Part II More Obsoletes -- The Dating Game Continues
In the British world of antiques, a divy is a diviner,
one who can tell it's the genuine article upon sight. Perhaps you've experienced a shiver
down your spine when you find a vintage fabric; you just know it's old and the real thing
at first glance.
So, your divy instincts having performed admirably, you
know you have something old, but exactly how old and and exactly what is it? Fabric
identification without the aid of selvage markings, provenance or an expert can be tricky.
Most of the time there is no positive answer. But there are clues to put you somewhere in
the ballpark. Often width, color, design, weave and appearance can be good indicators.
Widths, while iffy and weak signals, nevertheless can generate a
time frame. Generally, by the early 1930s narrow widths were replaced by 36" to
39" for most all American dressmaking cottons and by the early 60s the standard was
42" to 44" though some 36" widths cottons lingered on for another
decade. One notable holdout is Liberty of London lawn still being manufactured in
36". This can be a deterrent in pinpointing fine old lawn, particularly with retro
designs now in vogue. Regardless, finding natural and early synthetic fabrics in 36"
to 39" or narrower widths should trigger your inner alarm system into action.
Color, designs, patina and fancy weaves are stronger
giveaways. Old catalogs, ads, pattern and fashion magazines like the Delineator,
reference books such as Dating Fabrics by Eileen Trestain, 1998, plus your
personal knowledge are useful tools for a decade-by-decade comparison of fabrics.
Unwashed old cottons seem to impart a certain glow or patina, mostly due to mellowing and
special finishes now outdated. Novelty and variations on basic weaves can help define
fashion trends of the day. For instance, iridescent chambray and basket-weave cottons were
the absolute rage in the late 1940s-early 50s; finding those fabrics in 36" is a good
clue to their age.
Fabric typing can be downright frustrating. Some
plain-weave cottons such as batiste, lawn and nainsnook are still with us but whether old
or vintage, their similarities after washing make them virtually indistinguishable from
each other. Two other long-gone family members, mull and longcloth, are nearly
indistinguishable from nainsnook and lawn whether new or washed.
Voile with its raspy-tongue feel and frosty soap scum
appearance is easily identifiable; however it is still being manufactured. Old voile had
wide satiny selvages; most today are narrow. The separating line for muslin and percale is
when thread count reaches 160. Of all the older fabrics, vintage percales are probably the
most recognizable by their colorful floral and print designs and hard, smooth finish.
Although they have been replaced by the Italian super pimas of today, old percale is
highly coveted and a quilter's dream find.
Organdy, lawn organdy and Swiss muslin are often
mistaken for each other. Rule of the thumb: organdy, still manufactured, has the stiffest
finish and is ungainly to gather; organdy with a Herberlein finish is extremely smooth and
sheer with a silky finish to reduce stiffness. Swiss muslin is a very fine muslin or lawn
with a smooth medium crisp finish, and lawn organdy, sometimes called poorman's Swiss
muslin, is so named because of its soft to soft-medium crisp finish. In most cases, all
three fabrics will retain their original degree of crispness after laundering.
Swiss muslin and lawn organdy are no longer available. Form
descriptions in old textile books, lawn organdy better fits the description of India linon
[Fr for lawn] which went off the market between 1953-61. Both fabrics gather nicely,
retain their crispness and resemble dimity but without the fine cording. They were used
for tea-room, hostess and maid's aprons; pinafores, children's dresses, collars and other
accessories. A cheaper grade of lawn organdy was the staple of commercial mama doll
dresses from the 1920s through the 40s and advertised as organdy for obvious merchandising
reasons. This particular fabric may ring a bell or evoke childhood memories for those of
you who are familiar with these dolls. Regardless of its quality, lawn organdy is a great
fabric to work with; grab it you find it.
Another favorite, dotted Swiss, is relatively easy to
identify. Prior to the 1940s, dots were larger, fluffier and wider-spaced on sheer or
gauzy muslin or lawn. Dots became smaller and closer together, small pox effect, on
crisper fabrics in the 1940s and 50s; around the mid-50s to present flocking replaced dots
on nylon, some blends and polyesters. A high-quality, turn-of-the-century version has
reappeared in the past year again making available the true beauty of this fabric.
Time really hasn't changed wools and silks and as they were
produced in a variety of widths and distinctive weave patterns from the late1800s. Your
investigative instincts have to be acute. Generally older wool acquires a musty smell
which many times even a good airing can't dispel. Identification of these two fabrics
requires knowing what's been on the market in the last several decades and using
good textile-dating reference books with high-quality colored and black-and-white
photos.
It is disheartening that even though we may be able to
identify, date and feel a fabric, in all likelihood its trademark or special finish will
never come to light, a part of its vital history forever lost. Despite these problems
involved in vintage fabric identification, this column is to make you aware of and
recognize bygone textile names even though you may never see or touch those fabrics.
Perhaps many names will be familiar to you and bring on a spasm of nostalgia. Part II
continues with the obsolescence of trademarks and finishing process up to the early 1960s.
It is important to note here that no known universal
definition exits for vintage fabric, according to one textile authority. My personal guess
would be: historical - manual-loomed fabrics prior to 1820; vintage -
fabrics 1820 to 1930 and the advent of textile machines ; old - from 1930 to 1959,
the advent of early synthetics like rayon and nylon; contemporary - 1960 to
present, the explosion of synthetics. Let's hear your definition.
I am indebted to the eight editions of Grace Denny's Fabric
books, 1923-62, and Miracle Fibers, Newcomb & Kenny, 1957, for the following
information. I am also grateful to Mary Humphries*, author of the contemporary Fabric
Glossary and Fabric Reference books. She makes a valid observation that because
a trademark or finish is discontinued, does not necessarily mean the fabric itself
disappears. A case in point is Indian Head, a muslin which was mentioned in December's
column as having expired. This might have implied that muslin also expired which we know
isn't so. Please keep this in mind as you read on about obsoletes.
The following list is by no means complete.
Because of space restrictions the words trademark and tradename have been eliminated and
will be understood. Obsolete has been shortened to ob.
Main headings in boldface denote years in
which the Denny editions were published. To give the closest obsolete date, the year or
range of years between editions are given in which the tradename or finish last appeared.
For example, if a process or tradename is show obsolete between 1954-62, it means it
appeared in the 1953 edition but not in the next edition which was 1962. If a single
year is given, obsolescence occurred between its listing under a main heading and
the next main heading. If no ob date given, name or process was still in effect in my
timeframe for listings.
By 1928 the seamstress could find in any well-stocked drygoods or
department store a staggering selection of fabrics; These were some of the tradenames,
trademarks and finishes available then:
. ABC ob 1954-62; Aledo
ob 1937-42; Seco & Sello ob by 1936 -- types of silk and cotton
fabric
. Basco --- cotton damask with
linen-like finish; ob 1954-62
. Baronette & Lustron --
types of rayon, both ob by 1936
. Celanese -- acetate rayon
. Charmeen -- a type of
worsted dress fabric
. Daisy Cloth -- outing
flannel ob by 1936
. Devonshire, Kiddie Cloth,
Kindergarten Cloth, Romper Cloth, all ob by 1936 -- heavy gingham for
children's clothes
. Duretta -- middy twill or
jean ob by 1936
. Everfast, Peter Pan; Diana,
Pamico, Polly Prim, Sunfast ob1937-42 -- colorfast cottons
withstanding sun and laundry exposure
. Flaxon ob 1954-62; Sherette
ob by 1936 -- types of dimity, batiste, India lawn; names stamped in selvages
. Heatherbloom -- a type of
percaline [lining] ob by 1936
. Indian Head -- quality muslin;
name stamped in selvage
. Linno ob 194247; Linette ob
1937-42 -- cotton suitings with linen-like finish
. Marvella -- a type of wool called
bolivia
. Polo Cloth -- camel's wool
coating
. Pussy Willow, Silcot,Tezzo
ob 1937-42; Cinderella ob by 1936 -- types of radium, a washable silk
. Ripplette -- type of
seersucker
. Soiesette ob between
1937-42; Stafford ob by 1936 -- types of highly mercerized cottons
. Viyella, patented at 55%
wool, 45% cotton; Clydella, less wool content ob 1937-42 -- types of wool and
cotton blends
By 1936 these were available; note the growth of rayon
. Acele -- process for acetate
rayon
. AntiCrease -- chemical
treatment for cotton, lenen and rayon with a synthetic resin to reduce slippage and
wrinkling; ob 1954-62
. Bemberg -- rayon made by
cuprammonium process
. Crepe Egyptia -- type of
albatross, a lightweight wool crepe; ob by 1942
. Durene -- woven or knitted goods
of superior quality mercerized yarns
. RamonaCloth -- heavy linen-like
finish cotton
. Ripplesheen -- firm cotton with
faint corded effect for dresses; ob by 1942
. Sanforized Shrunk -- process to
completely pre-shrink cotton and linen; changed to Sanforized by 1942
. Seraceta -- rayon made by
cellulose process; ob 1948-53
Available by 1942; notice the predominance of rayon processes
. There were at least 23 rayon
processes for viscose, acetate and cellulose including Cordura, Fortisan,
Enka, Spunlo; Chardonize ob by 1947; Crown Tested ob 1948-53; Eastmahn
Acetate ob 1954-62
. Bellmanized, Sheercroft,
Stayz-rite, Vita-last -- permanent, starchless finishes which retain crispness after
washing; all ob 1954-62
. Everglaze -- durable
starchless and washable glaze finish
. Fiberglas -- glass filament woven
as textile fiber
. Fibredown -- a flock dot
application process; ob 1954-62
. Fruit of Loom -- a group of
cottons and brand name of sheets
. Glosheen -- sateen with a
super finish
. Harris Tweed -- wool made in
Scotland
. Liberty Prints -- Liberty of
London & Paris exclusive designs on fine cotton, soil and wool
. Lustercale -- a fine
textured, highly mercerized cotton
. Nylon -- generic name for
synthetic polyamide
. Powder Puff muslin -- a fine,
crisp, smooth firm cotton with Bellmanized finish [ed note: could be similar to
Flaxon and Sherette, see 1928]
. Sudanette -- highly mercerized
fine textured cotton of long-staple Pima, sanforized ob 1954-62
. Tebalizing -- trade name for an
anti-crease resistant process
. Wat-a-set -- chemical process for
washable finish on cotton and rayon to decrease shrinkage
ob 1954-62
Available by 1947; note improved technology for shrinkage, wrinkle
control and permanent finishes
. Anti-Slip, Celfon both ob
1954-62 -- yarns treated to resist slippage
. Avisco, Super Hi Naraco; Textron
ob 1954-62 -- tradenames for rayons
. Heberlein, Saylerize;
Apponize, Sabel both ob 1954-62 -- finishing treatments to retain crispness
after washing
. Lanaset, Resloom and Resloom
50, Rigamel Shrunk -- treatments to reduce shrinkage in cotton, wool and rayon
. Sheerset -- finish for crispness
and control for slippage stretch ob by 1953
. Shirley Cloth -- British
trademark for cotton of extremely close weave, similar to oxford cloth, used by armed
services
Available by 1953; note influx of man-made fibers. It is estimated
the first pound of nylon cost $27 million to produce
. Acrilan [formerly
Chemstrand], Orlon, Vinyon, Dacron [formerly Amilar] -- synthetic
fabrics made from acrylic, polyester and vinyl chloride fibers
. Armo; Hymo ob by 1962 -- canvas
interlinings
. Byrd Cloth -- dense, highly mercerized
twill cotton use for parkas, skit suits, aviation garments
. Chromospun, Estron, Fiberset,
Tempra; Sanforset, Elastic Q Strutter, Unisec ob by 1962 --
tradenames for rayon processes and finishes for durability and shrinkage control
. Cloque -- novelty and birdseye piques;
a durable embossed cotton fabric ob by 1962
. Day Glo -- fluorescent colors
. Evershrunk -- shrinkage control not to
exceed 2%
. L'organza [now organza] -- a sheer silk
organdy
. Lurex -- aluminum foil yarn and
metallic colors used in a variety of fabrics
. Milateen -- a twill wool dress fabric
ob by 1962
. Picolay -- a birdseye pique ob by 1962
. Sanforlan -- process insuring wool
will not shrink out of fit ob by 1962
. Staznu, Superset, Wrinkleshed, Zeset,
Zelan; Unifast ob by 1962 -- crease and soil-resist finishes and
shrinkage control for cotton
. Vicara -- staple fiber zein [protein
fiber from cornmeal] blended with natural and synthetic fibers ob by 1962
Available by 1962; note the continued expansion of synthetics
. Agilon nylon, Antron nylon, Arnel
Triacetate, Cadon nylon, Corval, Creslan acrylic, Fortrel,
Kodel, Taslan, Terylene, Verel modacrylic, Xefron acrylic,
Zantel poly -- trade names and trademarks for synthetics
. Avricon viscose, Avlin, Avril
viscose, Avron viscose, Celaperm acetate, Chromfast, Coloray, Colorspun,
Cotron, Cupioni, Super Siri, Suracel acetate, Topel --
tradenames and processes for rayons
. Belfast -- self-ironing finish for cotton
. Cordino -- fine wale, wash & wear combed
cotton similar to bedford cord
. Cyana, Discipline, Dri-don, Permel
Plus -- finishes on cotton for wrinkle free and stain control
. Formite, Interlon, Pellon, Pelomote--
non-woven interfacings
. Gerona -- tradename for a wool pile fabric
similar to Marvella [see 1928]
. Lame -- non-tranishable metallic yarns and
fabric
. Shagbark -- a combed, textured cotton with
fine loops and crisp finish
. SuPima -- a fine, silky cotton made from
long-staple cotton
. Tackle Twill -- a twill rayon and cotton
fabric used for sportswear and uniforms
. Tarpoon -- a closely woven, water-repellent
cotton [poplin] used for jackets and playwear
Ed Note: Quadriga Cloth and Cloth of Gold should be listed in headings
covering 1930s-40s. As there is little or no information in the many reference books i
have, dating cannot be substantiated and they have been omitted.
Name That Textile -- now that you are flush with
knowledge, give your smarts a real test: if you watch the old black and whites from the
1920s-50s, guess the fabrics of the frocks those beguiling damsels wore. You will never
look at movies the same way again.
****************************
. Kettlecloth Update -- thanks to an email
from Rene Hills, she remembers using this fabric in the mid-1960s-70s and that the
manufacturer was Concord Fabrics. Concord has been contacted for information.
. Cloth of Gold Update -- wrappers from vintage
Warren's bias tape reveal it was the manufacturer of Cloth of Cold. This name was used
only for its fine nainsnook line of bias tapes. Wrappers also stated that all its fabrics
and bias tapes [nainsnook, lawn or fine percale] were schreinerzized, a luster finish
which washed out.
Advertising on these wrappers also answers
two previously-asked questions: manufacturer was Warren Featherbone Co. of Three Oaks,
Michigan, established 1883, and the company produced more that one type of fabric.
Curiously while the CoG stamp was limited only to fine nainsnook for bias tape, name was
stamped in selvages on all yard goods. One of the mysteries to date is the absence of
Warrens or Cloth of Gold in the textile books I have consulted so far. The Three Oaks
Chamber of Commerce has been contacted for information.
. Cotton Finishes and Burn
Test Update -- experts tell us that cotton burns fast and leaves ashes. However, I
found that when burning cotton with its original finish [unwashed] that a prominent
web-like residue remained. This puzzled me until after many testings, I realized that
sizing and finishes burn differently than the actual fabric. If you have had this
experience, it may be due to this reaction. Web residue turns to ashes upon touch.
* Book Review
-- see this month's Wisdom column for review on Mary Humphries' two revised textile
books.
