adj. From the term "figure" plus a suffix. It refers to a fabric adorned or ornamented with patterns or designs, that is, weaves in which one or more warps are controlled by a figure harness. The term figured has a technical meaning, i.e. it refers to the technique.

n. From the Anglo-Norman "damasc" and Latin "Damascus" meaning the name of the city. In English language, Damask could refer simply to silk, but the term referred to a weave with two faces, reversible, made from several fibres and colours. Different layouts make the contrast, the warp-float and the weft-float, shaped with same thickness, colour and quality threads. Originally, the term damask indicated procedence from the city of Damascus.

A 19th century fabric, a kind of gros de Tours, with weft effect, used for dresses.

A type of damask with the warp in one colour and the weft in a different colour

n. From the Medieval Latin "velvetum", and Middle English "veluet" "velvet" among others. It refers to a silk textile fabric that has a short, dense and smooth piled surface. The pile is produced by a pile warp that is raised in loops above a ground weave through the introduction of rods during the weaving. There are many types of velvet, classified depending on the nature of the pile (broderie velvet, ciselè velvet, cut velvet, pile-on-pile velvet, uncut velvet, etc.).

A type of velvet in which some ground areas are left free of pile.

It refers to a gold boucle velvet with metal weft loops.

A type of weave in which a pile is produced by floats of a supplementary weft added to the ground weave. Those floats are cut after the weaving to form the pile. Weft loop weave, velveteen, corduroy, etc are terms sometimes used for some of these constructions.

n. Apparently a term of English invention. It refers to acoarse, weft-pile weave but with a thich-ribbed cut pile.

A type of velvet whose loops formed by the pile warp are cut.

A type of plain velvet whose loops formed by the pile warp are cut.

A type of figurative velvet whose loops formed by the pile warp are cut.

It refers to a pile-on-pile or velvet pattern on a plain or other weave ground.

Silk fabric with three heights: ground, brocade and on it an uncut velvet. On the ground the silver or gold thread were made, or the silk briscado thread in flowers and drawings.

n. A term borrowed from the French "pluche". From previous forms as "plush" "plushe" "plusch" among others. It defines a cut velvet with very long pile, used especially for upholstery, servant's livery, etc.

An expression from the French meaning a silk warp-pile weave in which the pile is cut with a small knife after weaving. Before the pile warp is woven, the pattern is printed on it and only those printed areas are cut. Generally, it follows a tabby binding and the pile warp is usually an 8-or10-end satin with a supplementary point of binding to secure the ends in the pile areas.

A type of velvet whose pattern is formed by a cut and uncut pile where the cut pile is higher than the uncut one.

A type of velvet in which the pattern is achieved by weaving the pile, independently if cut or uncut, in two or more heights.

A type of cut velvet in which it is applied the gaufré technique through which the decoration is achieved.

A type of velvet whose pattern is formed by cut and uncut pile, where the cut pile is equal or lower in height than the uncut pile.

A type of velvet whose loops formed by the pile are left uncut.

It refers to a velvet fabric made with two warps, one ground and one pile warp. The pile warp is uniform and does not reveal the ground warp, therefore it has no decoration.

It refers to a decorated velvet, by a mixed painting and stamping procedure devised by Grégoire, born in Aix-en-Provence, in 1751 who lived in Paris and died in 1846; He never revealed the secret of his delicate manipulations. It seems that this velvet was manufactured by previously painting the pile warp. Naturally, the drawing that was to be depicted in it was lengthened in the necessary proportion so that, once woven, this warp that constituted the pile of the fabric was left to the convenient proportion. The secret was not only in this process, but also in the colours used, of an unequaled sweetness and brightness.

It refers to a type of velvet produced in Genova in multicoloured silk with large S-shaped curved lines on a lowered ground. In this combination the parts of cut pile form relief and are curly by contrasting the lower parts of the drawing. Frequently, 16th century Genovese velvets were decorated with reduced floral motifs, compared to other decorations of the same period.

It refers to a silk velvet with four negative twill basement. Lyon velvet was analogous to the Spanish velvets of the 16th and 17th centuries. Lyon velvet used to be woven at 20, 25 and 30 covers, for a 50 cm width, and the warp density varied from 18 to 30 irons per centimeter.

It refers to the fabrics woven in the industrial region of Northern France, especially in Amiens, which were the competition of those from Lyon. The pile of these velvets is taller than those of Lyon, but they do not have a surface as thin and bushy as those.

adj. It refers to the action of weaving with a brocading weft, adding a supplementary weft introduced into a ground weave.

n. A rich patterned textile with a woven floral or figured raised figures, distinguished and emphasized by contrasting surfaces or colours. Satin or plain weave figures on plain weave (tabby) or satin grounds may be used. In the Renaissance it meant cloths where the figures were woven only in silver or gold, but from later on it is known for any fabric with a raised pattern. It is also the fabric obtained from the Jacquard loom. Far from the decorative purpose it is also used for dresses, wraps, draperies and upholstery. Originally from the Islamic world, the practice passed to Italy and Spain.

n. Late Middle English via Old French from Arabic zaytūnī ‘of Tsinkiang’, a town in China. A silk fabric, with a smooth, glossy surface on one side with a thick, close texture made in a satin weave, either in a warp-face or filling-face effect.  The threads of the warp are caught and looped by the weft only at certain intervals.

n. Some fabric imitating a brocade with high decorative reliefs, to make hangings and other uses on furniture. Made with cotton, or coarse silk.

n. A term with different origins, partly a borrowing from the Latin "taffata" and the French "taffetas", and from the Persian "tāfta". It refers to a specific type of warp-faced plain weave fabric. A fine, crisp, and lustrous fabric in which the weft threads are slightly thicker, which are hidden by densely spaced warps that cover the surface, creating visible ribs across the width of the fabric. It is originally made of silk and later also of silk mixes or other fibres as cotton, wool, polyester or nylon.

n. The term "lampas" overlaps the definitions of other weaves, depending on the pattern. But, generally the term is used for a figured compound weave, to produce luxurious figured silks, in which a pattern, composed of weft floats bound by a binding warp, is added to a ground weave formed by a main warp and a main weft. It is understood also as a combination of two structures formed from plain weave, twill and/or satin bindings. Lampas juxtaposes two faces created with these structures. It has been developed in Syria and Iraq and notably in Spain.

A 19th century textile. Besides the main and the binding warp, it employs a supplementary warp, named chaîne poil or chaîne taille-douce, the interlacings of which modify the colour of the weft floats.

n. Middle English from a Scots and northern English variant of obsolete twilly, from Old English twi- ‘two’, suggested by Latin bilix ‘two-threaded’. It is an broad term, usually referring to any fabric made with a twill weave, which is characterized by a diagonal rib, or twill line.

It defines and describes the figured fabrics woven on the Jacquard loom.

n. From the French "Lamé", meaning trimmed with levaes of gold and silver. It is still in current use. A material consisting of silk or other yarns interwoven with flat metallic threads, which form either the ground or the pattern.

n. From the French "tulle" denoting the town of the department of Corrèze, where this fabric was first manufactured. It refers to a fine silk bobbin-net (hexagonal mesh) which was mainly used for women's dresses, veils, hats, etc.

n. A historial term from the Middle English "samit" "samet" "samyt" "samyte" among others. It refers to a rich silk fabric, worn in the Middle Ages. It was, sometimes, interwoven with gold thread.

n. From the Latin "crispa", and the French "crêpe". It refers to a textile woven of crepe yarns.

A type of sheer silk crepe with tabby structure., made of raw silk, in white or other colours. It is woven with a silk warp and a crepe twist silk filling alternating 2S-2Z. It has a fine crepe effect and it is used in dresses.

A type of crepe, imported from Bologna to Lyon in the 17th century. The weaving of this textile was under a royal privilege. It was made uo to the 19th century in Lyon.

n. A type of crepe, gauze-like fabric, thin and transparent. The raw silk used is highly twisted and embossed to produce a crisped or minutely wrinkled surface.

n. A type of heavy crepe dress fabric. Tabby woven, it is made from silk and/or rayon warp and it may have acotton crepe twist weft (filling). It simulates canton crepe in texture.

n. From the Middle English "sc(e)ot" "gesc(e)ot". Taffeta that has the silk warp of one colour and the weft of another, so that their colours vary according to the reflections of light.

n. Ottoman, a term from early 19th century from French ottomane, is a type of ribbed silk (a cannelé) with ribs of unequal width on both face and reverse. There are needed two warps, a flushing warp for the floats and a warp for the ground layer.

n. A term that is a variant or alteration of other lexical item. It refers to a plain-weave fabric, usually made of wool, silk, or cotton, with a surface with closely spaced narrow ribbs, used for draperies and upholstery, especially.

n. From the Old French "tistre" that comes from the Old Latin "texĕre". From previous forms in English as "tyssu" "tissewe" "tyssew" among others. A rich cloth, which could be interwoven with gold or silver.

n. A term borrowed from the French "papeline". A fabric made in tabby with a fine horizontal rib, produced by weaving with a warp thread finer than the weft.

A type of poplin fabric in tabby weave, with hard silk and floss. Sometimes it is decorated with stripes.

A type of poplin fabric, with silk warp and worsted weft, produced or manufactured in Ireland

A type of damask, or a modified lampas made with a twill ground and brocaded filling figures. It employs a single colour cotton warp and several colours of silk filling. That is, one or more weft threads, working together, form the ground and pattern motifs. Those motifs are formed by floats bound in weave in which the ends interlace in groups of two or three.

n. From the French "chiffe". A tabby (plain-weave), lightweight, diaphanous fabric, made with hard-twisted yarn. Originally was silk yarn, but nowadays is made up from nylon or other synthetic fibres. It is dyed or printed and often used as "drpae over silk rayon". Sometimes this term has a sense of "light in weight".

It refers to a fabric, with both sides usable, with the warp / weft composed of two series, each of them appearing in each side. This is achieved by arranging the points of binding of each series, so they are concealed by the floats of the other series. Those two faces could be similar or different in binding and colour. Both faces of the textile show the binding system.

It describes a fabric that is woven with shafts in which the weaved unid is constantly repeated without variation.

n. From different origins, in part from French "effecte" and in part from Latin "effectus". The action of introducing yarn into a fabric to produce an effect or pattern. Also, the result achieved by using different techniques of binding, colour or texture in the weaving process of a textile.

n. A term from the French. It defines the weft float pattern which is formed by the main weft, or some part of the main weft threads, in the ground of the figured fabrics.

When in a textile a pattern is used or formed, or the ground enriched by using a pattern with supplementary weft threads.

adj. Term used to describe a woven or printed fabric in which one pattern or colour or thread (yarn) is overlaid on another. It describes a shaded effect achieved by using aternating weft threads of different colours or tones. It also meant crossed with lines.

It refers to a supplementary weft to the main one which passes from selvage to selvage in floats above a ground fabric.

It refers to a complementary or supplementary weft which is introduced into a ground weave. Its limitation is the width of the area where it is required by the pattern. It does not travel from selvage to selvage.

It refers to a supplementary warp to the main one that creates a pattern or texture in floats above a grund fabric.

When in a textile the pattern is formed by floats of one or more flishing warps. When those floats are not neede for the pattern, they float on the reverse.

The effect that this produces with the fastening of the pattern using the binding warp is known in the traditional Valencian industry as "restañado". The warp of a background that ties a decorative weft (broached, spun, thrown... ) following a proportion of the weft (broached, spun, thrown...).

It describes the way a fabric or textile has been created, the weaving process, the fibers and the tools used, that, in sum, could be known by the denomination of their origin.

n. From the French "gaze" and the Scottish "gais" "gadza", later in English "gawse" "gause" "gauze". That denomination is derived from the city of Gaza in the Palestinian Gaza Strip. It refers to a thin, transparent fabric of silk, linen or cotton. The areas of corssed warps result in a small and visible openings in the cloth.

n. From the French "gaze" and the Scottish "gais" "gadza", later in English "gawse" "gause" "gauze". A textile in which the binding is achieved by the displacement of warp ends. The doup ends (warp ends) are made to cross over other warp ends called fixed ends. Usually, the fabric with gauze binding is open.

n. A term borrowed from the French "marly". It refers to a lightweight kind of French bobbin lace consisting of a fine mesh ground similar to gauze or tulle, sometimes embroidered with small round dots or spots.

n. A borrowing from the French "Pékin". From previous forms as "pékin" or "pequin". It refers to a warp-striped fabric or textile made employing different binding systems and using various fibres including silk, rayon, worsted, cotton or combinations of these fibres. Original from China.

n. A term from Spanish roots and used as a specialized French term. It is a type of figured "pékin" patterned by the floats of one or more flushing warps. When the pattern does not require them, the flushing warp ends float on the reverse.

n. A raw silk originally from West Bengal (India), from where it takes its name. Also it could significate a women's dress fabric, also from West Bengal, made of silk and hair cloth. Also it is a imitation muslin with a printed stripe.

n. A plain weave (tabby) fabric with cross-rib material, with filling yarn corser than warp, but more warps yarns are used, so the filling is completely covered, forming the cords. It can be from different materials as silk, cotton, rayon and wool or silk and wool. It comes dyed and it common uses are dresses, coatings, ribbons, suits, millinery. It has been used widely as a mourning cloth.

n. From the Spanish "jusi" and the Tagalog "husi". It refers to a delicate fibrous dress fabric, woven in the Philippine Islands. It is made with hemp warp and pineapple fibre filling or pineapple fibre warp and silk, cotton or fine abaca after filling.

n. The name of the city, from "Calicut" is given to a thin cotton tabby fabric with a printed pattern. The quality of it is determined by the texture in warp ends and filling picks.

n. The term is the representation of the pronunciation of the term "surat". It refers to a soft twilled silk fabric. Its main uses are dresses, blouses, scarves, lingerie and linings.

n. From the Latin "Flōrentīnus" of or pertaining to "Flōrentia" Florence. It is a textile fabric, mainly of silk, used for wearing apparel. Originally produced in Florence (Italy), from the 18th century also produced in Lyon, France. It is a lightweight taffeta, usually white, with a single warp and single filling or weft.

n. The term refers to its origin, Aleppo, from the 16th century. Originally in black colour (after in all colours), it is a fine and twilled cloth with soft-spun silk warp and fine, worsted filling. It is made up from a mixture of wool and silk or mohair and cotton. When used as a countable noun, it refers to a piece of this fabric. The term has other uses as a fabric made in England in the 18th century or a French fabric with silk and cotton.

n. A term that refers to a silk fabric made as imitating those which were made in Lucca, Italy. It takes the name from the place it is from.

n. A silk fabric from Persia (Iran) which could have a watered effect.

n. From the ancient city of Batavia, nowadays Jakarta (Indonesia). A silk fabric made up from raw and other type of silk. In French it is a four-harness two up, two down twill. In Britain it is a light silk fabric consisting of a four-harness twill. Ii also could be a light cotton fabric used for summer hats.

n. A medieval name for satin. Rich silk fabric that began to be manufactured in Chinese town of Zayton, although in the fifteenth century the one made in Italy was already famous. It was dyed in all colors, but when the voice fell into disuse was confused with the color of the olive. There are several varieties: one embroidered with gold, another similar to velvet and the most luxurious velvet embroidered with gold.

n. Obsolete tabby light French dress goods, dyed in the piece. With a silk warp and thin wool weft. Among its uses are the mourning garments or ceremonial garb.

Techniques applied to fabrics to give them certain physical characteristics that give them a specific finish.

n. A term formed within English. From Middle English "preent" "preente" "preynte" "preynt". It determines a printed fabric, a piece of such fabric or a garment made from printed fabric. It also could mean the pattern printed itself.

adj. From the French "gaufrer". It describes a textile with a pattern stamped, embossed by means of heated goffering-irons.

n. From the French "moire", borrowed to English. It defines the technique by which certain ribbed fabrics of cotton, acetate, rayon, silk and some other manufactured fibre fabrics are subjected to heat and pressure with engraved rollers that press the design into the fabric. The difference in reflection of the light from the uncrushed and crushed parts of the design result in the moiré effect.

n. Borrowed from the French. A  It is a term used in French language. It describes a gauffered process applied to velvet.

n. A thick and heavy fabric made from wool mainly, or  cotton, silk, jute or manufractured fibres, with or without pile surface. Some examples are also from animal hair or skins. Used to cover floors partially, beds or tables generally. The terms rug and carpet are commonly used equally, but carpet is generally understood for knotted carpets covering the entire floor installed wall-to-wall, while rugs are understood as pieces of definite shapes which do not cover the whole floor.

The term Alcatifa, from Spanish language, refers to carpets and rugs with oriental design.

n. A term borrowed from the French "marquisette". It refers to a light leno or doup weave, gauze fabric. It could be made of carded or combed cotton, silk or manufactured fibres.

n. A silk taffeta, from East India, woven with printed yarn. Also it can be woven with two-ply yarn with strands of different colours.

n. From the French "camocas" and the Persian "kamẖā". It refers to a luxurious silk fabric, tamed, fine and shiny, sometimes woven with gold thread, sometimes decorated with birds and geometric drawings, which was used from the fourteenth to the eighteenth century for dressings of talar and covered with luxurious beds.

A term formed within English, by derivation. It is a term used, generally, to identify and describe textiles with marked ribs widthwise, parallels to the filling.

n. A thin and ribbed silk fabric following the form of lace.

n. This term is derived from the French "bourré". A textile woven with bourrette yarn.

n. From the Latin "cendalum", the Old French "cendal", and Middle English "cendal" "cendel" "sendell" "sandelle". It refers either to a thin light silk, with Chinese origin, made in tabby or a rich, thin fabric used in the Middle Ages for fine garments.

n. From the Old English "gyedel" "gerdell" "gyrdel" and Middle Dutch "gurdel", the Old High German "gurtil" "gurtila", etc. This term was lost in use from Middle English. It is a type of belt worn round the waist to secure the garment.

n. A type of silk, of a blue colour, from China.

n. A term borrowed from the French "cristallin" and the Latin "crystallinus". A type of thin and light silk fabric.

A less quality silk fabric, similar to the damask.

A type of damask fabric in the weaving, but with more little motifs spread as in brillantine.

n. A term borrowed from the French.  A fabric made of silk or other manufactured fibres, created in the 18th century. The motifs may be formed by floats of a flushing warp above a ground weave.

n. A term that, in Spanish, means a double cordonnet cloth, stronger than tercianela.

n. A term used in Spanish to significate a type of silk done using little shuttles creating an effect of over woven flowers, similar to those on gold or silk brocades. These fabrics are obtained by weaving in the Jacquard loom.

n. A type of cloth made with silk and gold yarn, or with silk or mohair filling. It was made either in France or The Netherlands, and now is obsolete.

n. From the French "faille" . It refers to a type of ribbed silk fabric that is light. It has the same width on face and reverse.

n. Plush is a term which is derived from the French "peluche", which also derives from the Latin "pilus", meaning hair. It is a type of silk, cotton, wool or a combination of them cloth, with a cut pile surface longer than the velvet pile. As a cloth, it is woven as a double plush and cut apart on the loom. Generally it is around 0,32 cm long, but it has no standard lenght. Among its uses we can distinguish the apparel, carpets, draperies, uphosltery, etc. When it has inferior quality it is known as plushette.

A term applied to a textile in which small tangles of fibres are formed.

n. From the French "grenadine" and from the name of the Spanish city Granada. It defines an open dress silk fabric, loosely woven, made of hard twist yarns in a leno weave.

n. From the French "gros grain". It refers to a coarse silk or wool and mohair fabric, or of these mixed with silk. Often ribbed, stiffened with gum.

It describes a textile when it uses several wefts, whether they are supplementary or combined with the ground texture of the fabric. It refers to a fabric with a satin or twill ground, has drawing effects produced by supplementary wefts to the fabric of various colors and that only produce their effects on the upper face thereof in the form of coarse.

n. From the arab word "annafáya" and "nufāyah", meaning a cloth made of cotton or silk.

n. From the French "lustrine". A type of glossy silk fabric.

n. A borrowing from the French "marabout". It refers to a kind of very fine, lightweight, white kind of raw silk, made with marabou yarns, which can be dyed without first removing the natural gum and is used in crêpe weaving. Sometimes this term can be used as an attribute to define a fabric.

n. Any cloth that is made with a nuance technique.

Hard silk means a silk fabric in which the warp or filling is composed of a different fibre than silk.

n. The term anacosta derives from the place it, supposedly, was originally made, Hondschoote, in The Netherlands. It consists of a high-quality and all-worsted dress fabric with a short nap. The weave is two up & two down twill with approximately twice as many picks as ends. Appart from The Netherlands it was also made in Great Britain and in France.

n. It refers to a type of silk, linen, fine cotton, gold or silver thread lace fabric that has sharp points ends.

n. A term in Spanish, meaning a fine arab textile in a tabby weave used in the Muslim period in Spain.

n. A straight and raised cord or ridge, longitudinal, horizontal or oblique extended across the length or width surface by the interplay of ends and picks of a fabric. It is produced in knitted fabrics by the use of the rib stitch.

n. It refers to a textile similar to a droguet liseré, but with the ground consists in a striped pattern, usually woven in cannelé simpleté, or cannetillé.

n. A term used in Spanish which refers to a textile with a grenadine silk warp and frisé weft.

n. A term in Spanish to denote the brocatelle in which the warp, if it is on the figure, weaves a cannelé on some part of it, so the result is a richer figure with a new effect.

It refers to a strong silk fabric for trousers, vests, etc., of good quality and with a lot of luster. They are woven with organzine and thick weft and with great density in both elements, with weaves and variable structure. In all the weft dominates, which produce a very intense shine.

As serving as trade names for certain textile fabrics, this type of satin takes its name from the city of Lyon. It is a silk satin made with a twilled back and finely striped face, used mainly for lining.

n. Fabric used mainly in the interior of men's formal suits. It is made up from fine woolen, or it can be also a worsted fabric.

n. A borrowing from the Chinese "běnjī". It is a soft, usually unbleached kind of Chinese silk fabric, woven from uneven threads of raw silk in tabby.

n. It refers to a strong, lustrous silk or silk and cotton fabric, made in a twill or satin weave interlaced to give an indefinite twill line. It is made in medium weights and piece dyed and usually used for dresses or linings.

n. A term, probably, from the French "satinette". It refers to a fabric similar to satin, but thinner and lightwright. Woven in silk, or in silk combined with cotton or synthetic fibre.

n. A term from the Italian "terzanella". It refers to a silk fabric, made in plain weave. It is a modification of the gros of Naples with the thickest plot, usually 3 to 5 ends; therefore, it forms a more pronounced cordon than in the gros.

A term in Spanish which refers to textiles with combining colour effects. It could be by combining weaves or by combining threads of different colours, or both techniques at the same time.

n. In French "batiste". In origin it was a soft sheer linen fabric. It got its name from Jean Baptiste (13th century) who started making it. In At 19th century it started to be produced from cotton, as a plain weave (tabby) fabric. Nowadays it is made up from both cotton and other manufactured fibres as polyester.

n. From the French "Bayadère". A textile with straight or undulating stripes or bands formed by different binding systems. Those binding systems succeed each other in order, using the same way and entering. Usually of brilliant colours, maybe strongly contrasted.

n. A silk taffeta or silk popplin which is obsolete and was originally from Bangladesh.

n. A double cloth fabric that is composed of two separate fabic layer, A thick double cloth or compound woven fabric with a characteristic quilted or puckered appearance on the face side. In-between the two fabric layers, very thick weft yams. usually soft cotton, are inserted as wadding picks. These are not visible on either side of the fabric, but they accentuate the quilted effect. The fabric layers are held together by the figuring threads, which form the figures or pattern on the face of the fabric.

n. From the French brillanté. Basic, light and smooth weave from silk, used for linning or dress material mainly.

It refers to those weaves that are formed by the combination of plain weaving or by that of two or more plain or different weaves.

It refers to the weavings which serve as the foundation for the formation of others. They are formed by a single weave, that is, those that have only one step and one base or two bases of evolution. They are divided into fundamentals and derived.

It refers to those weaves that are obtained by extension or modification of the fundamental ones, or by the application therein based on certain or appropriate evolutions. They are classified as derivatives of plain weave, twill and satin.

Tabby in which warp ends or weft picks, or both, move in groups of two or more. It can be regular or irregular

It refers to the weavings which are obtained on the basis of a specific motif, drawing it, without modifying it, in four different positions by turning, or drawing it, modified, without making it rotate.

It refers to those weaves that are used as foundation of others. There are three of them: plain weave (or tabby), twill and satin. They are characterized by having the regular stepping, the fundamental evolution base, the square course and a stepping point in each thread and in each pass.

n. Late 16th century from French tabis, based on Arabic al-‘Attābiyya, the name of the quarter of Baghdad where tabby was manufactured. The most basic form of binding or weave, composed of one set of warps and one set of wefts in which each end passes over one and under one pick. It is the simplest of weave structures, used commonly all over the world. It can be woven as balanced, warp-faced or weft-faced, with a variety in between. It is sometimes referred as Plain Weave even if it is not recommended. In other languages, for silk fabrics it is called taffetas weave.

n. Late Middle English via Old French from Arabic zaytūnī ‘of Tsinkiang’, a town in China. A basic binding system or weave structure in which the threads of the warp are caught and looped by the weft only at certain intervals. It is based on a unit of five or more ends and a number of picks equal to, or a multiple of, the number of ends. Each end either passes over four or more adjacent picks and under the next one, or the contrary, under four or more adjacent picks and over the next one. Units of six do not work mathematically. It has a surface of long floats, which reflects light when woven, bound in a systematic way but whose binding is not readily visible. The main or front surface of a satin weave is the face on which the warps form the floats.

n. Middle English from a Scots and northern English variant of obsolete twilly, from Old English twi- ‘two’, suggested by Latin bilix ‘two-threaded’.  A basic binding system, woven as to have a surface of diagonal parallel ridges. The binding points are set over by one end on successive picks and form diagonal lines.Sequential threads skip or float over one or more interlacements in a diagonal alignment, forming a unit with no less than three warps and three wefts. Each end passes over two or more adjacent picks and under the next one or more, or under two or more adjacent picks and over the next one or more. The binding points are set over by one end on successive picks. The repeat of a twill is described according to the number of warps and wefts that float in sequence, such as 2/2, 3/1, or 1/2, etc. The bar used between the numbers indicates the direction of the twill diagonal, but the bar / is used also without any implication. If it is needed a more definite annotation of the twill direction the addition of the letters S or Z could be used.

n. Late 16th century from French tabis, based on Arabic al-‘Attābiyya, the name of the quarter of Baghdad where tabby was manufactured. The most basic form of binding or weave, composed of one set of warps and one set of wefts in which each end passes over one and under one pick. It is the simplest of weave structures, used commonly all over the world. It can be woven as balanced, warp-faced or weft-faced, with a variety in between. It is sometimes referred as Plain Weave even if it is not recommended.

The surface weave that is taken as a basis to the warp and weft floats. It serves as a foundation for pattern, texture or pile.

A term that defines the weave or textile in which the weft predominates on one or on both sides. This term could be used to qualify or specify the basic binding systems as weft-faced tabby, weft-faced twill or weft-faced satin.

A term that defines the weave or textile in which the warp predominates on one or on both sides. This term could be used to qualify or specify the basic binding systems as warp-faced tabby, warp-faced twill or warp-faced satin.

The constant repetition, in a weave or binding system, that suposes the smallest cycle of interlacement of warp and weft.

adj. From the French "décocher". A way or method of recording the bindings of a weave. It is the record of the number warp threads between the adjacent bindings points on succesive picks. The déchochement number is always one more than the interrumption number. It is counted from the lower left to the upper right on the weft face of the textile, and from the lower right to the upper left on the warp face.

When describing a binding system, by heavy lift it is meant the raising of the maximum number of ends or shafts required by the particular binding system.

It refers to the raising of the minimum number of ends or shafts required by a binding system.

It refers to the shaded effect, achieved by using alternating weft threads of different colours or tones.

Techniques

Brocatelle (404)

Damask (5171)

Brocaded (1209)

Tabby (silk weave) (1643)

Twill (weave) (56)

Lampas (308)

Satin (fabric) (786)

Velvet (5157)

Embroidery (10703)