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By Kim Anderson

Innovative effects achieved through specialty pigments and finishes bring a shot of glamour to fabrics.

To continue to be competitive in the textile industry, companies are constantly looking for ways to maintain and rebuild interest in their product line. Some are accomplishing this herculean task by devising innovative ways to bring a shot of glamour to simple textile fabrics. Texture, shimmer, luminescence, and so many more effects can be achieved using processes that add aesthetic beauty.

Texture

. is known for its custom-engineered polyurethane foams and flexible composite systems. Alan Fenno, market development manager at Rubberlite, says, “We enjoy challenging opportunities that other companies may not want to consider.” The company recently joined forces with to create an optical infusion of textured dots on fabric.

According to Fenno, the water-based formulations used to create the dots are applied using a rotary screen technology and then cured. These formulations can be applied to any flexible substratum up to 65 inches in width in a continuous roll-to-roll format. A wide array of designs and colors can be explored.

Photograph One: Puff Dot on a Single Knit Fabric by Rubberlite, Courtesy of Cotton Incorporated

Shimmer

is the authorized textile distributor in North America for . Eckart, a division of , is a leader in effect pigments for automotive paints, packaging, and cosmetics.

Dallas Crotts, president at Cekal Specialties, reflects on their exploration into the textile market. A few years ago, they began experimenting with the pigments for technical textiles and soon realized that they also demonstrated very nice optical effects as well. They spent some time developing new fashion effects and recently teamed up with Cotton Incorporated to produce shimmer effects on single knit fabrics.

Crotts says the pigments can be applied via coating, padding, or spray; can be used on light or heavy weight fabrics; and may be applied to any fiber. They come in a variety of colors and have endless design potential.

Photograph Two: Shimmer Spray Adhesive on Single Knit Fabric by Cekal Specialties, Courtesy of Cotton Incorporated

Flocking

Flocking is not a new process by any means—its origin dates back 3000 years when the Chinese used it to beautify fabrics. is giving new traction to this age-old process.

Flocking is typically used to create pile effects on fabric. An adhesive is applied to the surface of the fabric in a desired pattern and then sprinkled with short fibers which bond to the surface. Rajesh Shah, VP of marketing and research at Spectro Coating Corp., shared a flocked fabric with a pattern reminiscent of delicate lace.

Photograph Three: Delicate Flocked Lace Pattern, Courtesy Spectro Coating Corp.

Glitter

Spectro Coating Corp. is also sending out a steady stream of other innovative products. Glitter coatings and iridescent and pearlescent pigments are adding a dose of glamor to the otherwise unmemorable fabric.

According to Shah, the glitters are applied via the same method as flocking. The glitter, which comes in 30-40 colors, can be applied in various designs. Shah notes that the glitters have good durability and flexibility with proper pre-development and customization. Careful attention must be paid to the adhesive and curing times.

The iridescent and pearlescent pigments can be sprayed onto the fabric or screen printed. The pigments change color as the light hits the surface of the fabric in different directions. The pigments are offered in 20 or more colors.

Foils

Foils are being used to create bright metallic designs on fabric. Kevin Michaels, of explains how foil is applied to a fabric.

An adhesive is applied to the fabric in a pattern. The fabric then goes through a dryer to cure the adhesive. The foil is cut to align with the adhesive and applied to the fabric. To insure good adhesion between the foil and the fabric, the fabric is heat pressed. Automatic foil machines can be used to place the foil onto the fabric, making the process semi-continuous.

Michaels says the durability depends on the adhesive; amount of time the fabric

is heat pressed; and the size of the foil design. Michaels notes that large areas—

such as the size of your hand, might not be as durable as smaller areas. If these

variables are well thought out, durability is good. AMAGIC Textile Foils offers

over 280 different colors, patterns, and holographic foils.

Although the application of foils is ideal for garments, Cotton Incorporated has

experimented with foils from Amagic Textile Foils/K Laser Technology (USA) Co.

Ltd.on both knit and woven fabrics.

Photograph Four: Holographic Foil on 100% Cotton Plain Weave Fabric by Amagic Textile Foils K Laser Technology (USA) Co. Ltd., Courtesy of Cotton Incorporated

Marbling

Some of the first accounts of marbling date back to the fifteenth century in Turkey, Persia and India. In Turkey the art form was coined Ebru, Turkish for &/2020-pigments-and-finishes/8220;cloud art.”

Natural or synthetic fibers are the perfect substratum to use to create the marbling effect. Alexander Preston, chief creative strategist at, explains the process. Carrageenan, a natural seaweed derivative, is used to thicken water. The marbling pigment is added to the water, where it floats on the surface. A fabric treated with a mordant is submerged into the marbling “size.” The marbling pigments adhere to the surface of the fabric, creating a lovely swirling pattern. The fabric is then heat set.

Textile design artist has had a passion for marbling on fabrics for years. She says that marbling has great wash and lightfastness, but not great crockfastness. Therefore, the end use of the fabric should be well thought out. Stopka uses an acrylic binder to improve the adherence of the pigments to the fabric. She also emphasizes that the humidity should be high; temperature cool; and environment dust-free to ensure that a good marbling appearance is obtained.

According to Stopka, both light and heavy weight fabrics can be marbled. She notes that marbling occurs quickly—it takes about ten seconds for marbling to occur on lightweight fabrics and about thirty seconds on heavier weight fabrics.

Stopka says that the size of the print is determined by the size of the marbling tray, and limited by the amount of time it takes to create a very large pattern without the pigment drying. She generally prints 3’ x 6’ pieces but can do larger pieces by request.

Multiple colors can be used to create an infinite number of marbled patterns which have no repeat. The process can also be used to impart marble designs onto garments.

Photograph Five: Marbling on Woven Fabric, Courtesy of Natalie Stopka

Special Effects

There are numerous reasons to add special effects to a product. The most obvious are to revitalize sales, achieve a premium price, and differentiate the product from the plethora of others on the market. Less obvious, but equally as important—unique products are one of the best ways to expand and diversify.

The Author

Kim Anderson received a PhD in Textile Apparel Management from the Wilson College of Textiles at North Carolina State University. She has worked in the textile industry for over 25 years as a designer, product developer, educator, and researcher.