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Crêpe (textile)
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Crêpe, also spelled crepe or crape (from the French crêpe),[1] is a silk, wool, or synthetic fiber fabric with a distinctively crisp and crimped appearance. The term "crape" typically refers to a form of the fabric associated specifically with mourning.[2] Crêpe was also historically called "crespe" or "crisp".[3]
It is woven of hard-spun yarn, originally silk "in the gum" (silk from which the sericin had not been removed). There traditionally have been two distinct varieties of the crêpe: soft, Canton or Oriental crêpe, and hard or crisped crêpe.[4]
Types
[edit]A
[edit].jpg)
- Aerophane
- 1. A crimped silk gauze with a crêpe texture.
- 2. A historic 19th century lightweight crêpe,[5]: 6 introduced in 1820,[6] and, as "crepe aerophane" in 1861.[7]
- Albert crêpe
- 1. A fine black silk mourning crêpe introduced in 1862.[6]
- 2. Plain-weave crêpe.
- 3. An English-made silk and cotton blend crêpe.[5]: 10
- Alicienne
- A furnishing fabric with alternating plain weave and crêpe stripes.[5]: 14
- Alpaca crêpe
- Rayon and acetate blend crêpe with a woollen texture, not necessarily made of alpaca yarn.[5]: 14
- Altesse
- A British plain-weave silk fabric with crêpe filling.[5]: 14
- Arabian
- 1. A British-made plain-weave cloth with figured crêpe designs.
- 2. Piece-dyed silk crêpe embroidered with dots.[5]: 23
- Armure
- (See Georgian crêpe)
B
[edit]- Balanced crêpe
- Crêpe woven with alternating S and Z twist yarns in both directions.[5]: 39
- Balmoral crape
- An 1895 English crape.[8]
- Balzerine
- An 1889 narrow-striped silk grenadine overlaid with wider crêpe stripes. An earlier 1830s cotton/worsted fabric, spelled balzarine, was probably not crêpe.[8]
- Bark (or tree-bark) crêpe
- A broad term describing rough crêpes with a bark texture.[9][10]
- Bauté satin
- Warp-woven satin with a plain crêpe reverse.[11]
- Borada crape
- A cheaper, economical version of mourning crape advertised in 1887.[3]
- Bologna crêpe
- Silk crêpe used for mourning, also known as valle cypre.[12]
C
[edit]- Canton crêpe
- A soft silk crêpe with a pebbly surface originally associated with Canton in China, with bias ribs. Made in Britain, but exported to China, hence its name.[13]
- Caustic soda crêpe
- Cotton treated with chemicals to create a crêpe-like texture, often in patterns.[14]
- Chiffon crêpe
- Chiffon-weight crêpe.[15]
- Chijimi
- Japanese crêpe.[15]
- Chirimen
- Japanese raw silk crêpe widely used to make kimono.[16][17] When woven with a dot it is mon-chirimen.[18]
- Courtauld crape
- 1890s mourning crape made by Courtaulds. An 1894 variation, called 'Courtauld's new silk crêpe', was exceptionally thin and soft.[7] Courtaulds monopolised the export market for English crapes and crêpes, meaning that the textiles known as "crape anglaise" were almost always manufactured by Courtaulds up until 1940.[3]
- Crêpe Algerian
- A trade name for a printed pongee with a rough crêpe texture.[19]
- Crêpe anglaise
- A French term for English mourning crapes in black and white.[7] The only true 'crape anglais' was considered that made by Courtaulds (see Courtauld crape) which was last made in 1940.[3]
- Crêpe Beatrice
- Trade name for crêpe with a light warp stripe.[19]
- Crêpe berber
- Trade name for a piece-dyed crepe-textured pongee.[20]
- Crêpe charmeuse
- Lightweight silk satin with a grenadine warp and crêpe reverse.[20]
- Crêpe chenette
- A tradename for a strong crêpe with a pebble texture.[20]
- Crêpe crêpe
- Made with extra twists in the warp to create an extra-deep texture.[20]
- Crêpe de chine
- A fine, lightweight silk, cotton, or worsted, with a plain weave and crêpe-twist filling.[20]
- Crêpe de chine travers
- A ribbed crêpe de chine with heavier filling yarns introduced to the weave at regular intervals.[20]
- Crêpe de dante
- Crêpe with silk and wool filling.[20]
- Crêpe de lahor
- Cotton crêpe made in France.[20]
- Crêpe de laine
- A sheer wool fabric plain-woven with hard twist for a slight crêpe effect.[20]
- Crêpe de santé
- An undyed, closely woven, rough-textured wool-blend crêpe mixed with silk, linen, or cotton, also called "health crepe".[20]
- Crêpe de Suisse
- 1860 dress fabric.[7]
- Crêpe d'espagne
- Open-weave fabric with a silk warp and wool filling.[20]
- Crêpe diana
- Trade name for a cotton and silk blend crêpe.[20]
- Crêpe Elizabeth
- English term for a mottled or pebbled georgette.[20]
- Crêpe faille sublime
- Silk grosgrain with a hard-twist filling.[20]
- Crêpe flannel
- Plain-woven worsted with a crêpe finish.[20]
- Crêpe imperial
- Late 19th century woollen crape.[7]
- Crêpe jacquard
- Crepe with designs produced by jacquard weaving.[20]
- Crêpe janigor
- Trade name for a heavy rib textile with alternating rayon and dull acetate warp threads, cross-dyed for varied shades.[20]
- Crêpe jersey
- Vertically ribbed silk crêpe resembling the knit fabric.[20]
- Crêpe lissé (or lease)
- A lightweight, lustrous, slightly stiffened open-weave silk or cotton crêpe, with fewer twists than a crêpe crêpe.[20]
- Crêpela
- French term for a crêpe effect.[20]
- Crepeline
- Very sheer plain-woven silk usually used in textile conservation.[20] Originally introduced in the 1870s as a cheap alternative to crepe de chine.[7]
- Crêpella
- Plain-woven worsted using hard-spun yarn.[20]
- Crêpe maretz
- An 1862 fabric.[7]
- Crêpe marocain
- Heavy, cross-ribbed crêpe where the filling yarn is coarser than the warp, resembling a canton crêpe.[20]
- Crêpe meteor
- Soft silk crêpe, twill weave reversing to satin.[20]
- Crêpe mohair
- Silk and mohair blend crêpe.[20]
- Crêpe morette
- Trade name. Lightweight worsted crêpe with heavier, looser filling.[20]
- Crêpe mosseux
- A type of opaque voile which resists shrinkage.[20]
- Crêpe myosotis
- A later mourning crêpe made in the 1930s, in crimped silk with a soft finish.[7] Courtaulds launched this textile in the early 1930s as an alternative to the increasingly unpopular traditional stiff mourning crapes.[3]
- Crepenette
- Crêpe-effect pongee.[20]
- Crêpe ondese
- Rough textured rayon-acetate blend crêpe.[20]
- Crêpe poplin
- A late 19th century silk-wool rib fabric with crêpe effect.[20]
- Crêpe rachel
- French print cotton-worsted blend crêpe.[20]
- Crêpe radio
- British raw silk crêpe with a ribbed effect, using alternate double rows of S-twist and Z-twist.[20]
- Crêpe royal
- Sheer crêpe-de-chine introduced in 1889.[7]
- Crêpe suzette
- A variation on crepon georgette.[20]
- Crepine
- Silk with crêpe dots. The name also describes a type of fringe.[20]
- Crepoline
- A class of transparent fabrics with a warp-wise crêpe effect.[20]
- Crepon
- A heavier crêpe with an exaggerated warp-directional texture produced by several weaving techniques.[20] A soft silky version was introduced in 1866, and the second, much heavier version in 1882. In the 1890s crepon also described a woollen fabric that puffed between stripes or squares, including crepon milleraye (striped) and crepon Persian (with 'Oriental patterns').[7]
- Crystal crêpe
- An English term for silk crêpe.[21]
- Crespe
- Lightweight crimped mourning gauze, late 16th century.[7]
- Cynara
- An crêpe-type fabric in rayon and acetate.[22]
- Cyprus
- Fine crêpe used for mourning hatbands in the 15th-17th centuries, made in Cyprus.[23]
_of_rayon.jpg)
E
[edit]- ʻeleʻele kanikau
- Black mourning crêpe worn in Hawaii.[24]
- Epingline
- Textile in silk, rayon or worsted with a crêpe surface.[25]
- Esmeralda or étendelle
- Sheer white crêpe or gauze popular in the early 19th century, often embroidered.[26]
F
[edit]- Flat crêpe
- Also called mock crepe or (inaccurately) French crepe. A smooth, flat plain-weave fabric, typically a silk blend, with hard-twisted yarns and ordinary yarn warp. Also used to describe a similar fabric made without crepe-twist yarns.[27]
- French crêpe
- 1. An inaccurately-applied name for flat crêpe.
- 2. Plain-weave light silk or rayon cloths similar to flat crêpe.
- 3. A lingerie weight fabric with ordinary yarn warp and a twisted filling yarn that is less twisted than typical crepe twist.[28]
G
[edit]- Gamsa
- An imitation satin-backed crêpe in twill weave rayon.[29]
- Georgette
- 1. Sheer, lightweight fabric named after the couturiere Georgette de la Plante.[30]
- 2. A crepe-surfaced plain weave silk or synthetic fabric with alternating S and Z twist yarns in both warp and weft.
- 3. An English term for cotton crepe.[31]
- Georgian crêpe
- A chain-pebbled crêpe (called armure in France) often with diamond, shield or bird's-eye motifs.[31]
.jpg)
H
[edit]- Health crêpe
- See crêpe de santé.
L
[edit]- Lingerie crêpe
- See French crêpe.
M
[edit]- Marana
- Woollen crepe, very resilient and drapable.[32]
- Mock crêpe
- See flat crêpe.
- Momie crêpe
- Light cotton fabric.[18]
- Moss crepe
- See sand crepe.
N
[edit]- Norwich crêpe or crape
- 1. 19th century silk warp and worsted, resembling a non-twill bombazine but not considered true crêpe.
- 2. 17th century black-dyed worsted crêpe made in England.
- 3. A georgette-like silk and cotton blend fabric in a crêpe weave.[3][33]
P
[edit]- Pekin crêpe
- Pekin (shiny and matte striped textile) woven with a crêpe weft.[34]
- Plissé
- Mainly cotton fabric with a crêpe effect created by chemically treating the fabric to pucker and crinkle, typically in stripes. Plissé satin is made using crêpe yarns.[35]
R
[edit]- Reverse crêpe
- Woven with a crêpe yarn warp and flat filling.[36]
- Rhythm crêpe
- Plain-weave rayon with seersucker stripe.[37]
- Romaine
- Heavy but transparent crêpe.[38]
- Roshanara
- Trade name for heavily ribbed satin-backed crepe.[39]
- Russian crêpe
- Invented in 1881. A coarse-weave crêpe.[40]
S
[edit]- Sand crepe or moss crepe
- Crêpe with a grained or frosted surface appearance, created with a small dobby weave.[41]
- Sawdust crêpe
- Similar to sand crêpe but with a harsher surface.[42]
- Satin-back crêpe
- Reversible fabric with a satin face and a crêpe reverse.[19]
- Shioze
- Japanese spun-silk crêpe.[43]
- Spanish crêpe
- See Crepe d'espagne.
V
[edit]Y
[edit]See also
[edit]- Crêpe paper, paper with similar texture
- Momie cloth
References
[edit]- ^ Online Etymology Dictionary
- ^ Dictionary.com
- ^ a b c d e f Taylor, pp. 246-253
- ^ One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Crape". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 379.
- ^ a b c d e f g Tortora, Phyllis G.; Johnson, Ingrid (2013). The Fairchild Books Dictionary of Textiles (8th ed.). London: Bloomsbury Academic. ISBN 9781609015350.
- ^ a b Lewandowski, p.6
- ^ a b c d e f g h i j k Lewandowski, p.77
- ^ a b Lewandowski, p. 22
- ^ Lewandowski, p. 25
- ^ Tortora & Johnson, p.45
- ^ Tortora & Johnson, p. 52
- ^ Tortora & Johnson, p. 66
- ^ Tortora & Johnson, p. 96
- ^ Tortora & Johnson, p. 52
- ^ a b Lewandowski, p. 52
- ^ Ikegami, p.276
- ^ Panda, p.92
- ^ a b Lewandowski, p. 194
- ^ a b c Tortora & Johnson, p. 156
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj Tortora & Johnson, p. 157
- ^ Tortora & Johnson, p. 164
- ^ Tortora & Johnson, p. 168
- ^ Lewandowski, p. 81
- ^ Lewandowski, p. 96
- ^ Lewandowski, p. 99
- ^ Tortora & Johnson, p. 215
- ^ Tortora & Johnson, p. 236
- ^ Tortora & Johnson, p. 247
- ^ Tortora & Johnson, p. 254
- ^ Picken, Mary Brooks (1957). A Dictionary of Costume and Fashion: Historic and Modern. Courier Corporation. pp. 88. ISBN 9780486402949.
{{cite book}}: ISBN / Date incompatibility (help) - ^ a b Tortora & Johnson, p. 259
- ^ Tortora & Johnson, p. 372
- ^ Tortora & Johnson, p. 418
- ^ Lewandowski, p. 224
- ^ Tortora & Johnson, p. 465
- ^ Tortora & Johnson, p. 509
- ^ Tortora & Johnson, p. 510
- ^ Lewandowski, p. 252
- ^ Tortora & Johnson, p. 517
- ^ Lewandowski, p. 254
- ^ Tortora & Johnson, p. 527
- ^ Tortora & Johnson, p. 536
- ^ Tortora & Johnson, p. 555
- ^ Tortora & Johnson, p. 664
- ^ Tortora & Johnson, p. 693
- ^ Tortora & Johnson, p. 695
Bibliography
[edit]- Ikegami, Eiko (2005). Bonds of civility : aesthetic networks and political origins of Japanese culture (Reprinted ed.). Cambridge: Cambridge University Press. ISBN 9780521601153.
- Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Lanham, Md.: Scarecrow Press, Inc. ISBN 9780810877856.
- Panda, H. (2010). The complete book on textile processing and silk reeling technology (First ed.). Delhi: Asia Pacific Business Press, Inc. ISBN 9788178331355.
- Taylor, Lou (2009) [1983]. "Appendix 1: A Selection of Popular Mourning Fabrics". Mourning Dress: A Costume and Social History (2009 ed.). Routledge Revivals. pp. 246–253. ISBN 978-1135228439.
- Tortora, Phyllis G.; Johnson, Ingrid (2014). The Fairchild books dictionary of textiles (8th ed.). New York: Fairchild Books. ISBN 9781609015350.
Crêpe (textile)
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Overview
Definition and Etymology
Crêpe is a textile fabric characterized by a crisp, crimped, or crinkled surface texture that imparts a distinctive pebbled or rippled appearance, setting it apart from smooth-surfaced fabrics like satin or plain weave cotton.[1][5] This texture arises from specialized production methods, resulting in a lightweight, drapable material often used in garments for its subtle volume and breathability.[6] The term "crêpe" originates from the French word crêpe, meaning "curled" or "crinkled," which itself derives from the Latin crispus, denoting "curly" or "wavy."[7][8] This linguistic root reflects the fabric's inherent waviness, with the earliest documented uses in English appearing in the mid-17th century.[9] Crêpe can be produced either as a specific weave structure, where highly twisted yarns—known as crêpe yarns—are interlaced to create the irregular surface through contraction during finishing, or as a surface finish applied to other base fabrics via techniques such as embossing, etching, or chemical treatments.[1][10] This duality allows crêpe effects to be achieved across various fiber types without altering the fundamental weave pattern in the latter case.[11]Physical and Aesthetic Characteristics
Crêpe fabric is distinguished by its pebbled or rippled surface, which imparts a distinctive three-dimensional effect that enhances visual interest and depth in garments.[1] This textured appearance arises from the fabric's inherent structure, contributing to its elegant yet tactile appeal in textile design.[12] In terms of aesthetic variations, silk crêpe variants often exhibit a subtle sheen that adds a luxurious luster, while wool or synthetic versions typically present a matte finish for a more subdued look.[13] These qualities make crêpe versatile for both formal and casual applications, where the surface irregularity diffuses light to create dynamic shadows and highlights.[14] Physically, crêpe is typically lightweight, generally ranging from 50 to 300 grams per square meter (gsm), with many apparel variants in the 50-150 gsm range, allowing for comfortable wear without bulk.[15] It offers high breathability and excellent drape, enabling fluid movement and a natural flow that clings softly to the body.[1] The fabric's moderate stretch, derived from the twisted yarns, provides subtle elasticity, while its low heat retention and moisture-wicking properties promote ventilation and dryness during use.[16] Regarding durability, crêpe demonstrates resistance to wrinkling, as its textured surface conceals creases effectively, though it may be prone to snagging on rough surfaces.[17] Flammability varies by fiber composition, with synthetic variants showing higher susceptibility compared to natural ones.[1] In comparison to non-crêpe fabrics like plain weave silks, crêpe's uneven yarn tension results in a non-flat, puckered profile that avoids the smooth, even surface typical of simpler weaves.[18]History
Ancient Origins and Early Uses
The origins of crêpe textile trace back to ancient East Asia, particularly China and Mongolia, where silk-based crêpes were developed during the Warring States period (475–221 BCE) or Han Dynasty (206 BCE–220 CE).[19][20] Early weavers employed highly twisted silk yarns to produce fabrics with a distinctive crinkled texture, achieving lightweight, flowing materials ideal for ceremonial robes worn by nobility and officials during rituals and court functions.[21] This technique represented an early innovation in textile manipulation, leveraging the natural properties of silk to create the fabric's signature uneven surface. As silk trade routes expanded along the Silk Road, silk fabrics reached regions including ancient India, where they were adapted for ceremonial garments like saris.[21] In medieval Europe and Byzantine traditions, silk held symbolic significance in religious vestments and veils, where its subtle sheen enhanced liturgical symbolism during ceremonies and processions.[22]Modern Development and Popularization
In the 19th century, crêpe fabric experienced significant growth in Europe, transitioning from niche uses to a broader luxury textile. French textile merchants adapted Chinese silk techniques, introducing crêpe de chine as a lightweight, fine plain-woven fabric prized for its soft drape and subtle texture, positioning it as an elegant alternative within the silk trade.[19] By the 1870s, the British firm Samuel Courtauld & Company had emerged as a dominant producer in the silk industry, employing thousands and specializing in crepe production to meet rising demand for versatile dress fabrics, including mourning attire.[23] This period marked crêpe's shift toward mainstream fashion applications, driven by mechanized production that enhanced its accessibility among European elites. The early 20th century saw a pivotal transition to synthetic materials, particularly following World War I, when silk shortages and high costs prompted the adoption of viscose rayon for crepe production. In the 1920s, rayon emerged as an affordable "artificial silk," with U.S. production surpassing natural silk by 1924, enabling wider use in crepe textiles that mimicked luxury without the supply vulnerabilities.[24] This innovation reduced reliance on imported silk, fostering crepe's democratization in apparel. Fashion designers like Coco Chanel further propelled its popularity, incorporating crêpe de chine into flapper-era silhouettes, such as the iconic 1926 little black dress, which emphasized simplicity and modernity.[25] During World War II, crepe's durability and versatility found utility in wartime clothing, including military-inspired suits blending silk, wool, and synthetic variants for resilient everyday wear under rationing constraints.[26] Postwar recovery amplified global spread, with Chinese production of canton crêpe—a pebbly silk variant originating from the Canton region—contributing to exports amid recovering trade networks.[27] The 1950s synthetic boom, led by polyester crepe, made the fabric affordable and wrinkle-resistant for mass-market everyday garments, solidifying its role in accessible fashion worldwide.[28] By the 1960s, synthetics accounted for a significant share of crepe output, transforming it from elite attire to staple wardrobes.[29]Production
Yarn Twisting and Preparation
The production of crêpe yarns begins with high-twist spinning, where fibers are twisted at rates typically ranging from 40 to 75 twists per inch to create the compact structure necessary for the fabric's distinctive texture.[30][31] This process involves alternating S-twist (clockwise) and Z-twist (counterclockwise) directions in the yarns, which causes the fibers to crimp and buckle upon relaxation during finishing, producing the irregular, pebbled surface characteristic of crêpe.[32] The high twist enhances yarn strength and abrasion resistance while reducing diameter and moisture absorption, though it demands precise control to avoid weakening the yarn structure.[31] Fiber selection plays a key role in twist retention, with elastic natural fibers like silk and wool preferred for their ability to hold high twists without excessive breakage. For silk, preparation includes degumming to remove sericin (the gum coating 17-38% of raw silk weight), typically via boiling in an alkaline soap solution (20-30% soap concentration at boiling for 90-120 minutes) or enzymatic hydrolysis, which softens the fiber and ensures even twisting by reducing friction and improving uniformity.[33] Wool undergoes scouring to eliminate grease, suint, and dirt (up to 40% of raw weight) using 2-4% soap and 2% sodium carbonate in sequential baths at 50-70°C, followed by neutralization with acetic acid, yielding clean, uniform fibers essential for stable high-twist yarns.[34] Historically, yarn twisting for crêpe was manual in 18th-century looms, limiting production to small scales, but evolved with the introduction of mechanized ring spinning in the 1830s, which enabled efficient insertion of high twists for mass production of fine, uniform yarns.[35] Quality in twisting is determined by the angle, ideally 45-60 degrees, which governs crinkle depth in the final fabric; angles around 50 degrees, for instance, yield pronounced texture in handspun blends, while over-twisting beyond optimal levels risks fiber slippage and yarn breakage during spinning.[36][37]Weaving Techniques and Finishing Processes
The weaving of crêpe fabrics primarily employs plain or satin weave structures, utilizing highly twisted yarns to achieve the distinctive puckered surface. In plain weave crêpe, the interlacing of warp and weft yarns with unbalanced twist directions—typically one direction having higher twist levels—creates differential shrinkage and tension during construction, resulting in the fabric's irregular, crinkled texture without additional patterning.[38] Satin weaves, by contrast, allow for a smoother base that highlights the yarn twist's effect, often used in lighter crêpes where the floats enhance the pebbled appearance.[39] For more complex designs, jacquard looms have facilitated the production of patterned crêpes since the early 1800s, enabling precise control over individual warp yarns to incorporate motifs while maintaining the crêpe effect through twisted weft insertions.[40] This mechanization, introduced around 1801, revolutionized the creation of decorative crêpe textiles by automating intricate weave variations.[41] Crêpe variations arise from the balance of yarn twists: balanced crêpe incorporates equal proportions of S-twist and Z-twist yarns in warp and weft, yielding a subtle, even texture suitable for drapable garments, whereas unbalanced crêpe favors one twist direction (often Z in weft), producing a more pronounced, directional crinkle for visual emphasis.[42] Post-weaving finishing processes are essential to stabilize and enhance crêpe's texture. For synthetic crêpes, heat-setting at temperatures between 150°C and 200°C locks the yarn twists and prevents relaxation, ensuring dimensional stability while preserving the crinkle.[43] Chemical embossing involves applying resins to select areas before heat curing, creating localized puckering in otherwise flat woven structures to mimic natural crêpe effects.[44] Calendering, where fabric passes through heated rollers under pressure, imparts an artificial crinkle to smooth or low-twist bases, adjusting the intensity via roller patterns and temperature.[45] Dyeing is integrated after weaving to minimize distortion of the twisted structure; piece-dyeing allows uniform color application on the finished fabric, avoiding the unraveling risks of yarn-dyeing. For silk crêpes, reactive dyes are preferred, as they form covalent bonds with the fiber to deliver vibrant, wash-fast colors without compromising the delicate texture.[46]Types
Crepes by Natural Fibers
Crêpes made from natural fibers derive their distinctive texture and properties from plant- or animal-based materials, offering breathability, luxury, and environmental sustainability compared to synthetic alternatives. These fabrics leverage the inherent qualities of silk, wool, cotton, and linen, such as silk's luster and drape or wool's warmth and durability, achieved through twisting and weaving processes that create the characteristic crinkled surface.[47][1] Silk crêpes, originating in China during the Ming and Qing dynasties from the 14th to 19th centuries, represent some of the earliest and most refined natural fiber variants, with innovations in weave structures enabling the pebbled texture prized for its elegance.[47] Crêpe de chine, crafted from mulberry silk, is a lightweight fabric weighing approximately 50-80 grams per square meter, featuring a soft, fluid drape and subtle matte finish due to highly twisted yarns.[19][48] This versatility stems from the silk's natural smoothness and strength, allowing it to flow gracefully in garments while maintaining breathability.[19] Georgette, another silk crêpe, employs a plain weave with alternating S- and Z-twist yarns to produce a sheer, crinkled surface that enhances its lightweight translucency, making it ideal for evening attire where subtle layering and movement are desired.[49][50] Wool crêpes provide greater density and resilience, drawing from the fiber's natural insulation and elasticity to create structured yet textured fabrics suitable for cooler climates. Mourning crêpe, often produced from merino wool, emerged prominently in Victorian-era fashion during the 1860s following heightened societal emphasis on bereavement rituals, with its heavy weight offering a somber, matte appearance and durability for formal suits.[51][52] The merino's fine, soft wool contributes to a clinging drape without sheen, aligning with mourning customs that favored lusterless materials.[53] Crepon, a ribbed wool crêpe introduced in the 1860s, features pronounced ridges from its dense weave, enhancing its robustness for outerwear while retaining the crêpe's irregular surface for added texture and longevity.[1][54] Among other natural fibers, cotton crêpe stands out for its affordability and comfort, with the material's breathable pores promoting airflow and moisture wicking, particularly in plissé variants where chemical treatment creates permanent puckers for a casual, relaxed fit in shirts.[14][55] Linen crêpe complements this with its crisp hand and inherent texture from the flax plant's rigid fibers, resulting in a lightweight, airy fabric that resists wrinkling while providing a structured yet cool feel, often used in summer dresses for its natural stiffness and subtle pebbling.[56][57] These plant-based options highlight natural crêpes' eco-friendly attributes, as they biodegrade and require fewer resources in production compared to animal-derived fibers.[14]Crepes by Synthetic and Blended Fibers
Synthetic and blended fiber crêpes represent a significant evolution in textile manufacturing, offering enhanced durability, affordability, and versatility compared to their natural counterparts, which prioritize breathability and luxury. These fabrics emerged prominently in the 20th century as chemical advancements enabled the production of artificial fibers that mimic the crinkled texture of traditional crêpe while addressing practical limitations like cost and maintenance. By leveraging polymers and regenerated cellulose, synthetic crêpes have become staples in mass-market apparel, contributing to the democratization of fashion through scalable production methods.[1] Rayon and viscose crêpes, derived from regenerated cellulose, were among the earliest synthetic variants, developed in the early 1900s by British firm Courtaulds following their acquisition of viscose patents in 1904, with commercial production scaling up by 1905. These fibers produce a soft, drapey crêpe with a subtle sheen, often weighing 100-150 grams per square meter, making them ideal for lightweight garments. A notable example is crepe-back satin, which features a glossy satin face and matte crêpe reverse, commonly based on rayon or viscose for use in linings due to its smooth, non-slip surface that facilitates garment assembly.[58][59] Chiffon crêpe, often a sheer blend incorporating viscose or rayon with synthetics, exemplifies the translucency and fluidity of these materials, typically used in scarves where the lightweight, airy structure—around 30-50 grams per square meter—allows for elegant layering and movement. This variant combines the ethereal quality of chiffon with crêpe's texture, enhancing visual interest without added bulk.[60][61] Polyester crêpes stand out for their wrinkle resistance and low cost, properties stemming from the fiber's high tensile strength and quick-drying nature, making them suitable for uniforms, a medium-weight variant (100-150 gsm) valued in professional attire for its ease of care and shape retention. Unlike natural crêpes, which may require ironing, polyester versions maintain their pebbled surface through wear, supporting high-volume production.[1][62] Blended crêpes further optimize performance by combining synthetics with other fibers. Poly-wool crêpe blends incorporate polyester with wool to add stretch—often 5-10% elastane for enhanced recovery—ideal for modern suiting that demands both formality and comfort, with the synthetic component reducing creasing while preserving wool's warmth. Similarly, nylon crêpe offers superior durability and water repellency due to nylon's hydrophobic properties and abrasion resistance, positioning it well for activewear where moisture management and longevity are critical.[63][64][65] Recent advancements include recycled polyester crêpes, which use post-consumer waste to create sustainable variants with similar properties, comprising a growing share of production as of 2024.[66] Since the 1970s, synthetics and blends have comprised approximately 60-70% of global fiber production, driving cost-efficient crêpe manufacturing by reducing reliance on expensive natural resources and enabling consistent quality at scale. This shift has made crêpe accessible beyond elite markets, with polyester and rayon dominating due to their versatility in automated weaving.[67][68]Applications
In Fashion and Apparel
Crêpe fabric has played a prominent role in fashion history, particularly during the 1920s when crepe georgette was favored for flapper-era dresses, enabling the era's signature drop-waist silhouettes and loose, flowing styles that embodied the decade's liberated aesthetic.[69] In the 1930s, designer Madeleine Vionnet revolutionized evening wear by employing bias-cut techniques with silk crepe, creating gowns that draped fluidly over the body to accentuate natural contours and produce elegant, sculpted forms.[70] In contemporary apparel, silk crepe remains a staple for special occasions, such as wedding dresses, blouses, and skirts, where its soft sheen and graceful movement enhance formal elegance.[71] Wool crepe is commonly used in professional suits, offering a structured yet lightweight option that maintains a polished appearance for business attire.[72] Synthetic crepe variants, often made from polyester, dominate fast fashion lines due to their affordability and ease of production for everyday dresses and tops.[73] Designers value crêpe for its ability to create flowing silhouettes that complement various body types by providing subtle movement and forgiving drape, while its pebbled texture introduces visual interest without adding bulk or weight.[74] This combination of qualities makes it ideal for garments requiring both aesthetic appeal and practical wearability. Culturally, cotton crepe is widely used in Indian sarees, where its lightweight crinkle allows for comfortable draping in traditional attire suitable for daily and festive wear.[75] In Japanese fashion, silk crepe (known as chirimen) is used in kimonos, providing durability and a distinctive texture.[76]In Other Industries
Beyond apparel, crêpe finds diverse applications in home decoration and accessories. Polyester crêpe is commonly used for curtains and upholstery, where its lightweight, semi-sheer structure effectively diffuses natural light, creating a soft, ambient glow while offering durability for everyday use.[77] In table linens, cotton crêpe provides a distinctive crinkled texture that enhances visual appeal and tactile interest, making it suitable for napkins and cloths that require a subtle, elegant roughness without compromising softness.[78] Lightweight silk crêpe is favored for accessories such as hats, gloves, and scarves, leveraging its fluid drape and subtle sheen to add sophistication and comfort in non-apparel items. A thin paper variant, crepe paper, emerged as a craft material in the 1890s, imported initially by U.S. firms like Dennison Manufacturing Company around 1892 for decorative projects, costumes, and party goods due to its stretchable, fabric-like qualities.[79] In industrial contexts, non-woven crêpe bandages serve medical purposes, prized for their high absorbency, breathability, and non-slip texture that supports wound care and compression without adhering to skin.[80] Crêpe fabric also appears in theatrical costumes, where its inherent crinkle and flow mimic organic movement, allowing performers fluid motion in stage productions.[81] Notably, during World War II, nylon—a synthetic fiber—was repurposed for parachutes, replacing silk to meet wartime demands for lightweight, strong canopies.[82] Crepe paper contributes to sustainable packaging, offering biodegradability and flexibility for protective wraps and containers in eco-conscious industries.[83]References
- https://en.wiktionary.org/wiki/crepe