wicking is the ability of a fiber to transfer moisture
`along its surface.
`
`Chemical and physical composition
`of outer surface
`
`Makes fabrics comfortable
`
`Moisture transport
`
`0007
`
`

`

`f‘l’fT»;‘lSteal “luti33.15% tiff Acetate Acetate is available as staple or filament. Much more
`
`filament is produced because it gives a silklike look. Staple fibers are crimped and usually
`
`blended with other fibers. The cross section of acetate is lobular or flower petal—shaped. The
`
`shape results as solvent evaporates when the fiber solidifies in spinning. Notice in Figure 7.4
`
`that the lobes may appear as a false lumen. The cross—sectional shape can be varied. Flat
`
`filaments give glitter to fabrics.
`
`Chemical Composition and Molecular Arrangement of Acetate
`
`Acetate—a manufactured fiber in which the fiber—forming substance is cellulose
`acetate. Where not less than 92 percent of the hydroxyl groups are acetylated. the
`term triacetate may be used as a generic description of the fiber.
`—I‘:ederaar Trade Commission
`
`Acetate. an ester of cellulose. has a different chemical structure from rayon or cotton. in
`
`acetate. two hydroxyl groups are replaced by bulky acetyl groups {see Figure 7.5} that prevent
`
`highly crystalline areas. There is less attraction between the molecular chains due to a lack of
`
`hydrogen bonding. Water molecules do not penetrate as readily. contributing to acetate's lower
`
`absorbency and dye affinity. Acetate is thermoplastic.
`
`Ff'flpfliTifiS 05 .fitfiflfatt‘: Acetate has a combination of properties that make it a valuable
`
`textile fiber.
`
`it is low in cost and has good draping qualities. Table 7.8 summarizes acetate’s
`
`performance in apparel and interior textiles. Reviewing the tables in Chapter 3 will help in
`
`comparing the performance of acetate with that of the other fibers.
`
` 4‘ .
`
`Photomicrcgraphs of
`'
`acetate fiber: cross--secticnal view
`(left), longitudinal view (right).
`SOURCE: Courtesy of the British Textile
`Technology Group.
`
`GHQDGOCHE, Acetate
`
`
`. ..
`
`.'
`
`Chemical structure
`
`of acetate.
`
`Aesthetics Acetate has been promoted as a beauty fiber. it is widely used in satins. brocades.
`
`and taffetas. in which fabric luster. body. drape, and beauty are more important than durability
`
`or ease of care. Acetate maintains a good white color. an advantage over silk.
`
`Acetate is a manufactured fiber in
`
`which the fiber—forming substance
`is cellulose acetate.
`
`';_-
`-
`Summary of the Performance of AcetateIn Apparel
`and Interichextiles
`
`
`
`
`
`
`
`
`
`
`
`manufactcred reqeaerate-ct fibers
`
`141
`
`0008
`
`0008
`
`

`

`
`
`
`
`..
`
`{A
`:—
`Photomicrographs
`~
`.;_-l_
`.
`of trilobal nylon.
`SOURCE: Courtesy of E. I. du Pont de Nemours &
`Company.
`
`
`
`
`
`
`
`unattractive feel. Changing the fibers shape reduces this condition. Nylon and other melt—spun
`
`fibers retain the shape of the spinneret hole. Thus. where performance is influenced by fiber
`
`shape. producers adjustthe shape as needed. For example. in nylon carpets. trilobal fibers and
`
`square fibers with Voids give good soil—hiding characteristics [Figures 8.8 and 8.7).
`
`Chemical Composition and Molecular Arrangement of Nylon
`
`Nylon—a manufactured fiber in which the fiber—forming substance is any long—chain.
`synthetic polyamlde in which less than 85 percent of the amide linkages are attached
`directly to two aromatic rings.
`—
`—|
`——fi——NH
`o
`
`
`
`i
`
`—Federal Trade Commission
`
`Nylons are polyamides: the recurring amide groups contain the elements carbon, oxy—
`
`gen. nitrogen. and hydrogen. Nylons differ in their chemical arrangement. accounting for slight
`differences in some properties.
`
`The molecular chains of nylon are long. straight chains of variable length with no side
`
`chains or cross linkages. Gold—drawing aligns the chains so that they are oriented with the
`
`lengthwise direction and are highly crystalline. High—tenacity filaments have a longer chain
`
`length than regular nylon. Staple fibers are not cold—drawn after spinning. have lower degrees
`of crystallinity. and have lower tenacity than filament fibers.
`
`Nylon is related chemically to the protein fibers silk and wool. Both have similar dye sites
`that are Important in dyeing. but nylon has far fewer dye sites than wool.
`
`Nylon fiber with voids.
`“.2
`is};
`SOURCE: Courtesy of E. I. du Pont de Nemours 81
`Company.
`
`Pt'DpSi’iiEE—i (If Nylon Nylon's performance in apparel and interior fabrics is summarized in
`
`Table 8.5. Compare the performance of nylon to that of other fibers by reviewing the tables in
`Chapter 3.
`
`Aesthetics Nylon has been very successful in hosiery and in knitted fabrics such as tricot and
`
`jersey because of its smoothness, light weight. and high strength. The luster of nylon can be
`
`Nylon is a mahufactured fiber in which
`
`the fiber-forming substance is any
`
`long-chain synthetic polyamide.
`
`Summary of the Performance of Nylon in Apparel
`-
`g-
`"1- f':-'
`and Interior Textiles
`
`_1Ei0_
`
`chapter eight
`
`0009
`
`0009
`
`

`

`Table 8.13 Tensile Recovery From Elongation
`
`Percent Elongation
`
`
`
`Polyester 56 iregular}
`
`Nylon 200 rregular'}
`
`SOURCE: E.
`
`|. du Pont de Nemours a. Company. Technical Bulletin X442 (September 1961].
`
`However. when polyester products wrinkle and where wrinkles are set by body heat and mois—
`
`ture. pressing may not remove them.
`
`Resiliency makes the polyesters especially good for fiberfill in quilted fabrics such as quilts.
`
`bedspreads, parkas. and robes. and in padding forfurniture, futons. and mattresses. lfthe fiber
`
`is flattened on one side or made asymmetrical,
`
`it takes on a tight spiral curl of outstanding
`
`springiness. Fiberfill of a blend of fiber deniers gives different levels of support. Lumpiness in
`
`pillows can be prevented by running hot needles through the batt to spot—weld the fibers to
`
`each other. Fiberfills with one. four, or seven hotlow channels are available (Figure 8.11).
`
`To summarize. the resiliency of polyester is excellent; it resists wrinkles and. when wrin—
`
`kled, it recovers well whether wet or dry. Elastic recovery is high for most apparel items. The di—
`
`mensional stability of polyester is high. When properly heat—set,
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`it retains its size.
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`It can be
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`permanently creased or pleated.
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`Pilling was a severe problem with fabrics made from the unmodified polyesters. Low—pilling
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`fiber types minimize the problem and are suitable for use in blends. The finishing process of
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`singeing also helps control pilling.
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`Care Polyester has revolutionized consumer laundering. This revolution occurred because of
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`heat setting and the advent of durable—press or wrinkle—resistant finishes. Care instmctions for
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`polyester/cotton durable—press fabrics are relatively simple: Wash in warm water; machine—dry
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`with medium heat; remove promptly when dry; hang; and touch up with a steam iron if necessary.
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`The excellent abrasion resistance and tenacity and the high elongation of polyester are the
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`same whether the fabric is wet or dry. The low absorbency of polyester (0.4 percent) means
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`that it resists waterborne stains and is quick to dry. The excellent resiliency of polyester keeps
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`it looking good during use and minimizes wrinkling dun‘ng care so only light pressing may be
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`required. Because of heat setting. dimensional stability and shape retention are excellent.
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`Warm—water washirg is generally recommended to minimize wrinkling. Hot water may
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`contribute to wrinking and color loss. However. hot water (120 to 140°F) may be needed to
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`rer love greasy or o'ly sta'ns or bull .—up body soil. Polyester is oleophilic and tends to retain oily
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`shirts. the soil usua ly responds to pretreatment. then aundering.
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`soi . A familiar example o't'iis is “ 19 around the collat“ ln polyester or po yester/cottor blend
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`Hollow polyester fibers: (at) 1-Hollofil, (b) 4-0uallofil. and
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`Figure 8.11
`(c) 7-Hollofil.
`SOURCE: Courtesy of E. I. du Pont de Nemeurs a Company.
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`synthetic fibers
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`171
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`0010
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`0010
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`Munofilament yarns consist ct a single
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`coarse-filament fiber used primarily in
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`technical products. Tape yarns are
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`It expensive yarns produced from extruded
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`Jolvr-ner tllrns. Network yarns are made of
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`.iners connected In a network ariangement
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`and are less bulky and dense compared to
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`tape yarns. Both yarns are used in
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`technical products.
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`5qu yarns have greater covering power
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`or apparent volume compared to
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`conventional yarns of equal linear
`derisltv and at the same basic material
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`with normal twist.
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`
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`Figure 10.3 Typical bulk yarn.
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`21—5
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`:;l'5[.r_.— mgr.
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`equipment. Although some fiber polymers cannot be processed by the split—fiber method.
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`polypropylene is ofien processed in this way because it is easy and inexpensive and produces
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`strong yarns. Tape yarns are ribnonlilte in appearance but can take on the rifles r'ounded
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`appearance of traditional yarns.
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`Pellets of polypropylene vvith appropriate additives are melted and then extruded as a film
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`0.005 to 0.020 inch thick onto a chilled roll or cooled quickly by quenching In water. The flint is
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`slit into tapes appi‘oiui‘itafely 0.1 inch wide and heat—stretched to onset the molecular chains.
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`The stretching can be carried to a pou'it at which the film fibrillates (splits into fibersl. or the film
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`is passed over needles to slit lr. Twisting or other mechanical action completes the fibrillation.
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`Yarns as low as 250 denier have been made from spilt fiber-s. Tape yarns are coarse and
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`usually used in carom backing. rope. cord. fishnets. begging. and interiors support fabrics for
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`which ribbonlilrre yarn is needed.
`Olefin films are slit into yarns that are used for the same textile products as split—fiber olefin.
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`Silt—film-tepe yarns are much more regular and may be thicker than r'ibrillated film—tape yarns.
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`Tape yarns are slightly more expensive and their production is slower
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`Network trams- are made of fibers that are connected in a network. arrangement.
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`l hey have
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`a ribboniilre characteristic an nilar to tape yarns. but are bulkier endless dense. These yarns are
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`produced by incorporating all into the polymer to create a foam. When the foam is eittnided
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`and stretched. tiny air cells rupture. forming an interconnected fibrous web. Although their
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`strength is not as great as that of niultlfiian‘ient. monotllamenl. or tape yarns. these network
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`yarns have interesting bulk and comfort characlenstics. Uses include technical products in
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`which bulk and low density are more Important than nigh strength {see Figure 10.2].
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`Bulk Yarns
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`”A bulk yarn is one that has been processed to have greater covering pewter or apparent vol—
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`ume than that of a conventional yarn of equal linear density and of the same basic matenal with
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`normal twist" tASTM) Often these bull: yarns are referred to as bulk-continuous-filament
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`[BCF‘i yarns or textured filament yarns. 30F yarns Include any continuous—filament yarn whose
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`smooth. straight fibers have been displaced from their closely packed. parallel position by the
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`introduction of some form of crimp. curt. loop. or coll (Flguie 10.3).
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`The characteristics of bulk yarns are quite different from those of smooth—filament yarns.
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`Bulking gives filaments the aesthetic properties oi spun yarns by altering the surface cl‘iarac
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`teristics and creating space between the fibers These yarns have an irregular surface. soft
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`f\i’vist. and continuous nonparallel fibers that resist being pulled apart. Fabrics are more ab—
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`sorbent. more permeable to. moisture. more breathable. and more comfortable. and they have
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`better bulk. cover. and elastlcny. Static buildup is lower. Bulk yarns do not pill or shed
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`there are three classes of bulls yarns. bullty yarns. stretch yarns. and textured yarns. They
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`Will be discussed after the texturing processes are desciibed.
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`Learning Activity 1
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`iNOi’k in groups of two or three. Explain the process used to produce these filament yarns:
`monefilai‘nent. ntultifilament and tape. Identify an and use for each type and explain why
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`that yain would be serviceable in that end use
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`0011
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`0011
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`

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`Texturing
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`Filament Yarns The
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`texturing
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`processes
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`discussed here are primarily mechanical methods used with
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`thermoplastic fibers. Heat and chemical methods are used to
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`achieve texture with bicomponent fibers.
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`False-Twist Process The fates—twist spindle whirls at 600,000
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`revolutions per minute and generates such an intense sound
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`that it adversely affects health and hearing.
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`In the continuous
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`process, the yarn is twisted, heat—set. and untwisted as it travels
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`through the spindle (Figure 10.4}. The filaments form a distorted
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`helical coil. When the yarn is pulled at each end, the yarn
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`stretches as the coils straighten out. This is one of the most
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`important and cheapest methods used to add bulk and stretch
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`to filament yarns.
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`Draw-Texturing In draw—texturfng, unoriented filaments or
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`partially oriented filaments (often referred to as partially oriented
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`yarns—POY) are fed through the double—heater false—twist
`spinner. then stretched slightly and heat—set. Draw—texturing is
`a fast and inexpensive way to make textured bulk yarns.
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`Pin
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`Spindle
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`Heater
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`False-twist process (left), yarn (right).
`Figure 10.4
`SOURCE (left): Courtesy of Solutia Inc.
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`
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`Stuffer Ben: The staffer box produces a sawtooth crimp of considerable bulk. Straight—
`filament yarns are pushed into one end of a heated box (Figure 10.5) and then withdrawn at
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`the other end in crirnped form. The volume increase is 200 to 300 percent, with some elasticity.
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`The stuffer box is a fast. inexpensive, and popular method for carpeting yarns.
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` Weighted
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` Crimping
`Rolls
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`Stuffer box process (left), bulky yarn used in apparel (right).
`Figure 10.5
`SOURCE (left): Courtesy of Solutia Inc.
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`yarn processing
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`217
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`0012
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`0012
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`

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`Air Jet Conventional filament yarns are fed over an air jet
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`(Figure tea} at afaster rate than they are drawn off The blast of
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`air 'lorces some of the filaments into very tinv loops; the. velocitv
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` of the air affects the size of the loops. This is a slow, relativelv
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`costly. but versatile process. Volume increases with little or no
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`stretch. Afr-tat yarns maintain their size and bulk under tension
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`because the straight areas bear the strain and the loops remain
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`relatively unaffected.
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`
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` Knit-Deknit In the knit—dome process. a small—diameter
`tube Is knit. heat—set, unraveled, and wound on cones
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`Figure 10.6 Air-jet process (left). bulky yarn (right).
`SOURCE [left]: Courtesy of Solutia Inc.
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`/
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`.
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`‘t
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`. /_:.>._,.
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`{Figure 10?). Crimp is varied by changing stitch size and
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`tension. The geugeused to make a fabric must differ from that
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`used in yarn texturing. or pinholes will form when text tiring and
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`itnit gauges Irratch.
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`
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`
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`Knitted
`fabric
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`Heater
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`Figure 10.7 Knit-deknit fabric
`is heat-set. then unraveled.
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`Bulky yarns are formed from inherently
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`bulky nmnutactured fibers that are hollow
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`along part or all at" their length or from fibers
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`that cannot be slosely peeked because of
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`some fiber cl'iaiacterlsttc. Stretch yarns
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`are theririoplastio filament or spun varhs
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`with a high degree of potential elastic
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`stretch. rapid recovery. and a high degree
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`or yam curl. Textured or bulked yarns at e
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`filament or spun yarns with notably greater
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`apparent voltlrne-than a conventional vein
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`of similar filament count and linear densrty.
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`218
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`J
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`$5.31 Lu :1
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`Ch
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`Bulk Yarn Types "Bulky yarns are tormod from inherently bulky manufactured fibers that
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`are hollow along part or all of their
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`length Or from fibers that cannot be closely packed
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`because of their cross—sectional shape.
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`fiber alignment. stiffness.
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`resiilence. or natural
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`crimp" iASTM).
`Bulky texturing processes can be .sed with ariv irind of fllament 'flbor or spun yam. The
`varns have less stretch than either stretch or textured yarns. Bi lll’iy yarns are used In a wide ar-
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`rav of products including carpeting. lingerie. sweaters. and Shoelaces.
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`Stretch Yarns “Stretch yarns are thermoplastic filament or spun yarns with a high degree
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`of potential elastic stretch (300 to 500 percent}. rapid recovery. and a high degree of vam curl"
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`_
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`(ASTMt. Stretch yarns have moderate btllh. Stretch varns oi nvlon are used exienslvelv in-
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`men‘s and women's hosiery. pantyhose. leotards. swrmweer.
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`leggings, football pants. and
`
`jerseys. Apparel manufacturers like stretch yarns because fewer sizes are needed since one-
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`size items fit wearers of different sizes. Stretch yarns are not the same as varris made with
`elastomeric fibers.
`
`Textured Yarns "Textured or bulked yarns are filament or spun yarns with notably greater
`
`apparent volume than a conventional yarn of similar filament count and linear clens'rtv” [ASTM].
`
`These yams have much lowerelastic stretch than stretch vams, but grea‘terstretch than bulky yams.
`
`They are stable enough to present no unusual problems