Woven | Chapter Three

W W O V E N

Over 100 years of industry knowledge

JA M E S D U N LO P T E X T I LE S. C O M

MOKUM / UTOPIA COLLECTION

UPHOL ST ERY

Upholstery

x

J A MESDUN L OPT EX T IL ES.COM

MOKUM / ETERNAL

The textile manufacturing industry is always evolving and through technological advancements the home owner has more possibilities than ever to add individual personality to their furniture, whilst investing in textiles that will have longevity. There is a vast array of upholstery fabrics available in the market, each offering different performance characteristics. It is often difficult to evaluate how an upholstery fabric will likely perform in any given situation, based solely on what it looks like.

|

127

UPHOL ST ERY

T

An overview of upholstery fabric and recommended usages

MOKUM / NOMAD COLLECTION

Below are key points to consider when evaluating how an upholstery fabric will likely perform in situ:

Contents: 1

An overview of upholstery fabric and recommended usages

2

Behind the scenes look at upholstery testing methodologies

3

Common upholstery problems and solutions

4

Recommended care and maintenance for upholstery

5

Soil or stain repellant finishes

6

Textile backings

7

Viscose in upholstery application

8

Upholstery terms unraveled

9

Working with specific furniture styles

10

Calculating upholstery fabric requirements

11

Upholstery costing

12

Upholstery specification checklist

13

Conclusion

12 8

•

Fibre composition and yarn type.

•

Recommended end use and performance rating.

•

Weave construction and finishing.

A fabrics durability is dependent on the quality of the yarns, dyestuffs, weaving and finishing techniques used during manufacturing.

JAMES DUNLOP / CHATEAU

he purpose of this chapter is to give you a better understanding of the key points to consider when recommending an upholstery fabric, as performance issues can arise from inappropriate specification.In this chapter we look at the performance characteristics of fibres, constructions and finishes in relation to upholstery specification. We cover common terminology used for upholstery fabrics and we detail industry standard testing methods.

Furniture manufacturing techniques and styles, pattern matching considerations and common quality issues (with recommended solutions) are all discussed. This chapter also covers upholstery-specific care and maintenance, gives advice on after-sales service issues and includes a helpful specification check list

Although you cannot categorically say a certain fibre will perform the same way all of the time, following is a snapshot of general technical attributes specific to each fibre in upholstery application. For further information refer the General Textiles Unraveled chapter.

J A MESDUN L OPT EX T IL ES.COM

|

129

W O V E N

FIBRE TYPE

PROS

UPHOL ST ERY

CONS

Man-Made / Synthetic Fibre

ACRYLIC

Natural Fibres

COTTON

• Strong and stable

• Soft handle

• Susceptible to fading in direct sunlight

• Washable

• Pilling can occur

• Excellent sunlight resistance

LINEN / FLAX

• Soft handle

• Susceptible to fading in direct sunlight

• Washable NYLON

• Durable • Good Elasticity

• Relaxes overtime - can result in sagging

• Can degrade from exposure to direct sunlight

• Seam slippage can occur with heavy load

• Non Absorbent - quick drying

POLYESTER

• Strong and stable

SILK

• Luxurious appearance

• Likely to degrade in direct sunlight

VISCOSE / RAYON

• Soft handle

• Susceptible to fading in direct sunlight

• Pilling can occur

• Good sunlight resistance • Mildew resistant • Washable • Low absorbency – quick drying

• Luxurious appearance POLYOLEFIN / OLEFIN POLYPROPYLENE.

• Dry clean only – spot cleaning may watermark

• Strong and stable • Fade resistant • Natural stain release • Washable • Chemicals resistant – most chemical and bleaches won’t damage it

It is important to note that blends of fibres are often used to harness the fibres’ positive characteristics whilst minimising the negative. Generally blended compositions are used to create textiles that elicit the desired aesthetic and handle as well as the required performance characteristics.

13 0

WOOL

• Durable

• Susceptible to fading in direct sunlight

• Natural flame retardant

• Absorbent – stains easily

• Temperature regulating • Elasticity for ease of application to curved edge furniture

J A MESDUN L OPT EX T IL ES.COM

|

13 1

7 2

Code No.s

Usage Icon

Updated 16/03/2012

W O V E N

8 3

1

9 4 Code No.s

RECOMMENDED USAGES

NOTE: These tests are not mutually exclusive and therefore results should not be viewed in isolation.

Did you know? Paper achieves a martindale abrasion result of 80,000 rubs however you wouldn’t dream of upholstering your furniture with it.

12 73 13 84 95 14 10 15 6

There is a growing trend towards the over-specification of abrasion rub rates which is misleading.

It has become a common misconception that rub rates are the single most important test result to consider when choosing

7 11 17 8 12 18

Colour fastness to light

AS2001.2.25

ASTM D4157

(AS2001.4.21)

Updated 16/03/2012

Pilling (IWS)

9

Tear Strength

(AS2001.2.22) (AS2001.2.22)

6 at 120N

15N

Residential medium duty

Recommended for use on furniture intended for general daily domestic use.

Medium duty fabrics are not recommended for use on motion furniture (i.e. recliners) or furniture with a fixed seat or back that will put high levels of stress on the fabric.

15,00020,000

4-5

3

6 at 180N

20N

Residential heavy duty

Recommended for use on furniture intended for heavy duty domestic use i.e. on the main furniture in the house that will be subjected to high levels of everyday use. Also suitable for motion furniture (i.e. recliners) and for furniture with a fixed seat or back.

20,00030,000

15,000

5+

3-4

6 at 180N

20N

Commercial heavy duty

Recommended for use on furniture intended for commercial applications and environments.

30,000+

30,000+

5+

3-4

6 at 180N

20N

8 13 2

Seam Slippage

3

6 7

Wyzenbeek Abrasion (double rubs)

4

5

The following table outlines the performance/class rating system for woven upholstery fabrics as per the Australian AS2687-1997 standards. James Dunlop Textiles use this standard as a guideline when specifying an upholstery products recommended usages.

Martindale Abrasion (cycles)

10,00015,000

3 4

Explanation

Recommended for use on furniture intended for occasional, decorative or light usage. This is due to either the use of delicate yarns in the composition of the fabric, or due to the delicate construction of the fabric itself. It is recommended that manufacturers reinforce upholstery seams.

Residential light duty

an upholstery fabric. In reality it is more likely that an issue could arise with seam slippage or pilling, due to daily use, long before the fabric will show signs of damage from abrasion. Upholstery product failures are more likely to result from inappropriate cleaning, lack of proper maintenance and inappropriate application of a specific textile. Therefore abrasion results, although important, should be considered as only one part of the equation when assessing a textile’s predicted durability and appearance retention when upholstered.

11 62

Recommended Usage

2 Usage Icon

The recommended usage published by the fabric wholesaler should always be based on a combination of both reputable external test results and the wholesaler’s industry experience with upholstery fabrics. Test results provide a valid guide, however there are many factors which can contribute to a fabrics performance as outlined throughout this chapter. The key tests for ascertaining the recommended usage for an upholstery fabric are abrasion, colour fastness to light, pilling, seam slippage and tensile strength.

10 51

UPHOL ST ERY

J A MESDUN L OPT EX T IL ES.COM

|

13 3

UPHOL ST ERY

JAMES DUNLOP / ESSENTIALS COLLECTION

W O V E N

Behind the scenes look at upholstery testing methodologies Below we outline the main upholstery tests performed to distinguish a fabrics recommended usage for upholstery application. We aim to unravel the mysteries as to the importance of each test, how each test is performed and how to interpret the results.

13 4

COLOUR FASTNESS TO LIGHT (AS 2001.4.21):

COLOUR FASTNESS TO RUBBING (AS 2001.4.3):

Why is the test performed?

Why is the test performed?

To determine how resistant a fabric is to fading or colour change due to ultra violet light exposure.

To analyse how resistant a fabric is to “crocking”, which is the transfer of dye/colour migrating from the test fabric onto another fabric due to rubbing.

How is the test performed?

Fabric test swatches are exposed to a standardised light source for a set amount of hours depending on the specific test method being performed. After completion of light exposure, the test swatches are then compared against standardised original fabric swatches to determine the degree of fading/colour change that has occurred.

How is the test performed?

Standardised white fabric swatches are rubbed against fabric test swatches under both dry and wet conditions. Upon completion of the desired number of rub cycles, the white fabric swatches undergo inspection for any apparent colour transfer from the original fabric in question.

How to read test results?

How to read test results?

The rating scale is 1-7 or 1-8, depending on the test method.

Higher numbers indicate better resistance against colour fading caused by light exposure. If a product is referred to as “colourfast” this means it achieved a satisfactory result.

The rating scale is 1-5. Higher numbers indicate better resistance against crocking/colour transfer.

J A MESDUN L OPT EX T IL ES.COM

|

13 5

MARTINDALE ABRASION (AS 2001.2.25):

Why is the test performed?

One of the two main tests performed to determine how durable and resistant fabrics are to abrasion/rubbing.

How is the test performed?

Four fabric test swatches are rubbed in a figure-of-eight motion (one abrasion cycle) against a standardised abrasion cloth.

Fabric is left on the machine until either 100,000 cycles have been performed or when two threads have broken, whichever comes first. The overall test result is calculated by taking the mean result across the four test swatches.

How to read test results?

Noted as “Martindale cycles” Higher numbers mean more abrasion cycles were completed, which indicates better fabric durability. There is no maximum number which can be reached however as mentioned above, James Dunlop Textiles cap the testing at 100,000 Martindale cycles as results above this threshold have not shown to be an indicator of increased lifespan.

PILLING (IWS):

Why is the test performed?

To determine how resistant fabrics are to pilling or fuzzing.

How is the test performed?

Four fabric test swatches are rubbed in a figure-of-eight motion (one cycle) against swatches of the same fabric. Test swatches complete a certain amount of cycles after which their surface appearance gets compared to standardised images to determine the test result.

How to read test results?

The rating scale is 1-5.

A result of 1 representing severe pilling and 5 representing no pilling or fuzzing on the fabric surface. Higher numbers indicate better resistance against pilling/ fuzzing.

13 6

UPHOL ST ERY

SEAM SLIPPAGE (AS 2001.2.22):

WYZENBEEK ABRASION (ASTM D4157):

Why is the test performed?

Why is the test performed?

To determine how resistant a fabric is against the yarns opening/ slipping under pressure along a seam line.

One of the two main tests performed to determine how durable and resistant fabrics are to abrasion/rubbing.

How is the test performed?

How is the test performed?

Two fabric swatches are sewn together with a standardised seam.

The swatches are pulled apart with an equal and opposite standardised force. Fabric swatches get tested for seam slippage in both the warp (vertical) and weft (horizontal) direction. The seam opening is measured while fabric swatches are still being pulled apart.

Fabric test swatches are rubbed in an upwards and downwards movement (one abrasion doublerub) against a standardised abrasion material either wire mesh or cotton duck. Test swatches are rubbed along both the warp (vertical) and weft (horizontal) direction. Test swatches have failed when two adjacent threads have broken. The overall test result is calculated by taking the mean result from the individual test results.

How to read test results?

A seam opening of 6 mm is considered to be the highest acceptable seam opening distance.

Lower numbers indicate better resistance against seam slippage/ opening under force.

How to read test results?

Noted as “Wyzenbeek double rubs” Higher numbers mean more double rubs were completed which indicates better fabric durability.

There is no maximum number which can be reached however, as with Martindale testing, James Dunlop Textiles cap the testing at 100,000 Wyzenbeek double rubs, as results above this threshold have not shown to be an indicator of increased lifespan.

JAMES DUNLOP / KAPA

W O V E N

NOTE: It is important to understand there is no correlation between the results of a Martindale abrasion test and Wyzenbeek abrasion test.

Results should be viewed as mutually exclusive; high results with one testing methodology does not suggest the fabric would achieve high results in the other.

J A MESDUN L OPT EX T IL ES.COM

|

13 7

W O V E N

UPHOL ST ERY

CROCKING:

What is it?

Crocking is the term used to describe the transfer of excess dye from one surface to another due to rubbing and friction. The issue is increased by certain atmospheric conditions such as humidity and temperature.

Common upholstery problems and solutions

Likely cause: In a situation where the dye is transferring out of the upholstery fabric (for instance a red fabric is turning pink) it will usually be a result of either poor quality dyes used during textile manufacturing or that the dyes were not set correctly during the dyeing and finishing process. Crocking can also occur when dye is transferred from an outside source onto the upholstery fabric, for instance a pair of new jeans can transfer blue dye on to your sofa giving it a grubby appearance.

It is critical that you are clear about the look your customer wants to achieve as well as their practical requirements. In order to provide an appropriate specification you need to understand your customers expectations, in conjunction with how different compositions will likely behave in certain situations.

13 8

J A MESDUN L OPT EX T IL ES.COM

The key thing to establish with crocking is whether the discolouration is due to dye transferring out of your upholstery fabric or on to it from an external source. If it is transferring out of the fabric then it is important to check that some substance e.g. a solvent based product, has not come into contact with the fabric and affected the dyes. If all of the above can be ruled out then a genuine fabric issue may be the cause and the fabric will need to be replaced from another batch or alternative fabric.

|

13 9

MOKUM / UTOPIA

Remedy:

In this section we unravel the most common upholstery problems that can arise in use. We will break each problem down, looking at what it is, the likely cause and recommended remedies and solutions to avoid future reoccurence.

W O V E N

UPHOL ST ERY

PILE FLATTENING/SWAY MARKS:

FADING:

What is it?

What is it?

Discolouration or lightening of the dye in a fabric due to exposure to ultraviolet light. Constant exposure to high levels of direct ultraviolet light can also result in fibre degradation, causing the fabric fibres to become brittle, which may result in areas of breakage.

Likely Cause:

EXAMPLE / FADING

It is important to note that no fabric is 100% colourfast (resistant to fading), however discolouration can generally be attributed to the use of poor quality dyes during fabric manufacturing or due to constant direct exposure to ultraviolet light with inadequate protection. Ironically ultraviolet damage occurs more during the winter months when the sun is sitting lower in the sky and sunfilters/curtains are often left open during the day to increase light flow into a room.

Remedy: Once an upholstery fabric has faded there is nothing that can be done to reverse the issue other than recovering the affected piece of furniture. It is therefore very important that furniture is positioned to protect it from constant direct sunlight and of course the use of quality sun-filters and lined curtains at the window will help to reduce your furniture’s exposure to harmful UV light.

Regular rotation of reversible cushions is advisable so that both fading and wear occur evenly.

We also recommend rotating the placement of your furniture in relation to exposed windows for the same reason.

The migration of dust particles can be abrasive to a fabric’s surface and affect its colour if regular gentle vacuuming is neglected. All fabric will fade to some degree over time however adequate protection from

direct UV light and an appropriate care and maintenance regime will help to significantly increase the lifespan of your furniture.

If upholstery fading is a major concern, we recommend the specification of solution-dyed olefin or solution dyed acrylic fabric as these have superior fade resistance.

TIP: If you want to use a natural composition yet you are concerned about the probability of fading, it is recommended to choose a lighter colour as fading will be less visible to the eye.

140

EXAMPLE / PILE FLATTENING

The nap/pile in fabrics such as velvets and chenille yarns may flatten in the main wear areas over time.

This will generally be more prevalent when natural fibres such as viscose and cotton have been used although it can still occur to a lesser extent on synthetic fabrics. A disruption in the orientation of the pile, known as “flattening” or “swaying”, is an inherent characteristic of pile fabrics and should not be considered a fabric fault.

Likely cause: Usually this is just a simple case of physics where the upright pile is flattened in use generally on the main wear areas of the furniture.

It happens when moisture and pressure together are applied to the fabric. The moisture may be from having the product cleaned or even purely just perspiration or body heat. This causes the pile to move and subsequently the light to reflect differently on the affected area giving a “sway” mark.

Remedy: Synthetic fibres can be brushed or steamed to help “revive” the pile. Natural fibres can be gently brushed to help lift the pile or vacuumed on a very low suction.

Often flattened pile in natural fibre velvets will lift on its own as the fibres absorb moisture from the atmospheric environment. Please refer to our section on velvets for more detailed information on the care and maintenance of velvets.

A tip for double faced chenille fabric in upholstery application: When a double faced chenille fabric is used on a scatter cushion or loose seat and back cushions it is important to regularly rotate the cushions to prevent

movement, also known as “rolling”/“walking”/“tracking”, of the cushion cover against the inner. Rolling is due to the chenille pile on the reverse of a fabric however it can be minimised in three ways; with simple and regular maintenance, the use of a light acrylic backing on the textile or manufacturing a fine cotton cushion lining to act as a barrier cloth.

we recommended you explain that idiosyncrasies, such as sway marks, are an inherent characteristic of this construction and should not be considered a flaw. Apply correct manufacturing techniques including seaming the cut edges and folding twice before nailing or stapling the velvet to prevent the fabric from unnecessary rupture and tearing. We recommend that you do not make up velvet directly onto foam fillings, but rather use an interlining even if the velvet has been back coated. The fabric will last longer and pile loss will be reduced.

A tip for velvet in upholstery application: When specifying a velvet for upholstery application, ensure that particular velvet is suitable for upholstery use as well as your clients requirements. It is recommended when using this fabric in upholstery application that the pile faces down. If it is a natural fibre, i.e. a cotton velvet,

J A MESDUN L OPT EX T IL ES.COM

Following the above recommendations will increase the lifespan of your velvet upholstery and reduce the likelihood of pile loss.

|

141

UPHOL ST ERY

reoccurrence of pilling after trimming/shaving is unlikely. If pilling does reoccur it will be to a much lesser extent and is likely to gradually subside over time.

Correct use of a battery operated lint or nap shaver only removes the loose surface fibres (pills) and does not affect the performance of the fabric itself.

EXAMPLE / PILLING

JAMES DUNLOP / TECHTONIC

W O V E N

What is it?

Pilling is the formation of small balls of fibre on a fabric surface.

As the fabric is subjected to daily wear, loose surface fibres can become entangled with other fibres, twisting and forming the “pills” on the fabric surface.

Generally pilling will occur within the first 4-6 months of use.

Likely cause:

SEAM SLIPPAGE:

Pilling is usually not the result of a defective fabric, it is often related to an external fibre source coming into contact with the fabric in combination with other variables such as atmospheric conditions, clothing and the care and maintenance the fabric is receiving.

What is it?

Another cause can be the absence of an internal cushion/upholstery lining, also known as a “barrier” cloth. The use of a barrier cloth prevents Tetron, or a similar filling, migrating through the fabric and creating a fibre source for pilling to occur.

Remedy: Often pilling can be successfully removed on site with a quality nap or lint shaver. As pilling usually occurs after initial usage,

142

SOILING:

What is it?

Soiling is the worn or dirty appearance on high wear areas of an upholstery fabric.

Likely cause: If a fabric is not regularly vacuumed, a build up of dust can occur and this provides the platform for soiling to build as well as providing an ideal breeding ground for bacteria and mildew, which will likely become ingrained in the fabric if not treated appropriately.

Remedy: It is difficult to repair seam slippage once it starts. Generally if the seam slippage can be identified as being a result of inadequate upholstery manufacturing, the affected areas will need to be re-upholstered using new fabric from the same dye batch to ensure colour matching. If the seam slippage is clearly related to a fault with the fabric, the furniture will need to be re-covered using fabric from a different batch. If the design/shape of the furniture is contributing to the problem then re-upholstering in a fabric which is more suitable for that particular frame may be the best solution.

EXAMPLE / SEAM SLIPPAGE

PILLING:

the seam or failure to overlock raw edges during the upholstery process – or a combination of all three factors. Seam slippage usually occurs on joins that are subjected to heavy load and pressure such as seat cushions and arm rests. Certain furniture styles put more stress on fabric seams such as tub chairs and furniture with a fixed back or seat cushion.

Seam slippage is the separation or pulling apart of the warp (vertical) and weft (horizontal) yarns in a fabric usually along a sewn seam/ join. More often than not the yarns don’t actually break they just separate and leave an unsightly gap along the fabric join.

Likely cause: Seam slippage can generally be attributed to one of two causes: 1. Seam slippage may be a result of a poorly constructed textile and/ or the use of defective yarns in the fabric.

2. More commonly, due to an inadequate standard of upholstery manufacturing, i.e. a display of insufficient seam allowance, a deficient number of stitches in

Remedy: Preventative care and maintenance is critical to avoid subjecting your upholstery fabric to the harmful effects of soiling. Rotate reversible cushions weekly where possible and vacuum weekly using the low suction setting. Professional cleaning is recommended every 18-24 months or as required, pending usage.

Sewing guidelines for joining seams is as follows:

TIP: Based on our indoor/outdoor lifestyle in Australasia we recommend specifying high performance textiles for high traffic areas. High performance textiles are developed to withstand the contact of chlorine/ sunscreen, the migration of dirt, wear and tear from animals and small children and high ultraviolet light exposure, however they too require adequate care and maintenance to ensure longevity.

• In some cases an additional safeguard of stitching through a quarter inch tape along the seam may be necessary to prevent fraying in high- load areas (such as corner back cushions). This may be done at the manufacturer’s discretion after testing on individual designs.

• Minimum of 10-12 stitches per inch (25 mm).

• Minimum of ½ inch seam allowance.

• Overlocking should be used for loose woven fabrics and for seat cushion seams.

J A MESDUN L OPT EX T IL ES.COM

|

143

JAMES DUNLOP / ALPINE COLLECTION

UPHOL ST ERY

MOKUM / CLASSICS FICUS

Recommended care & maintenance for upholstery

x

As with all soft furnishings, regular care and maintenance will significantly improve the appearance and lifespan of your upholstery. It is important to follow the recommendations provided by both your textile supplier and furniture manufacturer regarding an appropriate care and maintenance routine.

We recommended the following in regards to cleaning upholstery textiles:

Unless using textiles specifically developed for outdoor use, it is advisable to minimise the amount of direct UV light exposure that your furniture is subjected to.

Hanging curtains at the window, and/or applying a UV tint to your glass may help to significantly improve the longevity of your upholstery. As it is proven that the migration of dirt and dust onto your textiles can act as a harmful abradant, we highly recommend vacuuming upholstery pieces regularly using low suction to improve the lifespan of your furniture. Regular rotation of reversible cushions is advisable so that both fading and wear occur evenly. We also recommend rotating the placement of your furniture in relation to exposed windows for the same reason.

Visit www.jamesdunloptextiles. com to view and download technical specifications and care instructions for all of our products.

Alternatively you can contact our dedicated care centre at we_care@ jamesdunloptextiles.com for further support regarding care and maintenance.

• Accelerating the fabric’s drying process using air movers (i.e. fan, dehumidifier) will prevent most potential issues such as shrinkage, browning and colour loss.

• Never place freshly cleaned/ damp cushions onto the sofa/ chair. Colour transfer may occur to the area it’s leaning on.

• Pre-inspect the fabric for any markings, e.g. felt-tip pen, which may transfer from one section to another when wet.

• Spot check for colour fastness using the strongest cleaning solution in accordance with 'CARE Instructions' (using either a cutting or on an inconspicuous area of the fabric). In extreme cases, some cleaning agents may cause the colour to bleed, fade or brown (causing brown ring stains on the fabric).

• Thoroughly pre-vacuum the article before proceeding to clean it. Do not rub fabric with abrasive products (i.e. scourer or stiff brush) as this will likely cause breakage to the fibres.

We recommend that all soft furnishings be professionally cleaned every 2-3 years.

NOTE: Cleaning instructions are offered in good faith and are not a guarantee that all stains can be removed. We recommend cleaning by a professional cleaning service for cases of severe staining or when dealing with delicate textiles. In the case of loose upholstery covers it is highly recommended to dry clean or steam clean on the frame as opposed to washing the cover – even if the fabric is “washable” it may shrink and become difficult to reapply the cover to the frame.

J A MESDUN L OPT EX T IL ES.COM

TIP: All manufacturers should receive sew in labels from suppliers, these must be sewn onto the finished product for care instruction clarity.

|

147

UPHOL ST ERY

SPOT CLEANING: Treat spills and stains as soon as possible as stains are harder to remove the longer they are unattended. Gently scrape any soil or mop any liquid from the surface of the fabric with a paper towel or damp clean white cloth. Test proprietary agents on a hidden area before use and apply strictly according to the manufacturer’s instructions. Do NOT treat fabrics labelled “dry clean only” with water. We recommend cleaning your home furnishings with a professional cleaning service.

CARE & MAINTENANCE OF PVC VINYL AND FAUX LEATHER: For optimum product longevity, PVC vinyl and faux leathers must only be cleaned by gently sponging warm water with a clean damp cloth (a mild, non-alkaline soap can be used). The use of commercial chemical cleaning solutions initiates a chemical reaction between the plasticiser compound within the PVC vinyl and the cleaning agent, which can very quickly cause the product to harden, crack and subsequently delaminate.

Some PVC vinyls have a topical finish applied that creates a barrier.

This barrier then allows the vinyl to be cleaned using everyday chemical cleaning solutions, including bleach-based solutions.

Note, this topical barrier can wear off in time, depending on the level of wear and usage the vinyl

PEGASUS / BONANZA

NOTE: Most reputable professional dry cleaners are available to visit onsite and service your home furnishings in situ.

third party finishing provider can reapply the soil and stain repellant finish in situ if required.

has to withstand in its installed environment. For longevity of any PVC based vinyl or faux leather, it is recommended to stick to nonalkaline cleaning solutions as suggested above.

Regular recommended maintenance: 1. Wipe the furniture once a month with a damp cloth or sponge.

2. Do not over-wet and be careful not to wet the furniture frame.

3. Rinse with clean water.

4. Air dry.

Avoid the use of the below product which may cause permanent damage: • Acetone • Detergents • Perchloroethylene • Powdered adhesives • Solvents • Steel wool • Trichloroethylene • Wax polishes

148

If you have any doubt about proper maintenance procedures, cleaning or spot removal, seek expert advice from a reputable cleaning service.

NOTE: All vinyls are a soft plastic compound and therefore over time, and when subjected to pressure, can experience stretching, with different grade vinyls eliciting different stretch expectancies. In high usage commercial environments we recommend that all PVC vinyl used in the seated sections of a furniture piece are foam backed.

Foam backing is a laminated foam layer that is applied to the rear of the vinyl to assist with the stability of the product and decrease the risk of the seated section stretching and sagging.

that fibre, which ultimately helps the fabric to repel liquids, dust and soil. Spills simply bead up and roll off, and any residue can be easily wiped away or blotted with a clean cloth. If a ground-in stain should occur, both branded finishes will aid the stain to be removed with cleaning. Both branded finishes offer high durability protection however as with all topical finishes they will wear down with age and therefore neither are a long term guarantee against soiling.

There are three ways to obtain a soil or stain repellant finish on your textile: 1. Some fabrics can be purchased from the wholesaler with a pre-treated soil or stain repellant finish. This will be noted on their sample label.

Soil or stain repellant finishes The benefit of a soil or stain repellant textile finish is that it gives the end user an opportunity to remove a spilt liquid prior to it settling into a stain. This is due to the textile repelling the liquid so that it beads and sits on the surface rather than being instantly absorbed. Please note the end user must treat spills as soon as possible with a clean, dry cloth.

TOPICAL SOIL OR STAIN REPELLANT FINISHES: Generally, topical soil and stain repellant finishes will wear down over time due to abrasion and regular cleaning and will generally last up to 5 washes. A reputable

2. Upholstery fabrics which are not supplied with a soil or stain resistant finish can often be treated by a certified third party provider prior to manufacturing.

As a general rule, if a topical fabric protector is applied, it needs to be reapplied every 3 -5 cleanings or every 3 years, whichever comes first.

3. A certified third party provider can apply a soil or stain repellant finish to a piece of furniture post manufacturing.

NOTE: If a finish is retrospectively applied after purchasing the fabric from the supplier, the supplier’s warranty and guarantees will no longer stand.

Scotchgard and Teflon are two well known branded soil and stain repellant finishes. However non branded finishes are often applied during textile manufacturing at the mill. Care labelling will generally indicate whether branded or non branded finishes have been applied.

Non branded finishes generally have the same characteristics as a branded finish.

INHERENT SOIL OR STAIN REPELLANT TECHNOLOGY: Nanotex is a leading fabric innovation company providing nanotechnology-based textile enhancements, purchased by Crypton Inc. in 2013. Nanotex spill and stain resistant formulations use nanotechnology to transform the molecular structure of the fabric, permanently bonding with individual fibres to ensure the aggressive spill and stain resistance lasts the life of the fabric.

Scotchgard and Teflon both use fluorochemical technology which forms a molecular barrier around each fibre, reducing the tension of

J A MESDUN L OPT EX T IL ES.COM

|

149

W O V E N

A backing is often applied to a textile to improve the stability and durability for upholstery application on constructions that require it. There are two common types of backing for upholstery – a light acrylic/latex rubber backing and lamination. These backings are generally applied during the manufacturing process at a mill.

ACRYLIC/LATEX BACKING:

LAMINATED BACKING:

A light acrylic/latex backing (thin rubber layer) is often applied to the reverse of an upholstery fabric to improve the performance and stability of a textile and reduce creeping on loose cushion covers.

The benefits include greater flexibility, a natural hand, seam slippage resistance and the prevention of fraying or curling.

Acrylic backings can also be FR treated to pass local fire codes.

Unlike laminated backings which are glued onto the reverse of a textile retrospectively, acrylic/latex backings are generally applied during the textile manufacturing process.

A laminated backing is when a woven or non-woven fabric is glued to the reverse of a textile.

Generally this is to improve the weight, durability and stability of the fabric for upholstery application.

• Non-woven construction: lightweight and of a polyester composition.

• Woven construction: lightweight and of a polyester or cotton composition.

Delamination is the splitting or separating of a laminated backing from the upholstery fabric to which it was applied.

The most common cauase of delamination is: • A solvent has been used to clean the product and it melts the adhesive.

TIP: A double-faced pile fabric applies to a fabric which is woven using chenille yarns on both the face and reverse. If the fabric does not have a light acrylic/latex backing we recommend manufacturing a fine cotton cushion lining to act as a barrier cloth.

15 0

• Excessive temperature has been used with a hot water extracting machine.

• Pressure on a cleaning machine is too high causing the suction mechanism to pull the face of the fabric from the backing.

MOKUM / BERBA

Textile backings

A CCESSORIES

J A MESDUN L OPT EX T IL ES.COM

|

x

UPHOL ST ERY

Viscose in upholstery application Is viscose suitable for upholstery?

Based on historic incidences of poor quality viscose yarns, there is a misconception in the market that viscose is not appropriate for upholstery application. Despite its reputation, viscose is in-fact an extremely popular upholstery fibre due to its unrivalled soft luxurious handle and subtle sheen.

It is important however, as with all natural fibres, to understand the fibre’s inherent characteristics and to have the necessary knowledge around appropriate care and maintenance. When high quality viscose yarns are blended with other natural and synthetic yarns the fabric’s durability is improved whilst maintaining the desired soft handle of using viscose. When used in constructions which yield a generous pile, it is important to understand that viscose pile needs to be viewed much like a velvet; it will likely shade/sway over time but this is an inherent characteristic of a viscose pile fabric and therefore should not be viewed as a product failure.

Pile shading/sway marks will, more often than not, lift on their own or can be gently brushed and moved to reinvigorate the pile. Constructions with a high percentage of viscose within the composition generally should not

be washed or spot cleaned with water as watermarks can occur. We recommend a stain repellant finish to appropriate constructions and professional dry cleaning if soiling and or stains do occur.

TIP: If it is absolutely essential to spot clean a high viscose fabric composition with water, it is best to clean the entire surface, to avoid colour and/or surface variation, with a damp clean white cloth. We recommend you wring out the cloth to ensure it is only slightly damp and not saturated with water, then gently wipe clean the entire surface area. If it is a pile fabric we recommend that, while it is still damp, to softly brush the pile against its nap and when its completely dry, softly brush it again in all directions to reinvigorate the pile. It is imperative that the upholstery is completely dry before sitting on it to avoid potential permanent damage.

15 2

Upholstery terms unraveled In the following section we unravel the mystery behind important upholstery textile terms commonly referred to within the industry. To be successful in this industry it is important that you have a clear understanding of the following terms as we cover topics of upholstery pattern repeats, manufacturing directions and sample directions.

JAMES DUNLOP / EASTBOURNE

CATHERINE MARTIN BY MOKUM / LEOPARDO

W O V E N

PATTERNS IN UPHOLSTERY APPLICATION If choosing a pattern, we recommend you ensure the client is fully committed to the design long-term. If they are apprehensive, it may be appropriate to encourage them to select a more conservative upholstery fabric for their main furniture piece to ensure longevity.

They can then add colour and trend through custom accessories such as scatter cushions, ottomans and lamp shades. Accessory items are an easy solution to add design and personality to a scheme which can be affordably replaced and refreshed over time.

It is important to remember that textile wholesalers sell and cut fabric by the metre, not by the pattern repeat, so you must not assume that if the pattern repeat is 90 cm that you will get a whole pattern if you order 1 m. As a rule of thumb, you should order the pattern repeat plus 30% to ensure you get a ‘full repeat’. However we recommend you consult your furniture manufacturer prior to ordering.

J A MESDUN L OPT EX T IL ES.COM

When specifying over-scaled designs, it is important to discuss with your customer whether there is a certain motif/section of the pattern they wish to feature centred on the frame. If so, this must be discussed with your manufacturer prior to calculating the required fabric meterage. This information also needs to be specified when ordering the fabric so that your textile supplier is aware of it when cutting the fabric.

|

153

W O V E N

UPHOL ST ERY

HORIZONTAL PATTERN REPEAT:

COMMON CUSTOMER QUERY:

This is always measured in the weft direction (across the roll from selvedge to selvedge), regardless of the fabric width or the direction in which the fabric has been sampled.

“What way does the stripe run?”

VERTICAL PATTERN REPEAT: This is always measured in the warp direction (up the roll), regardless of the fabric width or the direction in which the fabric has been sampled.

EXAMPLE WHERE RECORDED PATTERN REPEATS ARE AS FOLLOWS: • Horizontal pattern repeat (weft) 30 cm • Vertical pattern repeat (warp) NIL The horizontal pattern repeat indicates that the pattern repeat between stripes is evident in 30 cm increments in the weft direction/across the roll.

Therefore it can be assumed that the stripe is running up the roll.

The standard cuts would be manufactured and joined selvedge to selvedge for a vertical stripe effect or turned 90 degrees and used railroaded for a horizontal stripe effect, with selvedges running across the top and bottom.

15 4

J A MESDUN L OPT EX T IL ES.COM

|

155

W O V E N

UPHOL ST ERY

COMMON CUSTOMER QUERY:

QUESTION:

“What way does the stripe run?”

What is “railroading” and what does it mean?

Railroading is an upholstery manufacturing term that refers to a fabric being turned 90 degrees from the direction that it was woven on the loom.

LOOM

STANDARD DIRECTION

EXAMPLE WHERE RECORDED PATTERN REPEATS ARE AS FOLLOWS:

RAILROADED DIRECTION

• Horizontal pattern repeat (weft) NIL • Vertical pattern repeat (warp) 30cm The vertical pattern repeat indicates that the pattern repeat between stripes is evident in 30 cm increments in the warp direction/up the roll.

Therefore it can be assumed that the stripe is running across the roll, from selvedge to selvedge.

In this case, if the roll was to be turned 90 degrees and used railroaded across the length of the furniture frame, the stripe would then be presented in a vertical orientation, as the selvedges would be running across the top and bottom.

15 6

J A MESDUN L OPT EX T IL ES.COM

|

157

W O V E N

UPHOL ST ERY

If a sample indicates that the fabric is shown “railroaded”, it means that the sample has been designed to show the fabric in this rotated direction.

A fabric that has been sampled in the same direction as it was woven can generally still be railroaded during the upholstery manufacturing, unless the wholesaler or your manufacturer has specified it not to be, based on the fabrics construction. Certain furniture requires railroading to suit the scale of the piece and to avoid needing unsightly seams on large seat cushions and frames.

It is vital that you always consult your manufacturer as to whether it is advisable to railroad your chosen fabric on each furniture frame as it is a case-by-case consideration.

Working with specific furniture styles FIXED SEAT AS OPPOSED TO LOOSE CUSHION SEAT: A furniture design which has cushions sewn in and are therefore not able to be removed, is referred to as a fixed seat, as opposed to a loose cushion seat, whereby the cushions are not attached and are easily removable. Pieces of furniture that have a fixed seat require extra fabric to allow for the seat to compress as people sit on it. The extra fabric ensures there is enough ‘give’ and reduces the stress on fixed seams which can result in seam slippage or fabric tearing. When one sits on a fixed seat, the extra fabric comes forward to compensate, however this can leave a ripple on the seat cushions once the person leaves and generally, the bigger the piece, the bigger the ripple. Therefore this style of furniture needs to be ‘dressed’ after it is sat on.

NOTE: Railroaded/ railroading is an upholstery term whilst continuous/continuously is a drapery term however they both mean the same thing – to turn the fabric 90 degrees during manufacturing from the orientation that it came off the textile loom.

‘Dressing’ means smoothing out the fabric on the seat through simply brushing the fabric back towards the rear of the seat to remove the ripples. If

15 8

FIXED SEAT / FIXED CUSHION

LOOSE CUSHION SEAT

this is not done often enough it can lead to permanent creases forming in the fabric on the seat, which is not considered a fabric or manufacturing issue but instead a result of poor care and maintenance.

do not require extra fabric as the cushion ‘flexes’ when it is sat on, subsequently avoiding the strain on the fixed seams mentioned above.

It is important to discuss your fabric choice with your furniture manufacturer to ensure you have specified the right fabric for the furniture design.

Unlike fixed seats, furniture designs with loose cushion seats

J A MESDUN L OPT EX T IL ES.COM

|

159

MOKUM / SOUK

SAMPLE DIRECTION FOR UPHOLSTERY FABRIC

UPHOL ST ERY

MOKUM / FICUS AND SOUK

W O V E N

FOAM:

JAMES DUNLOP / MAXIME

Upholstery filling provides the support and comfort to furniture as well as adding to the shape and styling. Most furniture is upholstered with foam (a cellular material made up of polyurethane and air). The higher a foam’s density, the greater the amount of polyurethane used and, subsequently, the less air in the filling.

x

After a period of use in situ the fabric on seat cushions may appear to sag and wrinkle. Often this is not a result of stretched or distorted fabric but is more commonly due to a furniture manufacturing issue. The use of low density foam, resulting in a loss of loft, the incorrect sizing of cushion covers to inners, or if the fabric has not been tensioned correctly during initial upholstery, will all cause fabric to appear to sag/wrinkle.

NOTE: “Loft” is the term used to describe the foam’s ability to compress and rise back to its former state.

DID YOU KNOW THAT FOAM IS MADE AS A ‘CAKE’?

TIPS ON FURNITURE FOAM: 1. It is important to specify the right foam for upholstery manufacturing as wrong specification can cause considerable damage to the longevity of your furniture. For example, specifying a low to medium density foam for furniture in a high usage environment will likely cause the foam cells to break down, resulting in the foam collapsing over a short period of time. Alternatively, choosing quality high density foam for this application would likely result in longer lasting results, providing years of comfort for your customer.

The bottom third is very firm and has small air bubbles, making this quality most commonly used for mattress manufacturing where a firm foam is required.

The top third has large air bubbles and therefore compresses very quickly and easily. This quality is not suitable for furniture and is usually ‘chipped’ and used for pillow filing.

The middle third however has medium sized air bubbles which means the foam compresses easily and, as the cell walls are thicker, it is less likely to break, resulting in sufficient loft. Although it is this premium middle cut of foam which is the best quality for furniture manufacturing, it is important to understand that approximately 8% loft will be lost in the first few months of use. It is possible to specify ‘pre-crushed foam’ for upholstery which allows for tighter manufacturing and less issues with loss of loft.

J A MESDUN L OPT EX T IL ES.COM

2. Outdoor furniture that is exposed to the elements should be manufactured using specialised outdoor foam. The open cell density allows water to pass through easily – simply tip the cushion on its end and watch the water run out.

Although outdoor foam is designed to withstand the environmental conditions of exterior use, it is always recommended to bring outdoor cushions and furniture inside and away from direct exposure to rain and sun whenever possible.

|

161

W O V E N

UPHOL ST ERY

Calculating upholstery fabric requirements

MOKUM / ALPACA VELVET

3. Upholstery manufacturers often glue bonded polyester fibre also known as Dacron, polyester wadding and/or polyester batting, to the foam cushion to give it a softer and rounder look. It is commonly used on only three sides of the cushion – top, bottom and front edge. Not only does it enhance the look of the cushion cover, making it appear more plump, it also helps to increase the lifespan of your upholstery fabric. This being said, fibre wrap is recommended on all areas of the furniture where the fabric is subjected to heavy use often, i.e. inside arms, inside back and seat cushions. Having the foam cushion wrapped in fibre also reduces friction, making it much easier to slide into the cushion cover. PET Polyfibre is an excellent water and moisture barrier material thus making it suitable for outdoor use or anywhere liquid will come in contact. You should discuss this with your manufacturer prior to quoting as this may attract additional costs.

REAL LIFE EXAMPLE OF HOW TO CALCULATE THE APPROXIMATE FABRIC REQUIREMENTS FOR A CHAIR/SOFA: In this section we will explain how to estimate the fabric needed for the given chair to give you a guideline of factors to consider and how they may effect the quantity of fabric required. However, you should always consult the furniture manufacturer/upholsterer to confirm the exact requirements before ordering the fabric as every piece of furniture is different and dependant on the type of fabric you are dealing with.

It is important to specify fabrics with a high component of elasticity for heavily shaped curved furniture frames – often referred to as “organic” pieces. Elasticity is the ability a fibre has to return to its original length, shape or size immediately after the removal of stress and is required for organic furniture pieces which require flex and malleability. Always check the elasticity of the fabric with your manufacturer prior to ordering to ensure you have specified the right fabric for the job.

It is recommended to always run piping on a diagonal, in doing so the piping will become more malleable and therefore easier to bend and twist over curved edges/corners.

162

Loose covers are a popular style in Australasia where style tends to favour a more causal aesthetic. It is recommended to specify a fabric which has a 50/50 cotton/polyester natural/ synthetic blend e.g. to decrease the likelihood of shrinkage and increase tensile strength, allowing the upholsterer to fit the cover nice and tight. Although blending polyester will improve stability, it is recommended to pre-launder (also known as “pre shrink”) the fabric prior to manufacturing the loose cover. The client should have the fabric washed and dried by a commercial laundry prior to sending the fabric to the manufacturer.

MOKUM / ALPACA VELVET

ORGANIC SHAPED FURNITURE

The below factors will all significantly effect the amount of fabric you’ll require for any piece of furniture:

J A MESDUN L OPT EX T IL ES.COM

|

•

If the fabric is to be used railroaded (turned side ways).

•

If you’re using a combination of fabrics on the one piece.

•

Pattern repeat.

163

W O V E N

UPHOL ST ERY

The ‘sommerset’ chair by David Shaw is used in this example

For the purpose of this example we have made the following assumptions: The fabric is 150 cm wide.

•

The fabric is a textured plain with no pattern repeat.

•

The fabric is multi directional (so it can be manufactured in a railroaded direction).

•

The seat cushion is reversible, so we need face fabric on both sides.

Upholstery costing JAMES DUNLOP / CALCULUS COLLECTION

•

TIP: You can reduce the amount of face fabric needed by using a lining on the bottom and back of the seat cushion, but only if the seat cushion is not reversible.

We will need approximately: •

0.3 m for the arm fronts.

•

0.3 m for the back of the seat cushion and both side panels between the inside/outside back.

•

0.5 m for the body front border and front of seat cushion.

•

0.8 m for piping – seat, arm fronts and seams between outside and inside back.

•

Furniture manufacturers will usually supply the estimated fabric meterage required to upholster each piece of furniture as it is a case-by-case scenario.

It is important to note that more often than not, furniture manufacturers will initially quote for a furniture frame based on a plain fabric (with no pattern match required) to be used railroaded (turned sideways).

1 m for the outside arm – 2 cuts 940 mm long and 650 mm high/wide (2 from same length).

•

1.5 m for the outside back.

•

2 m for the seat cushion top and bottom.

Total approximate fabric requirements = 6.4 m

COUCH MEASUREMENTS

16 4

If the fabric you are specifying has a pattern repeat which needs to be pattern matched or the fabric cannot be railroaded, you need to discuss this with your manufacturer. Supply them with all fabric details and pattern repeat measurements and request

they calculate and quote the fabric meterage required for that particular scenario, as both of these variables can significantly affect the quantity of fabric required.

The direction in which the fabric will be used during upholstery will affect the meterage required.

NOTE: Pattern matching often incurs a small surcharge to compensate for the additional manufacturing time it takes to cut, pattern match and sew a matched fabric.

Some fabrics either cannot or should not be used railroaded, it is important to consult both your fabric wholesaler and furniture manufacturer to determine the most appropriate direction for the specific textile you’re specifying.

J A MESDUN L OPT EX T IL ES.COM

|

165

W O V E N

UV LEVELS:

Do they have children?

•

Do they have pets?

•

Do they need it to be washable? Will they use professional cleaners?

•

Is it a formal or more casual setting?

•

Is it an indoor/outdoor space, do they have a pool?

•

Is it being used for daily or occasional use?

•

Is the fabric being specified for ‘family room’ furniture? It’s best to think of family room furniture in much the same way as dining room furniture, as food and drinks will likely be consumed and potentially spilt on the furniture. We recommend specifying high performance/durable and easy to-clean fabrics for this situation.

Upholstery specification checklist

We recommend asking the following questions to determine the best upholstery solution for your customer. Understanding your customer’s position in relation to the points below will ensure a specification which suits their visual brief and budget and is also a suitable choice for their lifestyle and environmental conditions.

THE MOST IMPORTANT THINGS TO CONSIDER WHEN CHOOSING THE RIGHT FABRIC FOR THE JOB:

STYLE: •

Do they want a pattern or plain fabric?

•

Do you require it pattern matched?

•

Does the fabric wholesaler and furniture manufacturer recommend that this product be used in a certain orientation?

•

Have you discussed the placement of the pattern on the frame with both the client and the manufacturer, before ordering your fabric requirements?

•

If the fabric is a pattern, have you advised the manufacturer of both the vertical (warp) and horizontal (weft) pattern repeats?

•

Is the fabric to be upholstered in a conventional/standard or railroaded orientation?

•

Is there is a specific motif that the client wants to feature?

1. Does the fabric suit the piece of furniture on both a pattern and construction level?

2. How will a composition perform and is this in alignment with your customer’s expectations?

3. It is important to consult the furniture manufacturer to ensure the textile construction is suitable for your chosen frame.

4. What does your customer want, both aesthetically and functionally?

166

•

Do they have curtains or blinds, are they open during the day?

•

Do they have tinted windows?

•

What is their proximity of the fabric to direct sunlight?

NOTE: James Dunlop Textiles is unable to accept claims of any nature, including colour variation, after the fabric has been cut. This includes orders delivered to a third party, i.e. workroom or furniture factory.

Therefore when ordering fabric always send a cutting with your order to your manufacturer, showing the agreed direction it should be made up in and which side is to be the face of the fabric.

This will allow the manufacturer to check the cutting against the fabric when it arrives at their factory, ensuring they have been supplied the correct colour and design and that the fabric is manufactured using the correct side and in the correct direction.

Some customers have an expectation that the ability to clean contaminants (stains) from fabrics is covered under the fabric warranty. The fabric warranty relates to manufacturing faults or excessive wear within a reasonable time period. Fabric staining is a care and maintenance issue and this is not covered by the fabric warranty.

MOKUM / EQUATOR COLLECTION

LIFESTYLE:

W O V E N

UPHOL ST ERY

Conclusion

CATHERINE MARTIN BY MOKUM / MAJORELLE COLLECTION

Most importantly, as well as understanding and maintaining the expectations of the customer, it is absolutely critical that the specifier has dual involvement with both the advice and recommendations of the fabric wholesaler and the advice and expertise of the furniture manufacturer. Through communication with all three parties, the specifier can have confidence that they have considered all elements and have recommended the best solution to their customer.

16 8

J A MESDUN L OPT EX T IL ES.COM

|

169