Faux Leather Martindale Test – What does it look like

Ever wondered what a Martindale rub test looks like?

 

We’ve already shown a video of this <here> however of some additional interest might be the following faux leather samples that recently came back to us from the Martindale testing laboratory.

Faux Leather After Martindale Rub Test

Faux Leather After Martindale Rub Test

 

So the link (above) shows you the machine in action and the image above shows you the circular cuttings taken of the fabric that have been rubbed, in this case, 200,000 times. As you can see this excellent performance faux leather of ours lasted WELL above the industry ‘norm’ of 100,000.

 


What is faux leather? When should an interior designer use it?

English: Leather tanning, Fes, Morocco Françai...

English: Leather tanning, Fes, Morocco Français : Tannage du cuir, Fès, Maroc (Photo credit: Wikipedia)

Faux leather looks like leather. It is a fabric made out of materials other than leather. Faux is the French for ‘fake’. So it is fake leather. It is cheaper than natural leather and much easier to work with in many cases. As well as a fabric for interiors it is used in many industries: it could be in your car or could make the case covering your iPAD. In the interior design world you would use it for: upholstery and wall-covering but also to cover, doors, table-tops, bar stools, bars, etc.

Types of Faux Leather

There are two main chemical types of faux leather:  polyvinyl chloride (PVC) and polyurethane (PU). Both types are used in making clothing, upholstery, and product covers; typically KOTHEA use PVC For our faux leathers. We are able to obtain fine faux leathers with amazing properties as a fabric including extremely high Martindale Rub test scores in excess of 200,000 and extremely accurate animal hide pattern copies.

Compared to Real Leather

Sometimes you can’t tell the difference unless you know what to look for. Most obviously natural leather will not have any kind of repeatable pattern. Faux leather will have a degree of ‘repeat’ but might be sufficiently subtle that you do not notice it. Natural leather has visible and irregular pores and rough edges.

Natural leather tends to have a smoother feel whereas some faux leather may well feel like plastic BUT other faux leathers will feel very similar to the natural leather. The ‘smell’ may be chemically but this could be either the chemicals that have been used to treat the natural leather or the chemicals in the faux leather. A VERY chemically smell that sticks to your hand is probably a faux leather - although most faux leathers will not have this property.

Pros and Cons

Faux leather can generally be made to have very good consistency of colour across batches and in theory can be made to any required colour (in sufficient quantity). Similarly texture and pattern can be varied and/or reproduced much more easily than with a natural product.

Care and maintenance of faux leather is greatly superior to natural leather which requires conditioning. Faux leather can be bought by the metre whereas natural leather must necessarily be bought by ‘the hide’ and hence has join, length and width constraints not necessarily found in the faux alternative. Faux leather generally has superior light fastness and durability.

The animal lover will appreciate that faux leather does not require animals to die. But then again many animals die each year to support the meat industry and leather is an abundant by-product that, if used, you might argue avoids waste. KOTHEA do not sell natural leather.

When should I specify FAUX LEATHER for interior design?

There is certainly a kudos surrounding natural leather. It IS viewed a s a more desirable product. However I’m really not sure why; especially when you look at it logically.

Faux leather is much easier to work with; it is much better suited for any kind of long term interior design use – looking at durability and care & maintenance; it can look and feel the same as natural leather. It is made of chemicals but chemicals (often environmentally damaging ones) are used in the natural leather treatment process.

Whilst I might buy natural leather shoes I would only specify faux leather in a contract interior design situation and would probably also specify faux leather in my house with the possible exception of a statement sofa.

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Fine Faux Leather Upholstery – New Contract Fabrics With High Abrasion Martindale

Fine Faux Leather Blue Upholstery Contract UsageUpholstery Faux Leathers are one of our many collections being revamped in 2013. We have introduced a new faux leather with a Martindale Rub test score exceeding 200,000. This is one of the highest available in the UK.

It still looks great and also has the added comfort factor of the interior designer knowing that it can be a worry-free product to spec for even demanding contract environments. Providing that it is correctly upholstered and specified it will withstand very significant amounts of abrasion.

 


More Black Faux Leather Upholstery

Faux Leather is great for upholstery. Here is a time lapse video of the full process if you want to know how it is done. We would be happy to point you to a local upholsterer but please remember that we only sell the faux leather upholstery fabric. If you would like samples please drop us an email request <here> (trade only). We have several collections of faux leather in most colourways including base colours (black, brown, green, blue, red, yellow, gold) muted neutrals and metallic finishes.


Faux leather Upholstery

Pinterest Picks

Pinterest Picks (Photo credit: CieraHolzenthal)

Recently we have had some detailed enquiries about how to upholster with the fine upholstery faux leather that we sell. KOTHEA are certainly NOT expert upholsterers and those questions should be aimed at your professional upholsterer.

Having said that here is a video (below) by Christopher Nejman showing some techniques for faux leather upholstery.

For more information about our faux leather products and colours click <here> or use the links on the right.


A-Z Interior Fabric Qualities

A-Z Glossary or Guide of fabric qualities

A

American Cotton
Cotton of medium fineness and medium staple length.

Alpaca Angora
Natural hair from the alpaca, or animal from which the fibre alpaca is obtained.
Angora
Hair fibre from the angora rabbit.

B
Batiste
Fine, soft,plain weave fabric. Originally linen, now other fibres, eg cotton.
Blend
Combination of two or more different fibres within the same yarn. This can be for cost, properties and/or appearance.
Birds-eye
Colour-and-weave effect where the pattern shows small, uniform spots. The reverse side of a flat jacquard weft knitted fabric where the yarns are arranged to show minimum amounts of each colour in an all-over pattern.
Bouclé yarn
Fancy yarn showing an irregular pattern of curls or loops.
Bourrelet
Non-jacquard double jersey weft knit structure made on an interlock basis showing horizontal ridges on the effect side.
Brocade
Figured woven jacquard fabric, usually multicoloured, much used for furnishings.
Buckram
Plain weave fabric, generally of linen or cotton, which is stiffened during finishing with fillers and starches. Uses include interlinings and bookbinding fabrics.

C
Calico

General term used for plain cotton fabrics heavier than muslin. These are usually left unbleached, area made in a variety of weights, and are often used for making toiles.
Cambric
Lightweight, closely woven, plain weave fabric, usually made from cotton or linen.
Canvas
Strong, firm, relatively heavy and rigid, generally plain woven cloth traditionally made from cotton, linen, hemp or jute.
Cavalry twill
Firm woven fabric with a steep twill showing double twill lines, traditionally used for riding breeches and jodphurs.
Chambray
Lightweight, plain weave cotton cloth with a dyed warp and a white weft.
Cheesecloth
Open, lightweight, plain weave fabric with a slightly crêpey appearance, usually made from carded cotton yarns with higher than average twist.
Chenille yarn
Fancy yarn produced by weaving a leno fabric and cutting into warp-way strips so that each strip forms the yarn, which has a velvety, caterpillar-like appearance.
Chiffon
Originally a very lightweight, sheer, plain weave fabric made from silk. Now can also be used to describe a similar fabric using other fibres.
Chiné yarn
Originally a 2-fold yarn, one black, one white, giving a regular two colour effect. Term now used to describe any 2-fold, two colour yarn.
Chintz
Closely woven, lustrous, plain weave cotton fabric, printed or plain, that has been friction calendered or glazed. Much used for curtainings and upholstery.
Coir
Natural vegetable fruit fibre from the coconut.
Colourway
One of several combinations of colours used for a particular fabric.
Corduroy
Wove, cut weft-pile fabric where the cut pile runs in vertical cords along the length of the fabric. A number of different types are found, ranging from pincord (very fine cords) to elephant cord (very broad cords).
Crepe
Fabric characterised by a crinkled or puckered surface, which can be produced by a number of methods. 1. woven fabric where short, irregular floats in warp and weft are arranged to give an all-over, random pattern within the weave repeat. 2. woven or knitted fabric where the crêpe characteristics are achieved mainly by the use of highly twisted yarns, which in finishing develop the crinkled, puckered appearance of a crêpe. 3. fabric where the crêpe effect is produced in finishing by treatment with embossing rollers, engraved with a crêpe pattern, which impart a crêpe effect onto the fabric through heat and pressure.
Crêpe de chine
Lightweight, plain weave crêpe fabric, made with highly twisted continuous filament yarns in the weft, alternating one S and one Z twist, and with normally twisted filament yarns in the warp. The crêpe effect is relatively unpronounced.
Crepe yarn
Spun or filament yarns that are very highly S or Z twisted used for the production of crepe fabrics.

D
Delaine

Lightweight, printed, all wool plain weave fabric.
Doupion (or Dupion)
Silk-breeding term meaning double cocoon, used to describe the irregular, raw rough silk reeled from double cocoons.
Drill
Woven twill fabric with a similar structure to denim, but usually piece-dyed.

E
Egyptian cotton
Type of cotton characterised by long, fine fibres.

G
Gauze
Lightweight, open-textured fabric made in plain weave a simple leno weave.
Georgette
Fine, lightweight, plain weave, crêpe fabric, usually having two highly twisted S and two highly twisted Z yarns alternately in both warp and weft.

H
Hopsack
Variation on plain weave, where two or more ends and picks weave as one. Sometimes called basket weave.

I
Indian cotton
Type of cotton characterised by relatively short, coarse fibres.
Interlining
Fabric used between the inner and outer layers of a garment to improve shape retention, strength, warmth or bulk. Interlinings may be woven, knitted or nonwoven, and can be produced with fusible adhesive on one surface.

J
Jacquard fabric
A fabric woven on a jacquard loom, where the patterning mechanism allows individual control on any interlacing of up to several hundred warp threads or a rib-based, double jersey weft-knit structure which shows a figure or design in a different colour or texture. Jacquard fabrics are sub-divided into flat-jacquard and blister fabrics.
Jersey
General term used for any knitted fabric.
Jute
Natural vegetable bast fibre, the plant from which the bast jute fibre is obtained.

K
Kemp
Coarse fibres present in varying amounts in wool fleece. Usually white, black or brown and can be used to give decorative effects in some wool fabrics.
Knickerbocker yarn
Fancy yarn characterised by random flecks or spots of differently coloured fibres.

L
Lawn
Fine, plain weave fabric, traditionally of cotton on linen.
Linen
Natural vegetable bast fibre obtained from the flax plant.
Lambswool
Wool from the fleeces of lambs (young sheep up to the age of weaning).
Lamé
A general name for fabrics where metallic threads are a conspicuous feature.

M
Maquisette
Square-hole, warp knitted net.
Merino Wool
Wool from the merino sheep, which produces the shortest and finest wool fibres.
Mohair
Natural animal hair fibre from the angora or mohair goat.
Moiré
Fabric which shows a moiré or wavy watermark pattern. This is produced by calendaring, usually on a fabric showing a rib or cord effect in the weft direction. The moiré effect can be achieved by embossing with a roller engraved with a moiré pattern, or by feeding two layers of fabric face to face through the calendar. the effect may be permanent or temporary depending on the fibres and the chemicals used.
Moquette
Firm, woven warp-pile fabric where the pile yarns are lifted over wires, which may or may not have knives. Withdrawal of the wires will give a cut or an uncut pile. Used for upholstery, particularly on public transport vehicles.
Mousseline
General term for very fine, semi-opaque fabrics, finer than muslins, made of silk, wool or cotton.
Muslin
Lightweight, open, plain or simple leno weave fabric, usually made of cotton.

N
Narrow Fabric
Any fabric that does not exceed 45 cms in width (in the UK). In the USA and Europe, the accepted upper width is 30 cms. Ribbons, tapes, braids and narrow laces are included in this category.
Natural Fibre
A textile fibre occuring in nature, which is animal, vegetable or mineral in origin.
New wool
Fibre from a sheep or lamb that has not previously been used. Alternative name for virgin wool.
Nylon
Man made synthetic polymer fibre. Alternative name for polyamide.

O
Organdie
Lightweight, plain weave transparent fabric, with a permanently stiff finish.
Organza
A sheer, lighweight, plain weave fabric, with a relatively firm drape and handle, traditionally made from the continuous filament of silk yarns. Now often made using other fibres.

P
Polyester
Man made synthetic polymer fibre.
Pure Silk
Silk in which there is no metallic or other weighting of any kind, except that which is an essential part of dyeing.

R
Raw Silk
Continuous filaments containing no twist, drawn off or reeled from cocoons. The filaments are unbleached, undyed and not degummed.

S
Sateen
Woven structure where the maximum amount of weft shows on the face. The smooth effect is enhanced by using filament yarns and/or lustrous fibres.
Satin
Woven structure where the maximum amount of warp shows on the face. The smooth effect is enhanced by using filament yarns and/or lustrous fibres.
Silk
Natural animal protein fibre obtained from the cocoons produced by silkworms.
Silk Noil
Very short silk fibres extracted during silk combing that are too short for producing spun silk. These fibres are usually spun into silk-noil yarns.
Slub yarn
Fancy yarn characterised by areas of thicker, loosely twisted yarn alternating with thinner, harder twisted areas.
Spun silk
Staple fibre silk yarn produced from silk waster which has been largely degummed.
Synthetic
Describes a substance which has been manufactured by building up a complex structure from simpler chemical substances.

T
Taffeta
Plain weave, closely woven, smooth, crisp fabric with a slight weftways rib, originally made from continuous filament silk yarns. Now often made using other fibres.
Terry-Towelling
A woven warp-pile fabric where the loops are formed by applying a high tension to the ground warp and a very low tension to the pile warp. Beating-up does not occur on every pick, so that when a pick is beaten-up it causes the other picks to be moved into the main body of the cloth, at the same time forming the pile loops on the face and back of the cloth.
Thrown Silk
Yarn twisted from continuous filament silk.

V
Velour
Cut pile weft or warp knitted fabric.
Velvet
Cut warp-pile fabric, in which the cut fibrous ends of the yarns from the surface of the fabric. Many effects are possible, e.g. the pile may be left erect, or it may be laid in one direction during finishing to give a very high lustre.
Viscose
Man made natural polymer regenerated cellulose fibre.
Voile
Plain weave, semi-sheer, lightweight fabric made with fine, fairly highly twisted yarns. Originally made from cotton, now other fibres are sometimes used.

W
Wadding
Lofty sheet of fibres used for padding, stuffing or packing.
Wet spun
Describes man made filaments produced by wet spinning, where the dissolved polymer is converted into filaments by extrusion through the spinneret into a coagulating bath of chemicals, causing the filaments to solidify.

Source Credit: R Haworth


Faux Leather in Blue

Fine Faux Leather is available from KOTHEA in several collections reflecting varying degrees of technical properties such as thickness, flame retardancy and abrasion resistance (Martindale, Wyzenbeek). Our collections are typically used for contract applications in the hospitality and marine industries.

Here are  some of the blue colourways that are available, click an image to view a slideshow


Crib 5, Crib 3 FR treatment – is it OK to mix these? inter liner fabric

Sonny's Crib

Image via Wikipedia and not too much to do with Crib 5!

“Is it OK to mix Crib 5 and Crib 3?” was the question. The client further explained that they planned to use a Crib 5 inter-liner and a Crib 3 fabric and was this OK in a restaurant?

I think the uncertainty existed as sometimes with domestic usage interlining can help with meeting FR needs.

However for non-residential spaces that is NOT the case.

The Crib5/Crib 3 mix would have been OK in an office type environment where Crib 3 was required however in a public space this is certainly not acceptable and so a different fabric is needed that is inherently Crib 5 or can be treated to Crib 5.

More…

Related Information:

Crib 7

Crib 5

UK and European FR

USA FR

 

 


Luxury Cashmere Throws & Blankets: Why is cashmere the best wool?

Luxury Cashmere Throw
Luxury Cashmere Throws

We would always recommend 100% Cashmere Wool for luxury throws.
Cashmere wool is made from the fibres of the undercoat of the cashmere goal (capra hircus laniger). The fibres are extremely fine, not exceeding 19 microns. To ensure that the high quality undercoat fibres are used a criterion exists to ensure that 97% of the fibres are below 30 microns.
Cashmere wool thus feels ‘fine’, is lightweight and provides good insulating properties without the weight typified by other wools for the same degree of warmth.

No other commercially available wool offers as high a level of quality as cashmere.

So to ensure the best quality Cashmere Throw it is important to specify 100% Cashmere Wool – neither a blend nor any other wool is as good.

Click <here> for further information on Luxury Cashmere throws.


Wyzenbeek – Martindale – Abrasion Testing

Nähzwirn 3-fach

Image via Wikipedia

I would be rich if I were to be given one pound for every time we are asked, “What is the best upholstery fabric to use on my sofa?” Typically the questioner means ‘most durable’ rather than ‘best’.  You could buy a near bullet-proof fabric with a Martindale score of several hundred thousand but could you live with it!

‘Simple’ measures of durability such as Martindale and Wyzenbeek overlay complex structures of the fabric. This covers the construction of the yarns and design of the weave weave as well as the fibre chosen. Furthermore, finishes, sofa/furniture design, maintenance regimes and usage are variables that very significantly affect the life of your fabric.

More Martindale links here and here and here

There is a close link between fiber strength and yarn strength. Yarns are twisted to add strength – generally a tighter twist gives a stronger yarn. This is measured in Twists Per Inch or Meter (TPI or TPM). Tightly twisted yarns are generally smooth and dense. This brings us to weave design. Weaves can be extremely complicated and difficult to structurally model and understand. Just knowing the fibers, yarn and weave construction still doesn’t answer the basic question – an objective measurement is needed. Test were developed to determine wear. They are better known as abrasion tests and many Interior Designers today refer to these test results as THE way to measure fabric durability. Abrasion test are supposed to forecast how well a fabric will wear in upholstery applications.

There are two tests: Martindale in Europe and Wyzenbeek in the USA. The tests are different and there is no correlation between the two. With Wyzenbeek (ASTM D4157-02): a piece of cotton duck fabric or wire mesh is rubbed in a straight back and forth motion on a piece of fabric until “noticeable wear” or thread break is evident. One back and forth motion is called a “double rub” (dbl rub). Whereas with Martindale (ASTM D4966-98): the abradant in this test is worsted wool or wire screen, the fabric specimen is a circle or round shape and the rubbing is undertaken in a figure 8, unlike the straight line of the Wyzenbeek. One figure 8 is a cycle – hence the terms Martindale cycles.

Contract fabrics would normally meet these criteria:

General contract: Wyzenbeek 15,000 Martindale 20,000

Heavy duty contract Wyzenbeek 30,000 Martindale 40,000

Whereas for domestic applications:

Light residential Wyzenbeek 6,000, Martindale 9,000

Medium use residential Wyzenbeek 9,000 Martindale 15,000

Heavy use residential 15,000 Martindale 30,000 or higher

The higher the result the more likely the fabric is to be more durable. (Source of the above figures can be provided on request to the author)

With figures over 100,000 then there may be an issue with the applicability of the results and certainly how the fabrics’ care regime is implemented will have more of an influence on its longevity.

Some commentators question the validity of test results. In my experience in the UK, test houses are independent and are strictly monitored by British Standards and no one fabric company is big enough to be able to ‘ask for’ results to be skewed. Nor, I’m sure, would any fabric company want to put a supplier in that position if only for the reason that it is in no-one’s interests to undermine the authority of independent industry bodies that, in general, regulate for the greater good of all.


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