Image by tenz1225 via Flickr

Here are some additional pointers to consider when you are making a curtain using a velvet. Remember that a velvet is just a type of fabric and the fibre(s) that the velvet is made from is important.

So for example we would always recommend that you line a curtain. This gives a superior appearance but also reduced the amount of light going through the fabric hence limiting as much as possible the effect of any fading.

If the velvet has a pile that can be flattened in one direction then we would recommend that you have the pile going downwards for SHINY velvet fabrics and PATTERNED VELVETS.

If however you make up the curtain with the pile upwards then this will deepen the colour so you cold make the curtains this way for cotton velvets and Trevira Velvet and Mohair velvets.

These are general guidelines and it is not necessarily wrong if you make up the curtain ‘the other way’ just so long as you understand the implications to the finished look and performance of the material.

Related Articles

• Plus Size Velvet (fatchic.net)
• New Fabric Trends Update Your Decor (chicagonow.com)
• Mohair Velvet & Other Velvets (kothea.com)
• How-To: Custom Rollup Curtains (craftzine.com)
• Roller curtains with your graphics on them (hackaday.com)
• Fabric Tips #11: Mohair Velvet – How To Store (kothea.com)
• Fabric Tips #12: Rolling a velvet (kothea.com)

Image via Wikipedia

You’ve just ordered a new velvet and unrolled it to admire your purchase. But how do you re-roll it?

When you roll almost any fabric you should have the face on the inside. With a velvet this is the pile so you have the pile on the inside.

Some, but not all, velvet piles stand straight up others will ‘lay down’. for the former it does not matter which way you then roll the fabric (provided the pile is on the inside). However for typically longer pile which lays down (ie you can brush it flat with your hand in one direction only) then you should roll the fabric down the pile as you return it to its roll.

Hopefully that made sense. Good luck.

Related Articles

• Mohair Velvet & Other Velvets (kothea.com)
• Projects ” How-To’s ” Red Velvet Valentine Whoopie Pies (cutoutandkeep.net)
• ‘VELVET’ SURPRISE: Moe Tucker, tea party fan (politico.com)
• Red Velvety (farhanahizani.wordpress.com)

1. Determine Use

Is it panelling or seating? for the latter you will need to consider flammability (cigarette, match and crib 5) and abrasion (Martindale)

2. Fabric Composition

The composition of the fabric including the yarn and weave will affect the fabric’s long term wear, appearance and technical performance.

Natural fabrics such as wool can be more expensive but generally offer good feel and technical characteristics such as natural flame retardancy.

Man-made fabrics usually are more easily cared for but can look cheap if not properly chosen.

3. Flammability

The single standard for contract seating which is acceptable throughout the EU is EN 1021 Parts 1 and 2 (cigarette and match). Higher level standards in the UK are BS 5852 and BS 7176.

The standard which applies to vertical surface fabrics is BS 476 Part 7.

4. Abrasion

You should be looking at the Martindale properties of the fabric. <Here> is more information on the Martindale rub test.

5. Environmental Considerations

Generally natural fibres like wool are good. And man-made ones less so, NYLON is not great.

6. Care and maintenance

Generally contract fabrics will look bad because of dirt rather than because they wear out. So follow the manufacturers instructions on care and maintenance.  Basically wipe away stains quickly and vacuum clean regularly.

In the case of fabric wall coverings, the fabric is held vertically and subjected to a flame. If the rate of spread of any flame falls below a certain level the test is passed.

The test is a severe one. It is appropriate for example, in hotels and offices.

When organising treatment for your fabric ask for it to be treated so that it passes this standard test and inform the treatment company that the fabric will be subsequently tested.

BS5867 part 2 type B is a contract standard for fire retardancy for CURTAINS.

As an interior designer you do *NOT* need to understand the details of the test nor the performance criteria that needs to be achieved.

However interior designers are responsible for the project/installation and because this is a serious are concerning fire risk you DO NEED to:
- Be certain what standard is required for your project/installation;
- Know that you are specifying fabric that meets the appropriate standard; and
- Prove that the fabric you have installed is up to the job.

So here is what you need to do to achieve that, essentially what you need to do to do your job and to ensure you have covered the bases of your responsibility.

1. Determine the fire retardancy standards that need to be adhered to. This may involve contacting the local fire officer. Determine what documentation you need to provide them.

2. Liaise with your fabric supplier to determine if the fabric either:

- inherently meets the standards; or

- requires treatment.

3. On purchasing the fabric, specify the treatment required. You would say to the fabric company “Treat the fabric to the contract curtain standard BS 5867 part 2 type B, and provide me with documentation showing this has been done”.

4. What you have done now is to specify what standard of treatment has to be undertaken. By doing that there is no guarantee that the fabric will pass the appropriate test even though it has been treated to a standard where is should pass the test. Normally you will receive a document saying that the fabric has been treated to the standard. THIS DOES NOT MEAN IT HAS PASSED THE STANDARD. You need to determine if you want your specific batch of fabric to be specifically tested (after treatment). For larger projects this will almost certainly be prudent to undertake. You will need to purchase additional fabric prior to treatment and engage the services of a fabric testing factory (not treatment factory). At the end of that process you will receive documentation stating that the fabric meets the required standard.

Here is related information on fire retardacy for contract upholstery (Crib 5, BS7176 BS5852) and durability of fabric for  contract and domestic upholstery. More…

The following test details are not normally required to be known by the designer:

Test method

A sample of the fabric, vertically held, is exposed to a small flame.

For type B (Hotels, etc) the ease of ignition is observed. It is also noted if the flame reaches one any edge of the specimen and/or if any burning pieces of fabric fall down.

For type C (NHS) the fabric is further analysed to see what happens once the flame stops but when the fabric still may be glowing.

NB: The fabric is tested before and after laundering
type B (12 wash cycles at 40°c)
type C (50 wash cycles at 40°c)

Test Performance Criteria

Type B Performance Criteria: The edges must remain completely intact and no burning debris should fall.

Share & Enjoy!

More…

Share & Enjoy!

Some velvets are woven with a nap others are not. It is not a problem either way. If there is a nap you need to know which way it goes as that affects the process of upholstering. When you run your hand down the mohair velvet or silk velvet the smoothed direction indicates the direction of the nap. Remember this, it is important.

I’m assuming that you have already checked that the fabric is not damaged and that each piece is from the same dye lot.

The nap should be upholstered downwards for:

- the back;

- the seat; and

- side surfaces.

The nap should be upholstered from the outside inwards for:

- arm rests.

How do you flip your cushions? Top to bottom or left to right?

Most people flip from top to bottom. It is therefore standard upholstering practice to upholster the front and the back the opposite way. IE when they are flipped over the nap is the same.

You should use a layer of wadding between the foam and the fabric. The wadding can be either cotton or synthetic it does not really matter but check with any fire rating requirements. Again check that you are using the right kind of foam but HR foam or cold foam are both fine.

However if the pile is vertical then we advise the additional use of a cotton slip-cover.

Going back to the foam for a minute we advise that you use white wadding. In certain circumstances it is possible that grey wadding will ‘bleed’ causing marks on your beautiful Mohair Velvet. For example this may be caused from moisture used in the cleaning process.

Always use wadding on the arm rests as a protective layer to help eliminate ‘sharp’ edges. Using wadding on arm rests will thus reduce wear and tear considerably.

For the piping never use synthetic piping cord, always use cotton piping cord. As with the arm rests this will reduce wear and tear by eliminating the ‘sharper edges’.

Again to reduce wear and tear also use the length of the fabric to make the piping. this will look better as well.

Happy Upholstering

A clear advantage for the contract interior designer is that the FR Flame / Fire Resistance is an industry known and understood property. There are no further complications, risks and costs involved in fire treatment.

However many Trevira fabrics do not meet the Crib 5 standard and further treatment to reach that standard may be required so you must understand the usage and required FR properties.

It is difficult for many FR treatment companies to treat Trevira to pass Crib 5. There are inherent difficulties with the Trevira yarn that cause this. However it is possible to FR treat it to Crib 5. Please contact us for further information.

I will return later in another post to KOTHEA’s quite remarkable sales figures for the financial year just finished. Most surprising, especially considering we are in the midst of a recession. We had our best ever year and by quite a large margin.

We expect some coverage of the new collections in World of Interiors and Elle decoration but, again, more on that at another time.

Where can you see our collections? Well, we are as elusive as ever but we are starting to digitize some images to our flickr feed (click the images on the right or here). The flickr update is ongoing, there is information on flickr now but some of the images are not final and some images do not have full associated descriptions / product details but we are woking on that this week. Our usual clients will receive the new collections in due course starting in late summer; if you need them more urgently for pressing projects of course we will be happy to oblige. Please get in contact in the usual way.

Not all are in production yet but most sampling is available now.

As a very broad summary we have:

1. New colours of several existing ranges including faux leather;

2. More velvets including patterned and crush;

3. Striped, double width linens;

4. Upholstery weight linen; and

5. A few more interesting one-off designs in limited colourways like the one heading up this blog post.

Share, Accredit & Enjoy!

For contract upholstery fabric in the UK your fabric needs to be treated to pass BS 5852 Part 2: 1990: Source 5 (Crib 5). So when you are getting a fabric treated you should ask for it to be treated to that standard. As a designer that is all you should normally have to do.

Now, you have to get the treatment undertaken at a UKAS accredited company. That means they will do it properly. There are a variety of ways of treating fabrics to meet the standard. You don’t need to know them all, that is the job of the treatment house. Just tell them what standard it needs to achieve AND that you will be getting it tested independently afterwards (that encourages them to do it properly). For safety also say that the fabric will be subject to a watersoak (more of that in a minute).

The reason for doing this is that some older treatment methods are ‘legal’ within the BS but they can fail the test. This is because the treatments can contain phosphorous based chemicals that wash out. And the problem with that is that, if a fabric is not inherently fire retardant, then part of the test will involve it being soaked in water. Hence all the hard work put into the treatment is washed away and the test may well be failed.

Some treatment houses do not have some of the more expensive machinery required to undertake some of the treatments. Many just immerse in a fire retardant bath of chemicals.

As part of the treatment some treatment companies will also carry out an indicative test. You should get a certificate to confirm this after treatment. This means that essentially your fabric should pass the crib test. But the crib test itself has not been carried out as that takes a while.

You probably need to check with your client if they are happy with this indicative test or if they want to pay the extra to have the full crib 5 test done with the time delays that involves.

It’s a fire regulation. You have to do this properly and take it seriously, you would be surprised that several companies do not and the repercussions of not doing it are great indeed.

In summary then and as a minimum you should:

1. Ensure you are dealing with a UKAS accredited treatment company.

2. Say “Please treat this fabric to pass BS 5852 Part 2: 1990: Source 5 (Crib 5)”

3. Say “It will be watersoaked and tested afterwards.

4. Say “Please perform an indicative test at the end of the treatment and give me a certificate of treatment”

Simple enough?

Well, actually no. What I have said above stands as generally true. Most of the UK fabric companies and designers work with Crib 5. However there is a slightly higher level of testing and certification called BS7176:1995. Strictly speaking I would say that everyone should use this standard…but they don’t.

When would you use this? When a bit more certainty is required. The BS7176:1995 test includes the Crib 5 test and also a cigarette and match test and also a watersoak. When specifying the test you would need to say how the fabric will be used e.g. in a hotel, in a prison, in a restaurant, in a hospital, offshore installation, and so on. These types of end-usage environments determine the HAZARD CATEGORY of the test that is undertaken. Additionally you will need to specify the EXACT foam that will be used in the installation, so the test will mimic the final end-use environment as much as possible.

So do you ask for your fabric to be treated to BS7176:1995 Medium Hazard? Well you can, it won’t hurt. But the treatment will be the same as for Crib 5. Some of the UK fabric treatments houses that we spoke to have not heard of this British Standard, which was surprising.

So really it is ‘simple enough’ as far as the treatment goes. Treat to Crib 5.

Testing is more complicated. Essentially you are getting the fabric tested to ensure it will work in a specific situation as we’ve already said the treatment is the same as for Crib 5.  If you are in a complex environment you should get an expert involved. My understanding also is that if you are planning to sell furniture to the contract market then achieving a BS7176 pass will allow you to label your product as being suitable for certain environments.

Interior Designers are often interested in the properties and manufacture of velvet – the two being necessarily related. The depth of the pile, the durability of the finish, the ease of maintaining the beautiful finish.

Velvet is made in one of two ways – cut or uncut:

1. Cut pile

a. Here the loom is configured to have two fabric cloths being woven on face-to-face, one on the other. The pile is woven from one into the other. The cloths would be bound together were it not for a moving knife that travels between the two.

b. Wire loom

Here the yarn is looped over a wire above a single cloth. A knife cuts the top of the loop as the wire is withdrawn.

2. Uncut pile

Very similar to the wire loom except the yarn is NOT cut as the wire is withdrawn. This method gives the fabric even more depth and interest.

Dyeing & Finishing

Velvet is often woven in ‘greige’ in longish lengths of 200m or more. A further stage is added whereby individual pieces are cut and coloured to precise colour formulae. KOTHEA use this way to be quickly able to turn around orders for bespoke colours from stock of the greige. Precise chemical dye mixes ensure good replication of colours for re-stocking.

After colouration the fabric is finished. This involves tumbling and brushing and a backing applied.

Different types of pile effects: If the yarns are finished upright then the effect is called, funnily enough, upright pile. Alternatively a panne pile is one which is flattened so that the pile is laid in one direction.

Often you will hear of Mohair Velvet. Mohair is just one of the kinds of yarns that could be used. It could equally be linen or cotton or a cashmere and silk mix.

KOFAUXLEATHER

Reference: 04-003-378

Colour Shown: Marle

Other colourways: 18

Width: 140cm

Repeat: none

Composition: 100% Cotton basecloth, 94% vinyl 6% polyester coat.

Martindale: 100,000++

Primary Usage: Heavy contract upholstery and walling.

Type of fabric: Faux Leather / Faux Skin

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”

# # #

For Further Information

Please visit the company web site at http://www.kothea.com

Trademarks

KOTHEA is a registered trade mark of KOTHEA Limited. Other names may be trademarks of their respective owners.
KOTHEA Ltd (registered in England, Company No. 3826388. VAT Registered No. 740 3262 65)

Reference: 01-009-410

Colour Shown: Natural

Other colourways: 1

Width: 138cm

Repeat: none

Composition: 73% Cotton, 27% Viscose

Primary Usage: Panelling and upholstery, contract & domestic.

Martindale: 14,000 Rubs

Type of fabric: Rafia/Textured Weave

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”

# # #

For Further Information

Please visit the company web site at http://www.kothea.com

Trademarks

KOTHEA is a registered trade mark of KOTHEA Limited. Other names may be trademarks of their respective owners.

Try searching for particular technical characteristics like ‘Martindale’ or ‘ the specific type of product like ‘Mohair’ or ‘upholstery fabric’ or ‘textured upholstery’ .

Alternatively ask a question by commenting on this page and it will be answered.

Try searching for particular technical characteristics like ‘Martindale’ or ‘ the specific type of product like ‘Mohair’ or ‘upholstery fabric’ or ‘textured upholstery’ .

Alternatively ask a question by commenting on this page and it will be answered.

KOTHEA Release New Fabric For Interiors

LONDON, England. 03-AUGUST-2009 11.30 AM: KOTHEA today announced it has expanded its extensive curtain fabric collection by the addition of KOOMEGA DUPION. KOOMEGA DUPION is a highly unusual contract fabric – on the face of it a superb silk for contract curtain usage with washability and both daylight colour fastness and UV resistance. Yet these are not characteristics not usually associated with silk. 28 colours make it a steadfast choice with more than enough colour options for every scheme. The beautiful fabric looks the part of the finest silk, yet it is a silk alternative, attractively priced for high volume contracts and desirable for domestic usages where silk is required in high-light conditions.

KOOMEGADUPION

Reference: 20-001-452

Colour Shown: Pink

Other colourways: 28

Width: 158cm

Repeat: none

Composition: 100% Polyester

Martindale: na

Primary Usage: Curtains, contract & domestic.

Type of fabric: Silk alternative

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”

# # #

Use this page as a directory of the UK’s leading fabric suppliers.

Abbot and Boyd 020 7351 9985
Altfield 020 7351 5893
Alton Brooke 020 7376 7008
Borderline 020 7823 3567
Brian Yates 01524 35035
Brunswig 020 7351 5797
Bruno Triplet 020 7823 9990
Chase Erwin 020 8875 7441
Colefax 020 7244 7427
Colony Fabrics 020 7351 3232
Donghia 020 7823 3456
Gainsborough Silk 01787 372081
Henry Bertrand 020 7349 1477
Jab 020 7349 9323
Jane Churchill 020 7244 7427
Jrobertscott 020 7376 4705
KOTHEA 0870 285 4768
Kravet 020 7795 0110
Lee Jofa 020 7823 3455
Lelievre 020 7352 4798
Manuel Canovas 020 8877 6400
Nobilis 020 7351 7878
Pierre Frey 0207 376 55 99
Robert Allen 01494 474741
Sacho Hesslein 020 7352 6168
Silk Gallery 020 7351 1790
Turnell and Gigon 020 7259 7280
Watts Westminster 020 7376 4486
Zimmer and Rhode 020 7351 7115
Zoffany 08708 300 350

Many of these fabric companies sell a wide range of products including: chenille, contract fabric, faux / fake leather, mohair velvet, linen velvet, cotton velvet, wool,  hand woven products, natural silk, cashmere and damask for upholstery, curtains and cushions.

A Martindale of at least 30,000 would be the minimum specification. The higher the level of expected usage the higher the specification required.

The Martindale rub test (covered extensively, elsewhere on this site) is an abrasion test. Essentially is mimics sofas being sat on a lot.

Any fabric can be put through the test procedure.

Sheer fabrics are used for curtains and blinds.

So the answer is “No”. Only because sheer fabrics are not used on sofas.

For sheer fabrics or for contract curtains then the most important test is for flame retardancy/flammability.

The ACT Textile Performance Guidelines

In order to make textile specification easier, ACT member companies adopted a body of popular tests that measure important performance criteria for textiles in the contract interior textiles market. The results of these specific tests are represented by graphic symbols, which are used on ACT-member company textile sampling to indicate that a specific textile performs to contract standards for its recommended application.

The Guidelines are a selection of the numerous tests for textile performance that have been established (and are periodically reviewed) by standards organizations, such as ASTM (American Society for Testing and Materials: www.astm.org) and AATCC (American Association of Textile Chemists and Colorists: www.aatcc.org).

ACT has developed the following voluntary Performance Guidelines to make textile specification easier. The 5 symbols give architects, designers, and end-users a vast amount of performance information in a succinct visual way. Look for these symbols on INSTYLE CONTRACT TEXTILE sampling to assure that the textiles you specify perform to contract standards and pass all applicable testing.

These categories describe a textile’s performance features as measured by specified methods under standard laboratory conditions.’

Flammability

The measurement of a fabric’s performance when it is exposed to specific sources of ignition.
Note: ACT guidelines specify different flammability tests dictated by the intended end use for the fabric.

ACT Guidelines
Upholstery
California Technical Bulletin #117 Section E – Class 1 (Pass)

Direct Glue Wallcoverings
ASTM E 84-03 (Adhered Mounting Method) – Class A or Class 1

Wrapped Panels and Upholstered Walls
ASTM E 84-03 (Unadhered Mounting Method) – Class A or Class 1

Drapery
NFPA 701-89 (Small Scale)* – Pass* NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

TEST METHODS
California Technical Bulletin #117
Section E* – Class 1 (Pass)
The California TB #117 Section E is a test method of the California Bureau of Home Furnishings and Thermal Insulation. It is a vertical flame test measuring the ease of ignition and the burning rate when a small open flame hits the surface of the test fabric for 1 second. A Class 1 (Pass) rating is assigned if:

1. A 5.0 inch section of the fabric is consumed in 3.5 or more seconds (less than 3.5 seconds is a failure). For raised surface fabric, the minimum burn time is increased to 4.0 seconds.

2. An average char length of less than 6.5 inches or an individual specimen over 7.5 inches.

* For complete technical details about California Bulletin #117 Section E:
http://www.bhfti.ca.gov/techbulletin/117.pdf

ASTM E 84-03* Tunnel Test
The ASTM E-84 test is a test method of the American Society for Testing and Materials (ASTM). Commonly called the Tunnel Test, this test can be performed under two different methods adhered or non adhered where the only difference is in specimen preparation:

Adhered: The fabric is bonded to either a CA board substitute or gypsum board. This is the prescribed method for wall coverings whose actual use will be adhered .

Non adhered: If the fabric is a panel fabric or upholstered walls, it is tested in a frame without being bonded to any other material.

In each instance (adhered and non adhered), the fabric is placed in the ceiling of the test tunnel and subjected at one end to a high intensity flame which spreads over the first 4.5 feet of the 24 foot test specimen.

The distance of flame front progression and total burning time are used to calculate a flame spread index. Smoke monitors are used to calculate a smoke developed value. The flame spread index and smoke developed value are calculated from the results of the test fabric compared to the characteristics of cement board and red oak materials resulting in the indexes.

Typically, the code classes are as follows:
Class A: Flame Spread Index of 25 or less and Smoke Developed value of 450 or less
Class B: Flame Spread Index of 26 to 75 and Smoke Developed value of 450 or less
Class C: Flame Spread Index of 76 to 200 and Smoke Developed value of 450 or less

Caution: The ASTM E 84 test is only valid if the textile or vinyl wall covering is used in a sprinklered occupancy. If not, the Room Corner Test (NFPA 265 for textiles; and NFPA 286 for vinyl) is mandated in many jurisdictions.

* For complete technical details about ASTM E 84-03: http://www.astm.org

NFPA 701-89 (Small Scale)*
The NFPA 701-89 (Small Scale) is a test method of the National Fire Protection Agency. It measures the ignition resistance of a fabric after it is exposed to a flame for 12 seconds. The flame, char length and flaming residue are recorded. The fabric will pass the test if all samples meet the following criteria (if one sample fails the fabric fails):

1) an after flame of less then 2.0 seconds

2) a char length of less then 6.5

3) the specimen does not continue to flame after reaching the floor of the test chamber

Note: NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

* For complete technical details about NFPA 701: http://www.nfpa.org

Revised October 2003

Wet & Dry Crocking

Transfer of dye from the surface of a dyed or printed fabric onto another surface by rubbing.

ACT GUIDELINES
Upholstery
AATCC 8-2001
Dry Crocking, Grade 4 minimum.
Wet Crocking, Grade 3 minimum.

Direct Glue Wallcovering
AATCC 8-2001
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

Wrapped Panels & Upholstered Walls
AATCC 8-2001
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

Drapery
AATCC 8-2001 (Solids)
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

AATCC 16-2001 (Prints)
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

TEST METHODS
AATCC 8-2001*
The AATCC 8-2001 is a test method of the American Association of Textile Chemists and Colorists (AATCC). This method uses a standard white cotton fabric that is rubbed against the surface of the test fabric. To test for wet crocking the standard fabric is wet before rubbing against the test fabric. After rubbing under controlled pressure for a specific number of times the amount of color transferred to the white test squares is compared to an AATCC color chart and a rating is established.

Grade 5 = no color transfer
Grade 1 = high degree of color transfer

* For complete technical details about AATCC 8: http://www.aatcc.org

AATCC 116-2001*
The AATCC 116-2001 is a test method of the American Association of Textile Chemists and Colorists (AATCC). This test is specifically used for printed fabrics that do not lend themselves to the AATCC 8-2001 method. The test fabric is held at the base of a Rotary Vertical Crockmeter and rubbed with a standard cotton white fabric either dry or wet. After rubbing under controlled pressure for a specific number of times the amount of color transferred to the white test squares is compared to an AATCC color chart and a rating is established.

* For complete technical details about AATCC 116: http://www.aatcc.org

Revised October 2003

Colorfastness to Light

A material’s degree of resistance to the fading effect of light.

ACT GUIDELINES
Upholstery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Direct Glue Wallcoverings
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Wrapped Panels and Upholstered Walls
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Drapery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 60 hours

TEST METHOD
AATCC 16 Option 1 or 3 – 2003*
The AATCC 16 Option 1 and 3 are test methods of the American Association of Textile Chemists and Colorists (AATCC). ACT recognizes both methods where the only difference is the light source being used. In AATCC 16 Option 1 a Carbon-Arc lamp is used as the light source and in AATCC 16 Option 3 a Xenon-Arc lamp is used. Under both methods a strip of fabric (part of which is protected by a special paper card) is placed in a fadometer and exposed to 40 hours of accelerated fading units (AFU). After the exposure the difference in color between the exposed and protected parts of the fabric are compared to the AATCC gray scale and the degree of fading is rated.

Grade 5 = no fading
Grade 4 = slight fading
Grade 1 = high degree of fading

* For complete technical details about AATCC 16 Option 1 or 3 – 2003: http://www.aatcc.org

Revised October 2003

Physical Properties

Physical property tests include: Brush Pill, Breaking Strength and Seam Slippage. Pilling is the formation of fuzzy balls of fiber on the surface of a fabric that remain attached to the fabric. Breaking strength is the measurement of stress exerted to pull a fabric apart under tension. Seam Slippage is the movement of yarns in a fabric that occurs when it is pulled apart at a seam.

ACT GUIDELINES
Upholstery
Brush pill
ASTM D3511-02, Class 3 minimum

Breaking strength
ASTM D5034-95 (2001) (Grab Test)
50 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
25 lbs. minimum in warp and weft

Wrapped Panels and Upholstered Walls
Breaking strength
ASTM D5034-95 (2001) (Grab Test)
35 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
25 lbs. minimum in warp and weft

Drapery
Seam slippage
ASTM D3597-02-D434-95
for fabrics under 6 oz./sq. yard
15 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
for fabrics over 6 oz./sq. yard
25 lbs. minimum in warp and weft

TEST METHODS
ASTM D3511-02*
The ASTM D3511-02 is a test method of the American Society of Testing and Materials (ASTM). This test utilizes nylon bristles to rub the surface of the test fabric for a specific amount of time. The number of pill balls are counted and given a 1 – 5 rating.

Class 5 = no pilling
Class 1 = severe pilling

* For complete technical details about ASTM D3511: http://www.astm.org

ASTM D5034-95 (2001) (Grab Test)*
The ASTM D5034-95 (2001) (Grab Test) is a test method of the American Society of Testing and Materials (ASTM). To evaluate, the fabric being tested is put into a machine that grips the fabric with two clamps. One clamp is stationary and the other moves away applying tension until the fabric breaks or ruptures. This test is performed in both the warp and weft directions. The number of pounds required to cause a fabric to break or rupture determines the rating.

* For complete technical details about ASTM D5034-95 (2001) (Grab Test): http://www.astm.org

ASTM D3597-02-D434-95*
The ASTM D3597-02-D434 is a test method of the American Society of Testing and Materials (ASTM). To measure a fabric’s ability to resist seam slippage, a seam is sewn in the test fabric using a standard thread, specific seam allowance and specific number of stitches per inch. The sewn fabric is then clamped at opposing side of the seam. One clamp is moved away from the other applying tension at the sewn seam. This test is performed in both the warp and filling directions. The tension is increased until the seam separates to a specific distance. The number of pounds required to cause separation due to yarn slippage determines the rating.

* For complete technical details about ASTM D3597-02-D434-95: http://www.astm.org

Revised October 2003

Abrasion

The surface wear of a fabric caused by rubbing and contact with another fabric.

ACT GUIDELINES
General Contract Upholstery
ASTM D4157-02 (ACT approved #10 Cotton Duck)
15,000 double rubs Wyzenbeek method

ASTM D4966-98 (12 KPa pressure)
20,000 cycles Martindale method

Heavy Duty
ASTM D4157-02 (ACT approved #10 Cotton Duck)
30,000 double rubs Wyzenbeek method

ASTM D4966-98 (12 KPa pressure)
40,000 cycles Martindale method

End use examples of heavy-duty installations where upholstery fabrics rated at 30,000 double rubs should be appropriate are single shift corporate, hotel rooms/suites, conference rooms and dining area usage.

ACT acknowledges that there are extreme wear situations that may require higher levels of abrasion resistance. End use examples that may require higher than 30,000 double rubs include: 24 hours transportation terminals, 24 hour telemarketing, 24 hour healthcare emergency rooms, 24 hour casino gambling areas, and such public gathering places as theatres, stadiums, lecture halls and fast food restaurants.

It is strongly suggested that double rubs exceeding 100,000 are not meaningful in providing additional value in use. Higher abrasion resistance does not necessarily indicate a significant extension of the service life of the fabric.

The Wyzenbeek and Martindale tests are the two methods commonly used to predict wear-ability. Actual performance is determined by many factors such as fiber content, weaves, finishes, furniture design, maintenance, cleaning, and usage. Durability of an upholstery fabric is a complex interaction (combination) of a number of performance tests that, in addition to abrasion, includes seam slippage, pilling, tensile strength, and usage.

There is no correlation between the Wyzenbeek and Martindale tests so it is not possible to estimate the number of cycles that would be achieved on one test if the results from the other test were known.

TEST METHODS
ASTM D4157-02**
Oscillatory Cylinder (Wyzenbeek)
The ASTM D4157-02 is a test of the American Society of Testing and Materials. A Wyzenbeek machine is used for this test allowing samples of the test fabric to be pulled tight in a frame and held stationary. Individual test specimens cut from the warp and weft direction are then rubbed back and forth using an ACT approved #10 cotton duck fabric* as the abradant. The number of double rub cycles achieved before two yarn breaks occur or noticeable wear is observed is recorded as the fabric s abrasion rating.

** For complete technical details about ASTM D4157-02: http://www.astm.org

* The wire screen abradant is recommended by ACT for use with vinyl and polyurethane coated upholstery and may also be used for testing 100% olefin fabrics.

ASTM D4966-98* Martindale
The ASTM D4966-98 is a test method of the American Society of Testing and Materials (ASTM). This is an oscillating test. Fabric samples are mounted flat and rubbed in a figure eight like motion using a piece of worsted wool cloth as the abradant. The number of cycles that the fabric can endure before fabric shows objectionable change in appearance (yarn breaks, pilling, holes) is counted. Number of cycles determines abrasion rating.

Source: Association for Contract Textiles

LONDON, England. 06-JULY-2009 11.30 AM: KOTHEA today announced it has expanded its extensive upholstery fabric collection by the addition of KOCAFELATTE. KOCAFELATTE is a somewhat quirky and hard wearing fabric with an unusual, fine patterned design. It is a striking fabric with a high Martindale result, achieved whilst maintaining the highest levels of exclusive design. It is well suited for a range of uses but targeted towards upholstery and cushions in either domestic or contract installations.

KOCAFELATTE Reference: 02-002-415 Colour Shown: Champagne Other colourways: 3 Width: 135cm Repeat: V9 – H9cm Composition: 100% Viscose Martindale: 40,000 ‘rubs’ Primary Usage: General upholstery or window treatments, contract & domestic. Type of fabric: Textured Weave

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”

# # #

For Further Information

Please visit the company web site at http://www.kothea.com

Trademarks

KOTHEA is a registered trade mark of KOTHEA Limited. Other names may be trademarks of their respective owners.

A material’s degree of resistance to the fading effect of light.

Upholstery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Direct Glue Wallcoverings
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Wrapped Panels and Upholstered Walls
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Drapery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 60 hours

QuickTime Movies (click link to play)
Colorfastness to light

TEST METHOD
AATCC 16 Option 1 or 3 – 2003*
The AATCC 16 Option 1 and 3 are test methods of the American Association of Textile Chemists and Colorists (AATCC). ACT recognizes both methods where the only difference is the light source being used. In AATCC 16 Option 1 a Carbon-Arc lamp is used as the light source and in AATCC 16 Option 3 a Xenon-Arc lamp is used. Under both methods a strip of fabric (part of which is protected by a special paper card) is placed in a fadometer and exposed to 40 hours of accelerated fading units (AFU). After the exposure the difference in color between the exposed and protected parts of the fabric are compared to the AATCC gray scale and the degree of fading is rated.

Grade 5 = no fading
Grade 4 = slight fading
Grade 1 = high degree of fading

* For complete technical details about AATCC 16 Option 1 or 3 – 2003: http://www.aatcc.org

Source: Association for contract textiles (USA)

Transfer of dye from the surface of a dyed or printed fabric onto another surface by rubbing.

The measurement of a fabric’s performance when it is exposed to specific sources of ignition.

Note: Association of Contract Textiles (ACT) guidelines specify different flammability tests dictated by the intended end use for the fabric.

Association of Contract Textiles Guidelines

Upholstery
California Technical Bulletin #117 Section E –
Class 1 (Pass)

Direct Glue Wallcoverings
ASTM E 84-03 (Adhered Mounting Method) –
Class A or Class 1

Wrapped Panels and Upholstered Walls
ASTM E 84-03 (Unadhered Mounting Method) –
Class A or Class 1

Drapery
NFPA 701-89 (Small Scale)* – Pass*NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

QuickTime Movies (click links to play)
NFPA 701-99 (Small Scale)
California TB #117 Section E

TEST METHODS
California Technical Bulletin #117
Section E* – Class 1 (Pass)
The California TB #117 Section E is a test method of the California Bureau of Home Furnishings and Thermal Insulation. It is a vertical flame test measuring the ease of ignition and the burning rate when a small open flame hits the surface of the test fabric for 1 second. A Class 1 (Pass) rating is assigned if:

1. A 5.0″ section of the fabric is consumed in 3.5 or more seconds (less than 3.5 seconds is a failure). For raised surface fabric, the minimum burn time is increased to 4.0 seconds.

2. The fabric does not ignite.

* For complete technical details about California Bulletin #117 Section E: http://www.bhfti.ca.gov/techbulletin/117.pdf

ASTM E 84-03* Tunnel Test
The ASTM E-84 test is a test method of the American Society for Testing and Materials (ASTM). Commonly called the Tunnel Test, this test can be performed under two different methods adhered or non adhered where the only difference is in specimen preparation:

Adhered: The fabric is bonded to either a CA board substitute or gypsum board. This is the prescribed method for wall coverings whose actual use will be adhered .

Non adhered: If the fabric is a panel fabric or upholstered walls, it is tested in a frame without being bonded to any other material.

In each instance (adhered and non adhered), the fabric is placed in the ceiling of the test tunnel and subjected at one end to a high intensity flame which spreads over the first 4.5 feet of the 24 foot test specimen.

The distance of flame front progression and total burning time are used to calculate a flame spread index . Smoke monitors are used to calculate a smoke developed value. The flame spread index and smoke developed value are calculated from the results of the test fabric compared to the characteristics of cement board and red oak materials resulting in the indexes.

Typically, the code classes are as follows:

Class A: Flame Spread Index of 25 or less and Smoke Developed value of 450 or less

Class B: Flame Spread Index of 26 to 75 and Smoke Developed value of 450 or less

Class C: Flame Spread Index of 76 to 200 and Smoke Developed value of 450 or less

Caution: The ASTM E 84 test is only valid if the textile or vinyl wall covering is used in a sprinklered occupancy. If not, the Room Corner Test (NFPA 265 for textiles; and NFPA 286 for vinyl) is mandated in many jurisdictions.

* For complete technical details about ASTM E 84-03: http://www.astm.org

NFPA 701-89 (Small Scale)*
The NFPA 701-89 (Small Scale) is a test method of the National Fire Protection Agency. It measures the ignition resistance of a fabric after it is exposed to a flame for 12 seconds. The flame, char length and flaming residue are recorded. The fabric will pass the test if all samples meet the following criteria (if one sample fails the fabric fails):

1) An after flame of less then 2.0 seconds

2) An average char length of less than 6.5″ or an individual specimen of 7.5″.

3) The specimen does not continue to flame after reaching the floor of the test chamber

Note: NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

* For complete technical details about NFPA 701: http://www.nfpa.org

Revised October 2003:

Source: Association For Contract Textiles

There’s the usual stock answer where a fabric company would quote something which sounded like we were dress makers. “The in-vogue colours are the colours on the cat-walk”. Luckily I didn’t answer that way, partly because I haven’t been to a Paris catwalk for a while and partly because what colours we wear are not the colours we design our interior spaces with. I have a few reds and ochres in my wardrobe but none on my walls. Similarly I probably have proportionately very much more taupe around the house than around my body. So clearly the cat-walk comparison is wrong.

The time delay as well. There must be 2-6 months delays in getting the very latest fashions from the catwalk to the mass market retail outlets. It’s pretty hard to turn out new fabric collections regularly in that timeframe.

And then I thought some more. The job was for a Mediterranean villa. Are the colour trends in this country and in this climate the same as in such warmer climbs? Probably not. Hotter climates favour colours that are physically cooler. Picture the white houses of a stereotyped Greek village.

And then I thought about personalities. The villa owner is a wealthy and aesthetically discerning business leader. Will that sort of person have the same tastes and influences as the middle classes of a London suburb? Or will their Chelsea architect/designer reflect the aesthetic views of their personal domain? Some well-known designers push the same colour schemes again and again – because they look great and they work. Is that a trend?

So I came to the conclusion that what defines a colour trend will vary. It will vary by geography, by social aspirations & standing and many other factors. I’m not sure they vary by time that rapidly how we furnish, organise and decorate our houses does change but that change is more on the scale of a decade than the fadish seasonal change for clothing.

That seemed a bit of a cop out answer though. Let’s be analytical about it. What colours do we sell the most of? Well, to be honest, it is still the classic-contemporary feel. So plenty of taupes, white, muted neutrals and the delightfully named beiges. Even with the acidic greens, purples and violent colours of the early 2000s that were blasted in our faces on ‘Changing Rooms’; I have to say that the upper end of the market very, very rarely asked for or bought these colours. So surely the colours we sell are the ones that are on-trend? Maybe, but maybe also we self select the markets we target, the products we stock and hence the type of customer we attract.

And really I would probably question the original question as well. Fabric is much more than colour; texture and design are also key.

So where did that leave me? I probably should have thought of a sophisticated way of saying “just buy what you like” or “get to know what your client likes and sell them that” and said that, but I didn’t.

A. Yes

Our 100% linen velvet has a Martindale of 20,000 ‘rubs’.  So this is certainly suitable for domestic upholstery and also for light contract. As with all velvets a proper care regime should be in place to prolong the life of the fabric. Also check the Martindale figures of the specific fabric you intend to use as that test result is the most useful indication of suitability for upholstery.

KOTHEA’s cotton velvet has a rub test of approximately 50,000. Making it suitable for contract.

It is important to realise that there can be variation in the dyes used. Normally manufacturers keep a record of the exact dye(s) used in the manufacturing process(es). This is a dye lot. The dye could have been added to make a coloured yarn early in the process or it could have been added to the fibre later if it is a printed fabric.

So when more fabric is ordered for the same client it is important to ensure the same dye lot was used as for the original order.

Variations do occur in almost all fabrics. So if the same dye lot cannot be re-ordered it is prudent for the designer to order a sample for matching. It is wise for designers, upholsterers, curtain- and cushion-makers to always request a sample to avoid costly mistakes.

Typically man-made/synthetic dyes are more easily chemically replicated and so are inherently less prone to dye lot variation. For natural products there is a much greater chance of variation. But again there is no hard and fast rule.

Colour also plays a part as some farbic colours are more prone to change because of the chemical structure of the dye and/or the fabric being used.

What if all the stock has been used and there is a variation? Do we have to start again?

Hopefully not and common sense has to prevail from time to time. For example, a dye lot variation can be negated by conditions in the final installation. So in the case where there are fabrics from different dye lots with one dye lot only used in each room only rarely will the be any noticeable difference from room to room. Even in the case where, say, curtains on different walls are made from different but similar dye lots then any dye lot variation can be made unnoticeable by the effect of varying amounts of sunlight through windows. Although bear in mind there are variations in the strength and type of light throughout the day and between sunlight and artificial light at night. Similarly in low light (cellar) conditions dye lot variation will be much less noticeable.

Finally bear in mind the age of the fabric/curtains and the degree to which they have been exposed to sunlight. Some fabrics naturally fade over time, depending on their colour fastness. In this case it is unlikely ever to be able to get a perfect match.

LONDON, England. 04-MAY-2009 11.30 AM: KOTHEA today announced it has expanded its product range by the addition of KOTWIG. KOTWIG has an off-the-wall textured design. It has a high Martindale score which is unusually achieved without incorporating polyester. It is highly suitable for a wide range of uses including heavy upholstery and wall treatments in either domestic or contract installations.

Flickr Image Of KOTWIG

Full information can be found <here>.

KOTWIG

Reference: 14-002-436

Colour Shown: Brown – Light Brown

Other colourways: 20

Width: 145cm

Repeat: None

Composition: 43% Linen, 36% Viscose, 21% Cotton.

Martindale: 40,000 ‘rubs’

Primary Usage: General upholstery or wall treatments, contract & domestic.

Type of fabric: Textured Weave

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”