Luster (textiles)

Last updated January 11, 2025

In textiles, lustre or luster is a physical property that makes them appear bright, glossy, and shiny. The amount of light reflected from the surface of a fiber is referred to as its luster. The level of luster is determined by how light reflects off the surface. For example, round surfaced fiber reflects more light and appears shinier than fiber with an irregular surface. Synthetic fibers with a more regular surface seem brighter than natural fibers with an irregular surface, with the exception of silk, which has a regular surface.^[1]^[2]^[3]^[4]

Objective

Luster is the degree of gloss or sheen possessed by the fiber or textile surface. Luster adds aesthetic values in fabrics, contributes to their attractiveness. Occasionally, this adds value to their quality assessment.^[2]^[4] In some cases, when lustre is undesirable, fibres are purposefully dulled by the addition of substances.^[1]^: 73

Factors

An example of the law of reflection Fenyvisszaverodes.jpg — An example of the law of reflection

Factors affecting '' lustre (the way light reflects)'' lie with fiber properties, but various processes can also alter the surface of textiles and transform the fabric luster. Surface manipulation has a significant impact on light reflection. Rough surfaces absorb and scatter light, while neat and clean surfaces reflect more light.

Lustering

Fiber structure

Crystalline structured fibers possess a higher luster than the amorphous structure. Secondly smooth surface and cross section of the fiber plays a vital role in reflecting the light. The rounded edges and triangular cross section of the silk fiber contribute to its luster properties; in some cases, synthetic fibres mimic this trilobal shape for a silk-like appearance.^[5]

Finishes

'Lustering' refers to any process that uses steam, heat, or pressure to enhance the lustre.^[6]

Other than fiber structure, it is chemical orientation and different finishing methods such as singeing, heat-setting, calendering, silk surfacing, mercerizing, and bio polishing, etc.^[1]^[7]

Cotton when mercerized has a round cross-section that appears brighter than untreated cotton (with a bean cut view.)^[1]^: 56^[8]
Satin is a lustrous fabric structure created by the combination of a weave, finish and silk. Satin embraces exceptional brilliance. ^[9]

Luster describing terms

When fibers have a high degree of luster, they are described as bright.
The term "matte" refers to something that is relatively dull or not have luster.
Dull that is devoid of luster.
Extra dull fibers are those that lack luster and appear opaque.^[3]

Delustering

In opposite delustrant, the substances that reduce the luster are added in synthetic fibers. As their names imply, they can be described as "clear," "bright," "dull," "semi-dull," "extra dull," and "super dull" with regards to the amount of luster. ^[1]^[3]Scattering and absorbing light tends to cause the fibre to appear duller because of the delustrating additive, such as titanium dioxide.^[10]

Luster index

Earlier, there was ambiguity in the results of luster in textiles. A new approach has been developed to analyze the luster through images. Devices can measure luster in textiles by analyzing the luminance of images taken from various angles.^[11]

Related Research Articles

Textile is an umbrella term that includes various fiber-based materials, including fibers, yarns, filaments, threads, different fabric types, etc. At first, the word "textiles" only referred to woven fabrics. However, weaving is not the only manufacturing method, and many other methods were later developed to form textile structures based on their intended use. Knitting and non-woven are other popular types of fabric manufacturing. In the contemporary world, textiles satisfy the material needs for versatile applications, from simple daily clothing to bulletproof jackets, spacesuits, and doctor's gowns.

Yarn is a long continuous length of interlocked fibres, used in sewing, crocheting, knitting, weaving, embroidery, ropemaking, and the production of textiles. Thread is a type of yarn intended for sewing by hand or machine. Modern manufactured sewing threads may be finished with wax or other lubricants to withstand the stresses involved in sewing. Embroidery threads are yarns specifically designed for needlework. Yarn can be made of a number of natural or synthetic materials, and comes in a variety of colors and thicknesses. Although yarn may be dyed different colours, most yarns are solid coloured with a uniform hue.

Lustre or luster is the way light interacts with the surface of a crystal, rock, or mineral. The word traces its origins back to the Latin lux, meaning "light", and generally implies radiance, gloss, or brilliance.

<span class="mw-page-title-main">Fiber</span> Natural or synthetic substance that is significantly longer than it is wide

Fiber is a natural or artificial substance that is significantly longer than it is wide. Fibers are often used in the manufacture of other materials. The strongest engineering materials often incorporate fibers, for example carbon fiber and ultra-high-molecular-weight polyethylene.

A satin weave is a type of fabric weave that produces a characteristically glossy, smooth or lustrous material, typically with a glossy top surface and a dull back; it is not durable, as it tends to snag. It is one of three fundamental types of textile weaves alongside plain weave and twill weave.

Calendering of textiles is a finishing process used to smooth, coat, or thin a material. With textiles, fabric is passed between calender rollers at high temperatures and pressures. Calendering is used on fabrics such as moire to produce its watered effect and also on cambric and some types of sateens.

<span class="mw-page-title-main">Damask</span> Reversible figured woven fabric

Damask is a woven, reversible patterned fabric. Damasks are woven by periodically reversing the action of the warp and weft threads. The pattern is most commonly created with a warp-faced satin weave and the ground with a weft-faced or sateen weave. Yarns used to create damasks include silk, wool, linen, cotton, and synthetic fibers, but damask is best shown in cotton and linen. Over time, damask has become a broader term for woven fabrics with a reversible pattern, not just silks.

Noil refers to the short fibers that are removed during the combing process in spinning. These fibers are often then used for other purposes.

Mercerisation is a textile finishing treatment for cellulose fabric and yarn, mainly cotton and flax, which improves dye uptake and tear strength, reduces fabric shrinkage, and imparts a silk-like luster.

Crêpe, also spelled crepe or crape, is a silk, wool, or synthetic fiber fabric with a distinctively crisp and crimped appearance. The term "crape" typically refers to a form of the fabric associated specifically with mourning. Crêpe was also historically called "crespe" or "crisp".

<span class="mw-page-title-main">Sateen</span> Fabric

Sateen is a fabric made using a satin weave structure but with spun yarn instead of filament yarn. It is a cotton or other non-silk fabric that has the characteristics of silk satin but is less expensive.

A delustrant is a substance that reduces the lustre (sheen) of synthetic fibres. The most common delustrant is anatase titanium dioxide.

Grosgrain is a type of fabric or ribbon defined by the fact that its weft is heavier than its warp, creating prominent transverse ribs. Grosgrain is a plain weave corded fabric, with heavier cords than poplin but lighter than faille, and is known for being a firm, close-woven, fine-corded fabric. Grosgrain has a dull appearance, with little luster in comparison to many fabric weaves, such as satin, often used for ribbons; however, it is comparatively very strong. Grosgrain fabric is most commonly available in black, but grosgrain ribbon comes in a large variety of colors and patterns. The ribbon is very similar to Petersham ribbon in its appearance, but it does not have the ability to follow the curves of a surface or edge the way that the latter does.

In textile manufacturing, finishing refers to the processes that convert the woven or knitted cloth into a usable material and more specifically to any process performed after dyeing the yarn or fabric to improve the look, performance, or "hand" (feel) of the finish textile or clothing. The precise meaning depends on context.

<span class="mw-page-title-main">Moire (fabric)</span> Fabric with a wavy appearance

Moire, less often moiré, is a textile with a wavy (watered) appearance produced mainly from silk, but also wool, cotton and rayon. The watered appearance is usually created by the finishing technique called calendering. Moiré effects are also achieved by certain weaves, such as varying the tension in the warp and weft of the weave. Silk treated in this way is sometimes called watered silk.

Texturising or texturizing is the process by which synthetic fibres are modified to change their texture - the physical appearance of the fibre. Texturising techniques can include bulking, crimping and coiling, amongst others. Texturising takes advantage of the thermoplastic nature of synthetic fibres, and uses it to set texturised features in place.

Dimensional stability pertains to a fabric's ability to maintain its initial size and shape even after undergoing wear and care, which is a desirable property. Textile manufacturing is based on the conversion of fiber into yarn, yarn into fabric, includes spinning, weaving, or knitting, etc. The fabric passes through many inevitable changes and mechanical forces during this journey. When the products are immersed in water, the water acts as a relaxing medium, and all stresses and strains are relaxed and the fabric tries to come back to its original state.

In fibers, trilobal is a cross-section shape with three distinct sides. The shape is advantageous for optical reflective properties and is used in textile fibers. Silk fibers' rounded edges and triangular cross section contribute to their luster; in some cases, synthetic fibers are manufactured to mimic this trilobal shape to give them a silk-like appearance. Filaments with a round cross section have less brilliance than trilobal filaments.

The cross section depicts the shape of the various textile fibers. Each textile fiber offers a distinct cross sectional appearance when seen under a microscope. The shapes vary from round to oval and flat, different shapes determines certain characteristics of the textiles. Though the majority of synthetic fibers have a circular cross section, but the shape could be altered or engineered during the manufacturing process. The cross-sectional shape is responsible for certain physical properties of textile fibers such as the luster of textiles.

<span class="mw-page-title-main">Aesthetics (textile)</span> Concept of serviceability of textiles

Aesthetics in textiles is one of the basic concepts of serviceability of textiles. It is determined by the perception of touch and sight. Aesthetics imply the appearance and attraction of textile products; it includes the color and texture of the material. It is a statement about the end user (consumer) and the target market. When combined with fabric construction, the finish of the clothing material, garment fit, style, and fashion compatibility, colours create an aesthetic comfort. All of these elements work together to satisfy our visual perception. Aesthetics incorporates the role of evaluation also.

References

1 2 3 4 5 Joseph, Marjory L. (1992). Joseph's introductory textile science. Internet Archive. Fort Worth : Harcourt Brace Jovanovich College Publishers. pp. 24, 25. ISBN 978-0-03-050723-6.
1 2 Potter, Maurice David; Corbman, Bernard P. (1959). Fiber to Fabric. Gregg Pub. Division., McGraw-Hill. p. 14.
1 2 3 Anstey, H. (Helen) (1997). The Anstey Weston guide to textile terms. Internet Archive. [Great Britain] : Weston. pp. 45, 46. ISBN 978-0-9530130-0-5.
1 2 "Luster". p. 9. In: Moody, Von; Needles, Howard L. (2004). "Fiber Theory and Formation". Tufted Carpet. pp. 3–21. doi:10.1016/B978-188420799-0.50002-6. ISBN 978-1-884207-99-0.
↑ Choudhury, A. K. Roy (2006-01-09). Textile Preparation and Dyeing. Science Publishers. p. 26. ISBN 978-1-57808-404-3.
↑ Tortora, Phyllis G.; Johnson, Ingrid (2013-09-17). The Fairchild Books Dictionary of Textiles. A&C Black. p. 362. ISBN 978-1-60901-535-0.
↑ Wingate, Isabel Barnum (1952). Textile Fabrics and Their Selection. Prentice-Hall. p. 100. ISBN 978-80-13-02319-3.
↑ Stout, Evelyn E. (1970). Introduction to Textiles. Wiley. p. 67. ISBN 978-0-471-83097-9.
↑ Picken, Mary Brooks (2013-07-24). A Dictionary of Costume and Fashion: Historic and Modern. Courier Corporation. p. 283. ISBN 978-0-486-14160-2.
↑ Denton, Michael James; Daniels, Paul N. (2002). Textile Terms and Definitions. Textile Institute. p. 94. ISBN 978-1-870372-44-2.
↑ Hadjianfar, Mehdi; Semnani, Dariush; Sheikhzadeh, Mohammad (May 2010). "A New Method for Measuring Luster Index Based on Image Processing". Textile Research Journal. 80 (8): 726–733. doi:10.1177/0040517509343814.

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[:0-1] 1 2 3 4 5 Joseph, Marjory L. (1992). Joseph's introductory textile science. Internet Archive. Fort Worth : Harcourt Brace Jovanovich College Publishers. pp. 24, 25. ISBN 978-0-03-050723-6.

[:1-2] 1 2 Potter, Maurice David; Corbman, Bernard P. (1959). Fiber to Fabric. Gregg Pub. Division., McGraw-Hill. p. 14.

[:2-3] 1 2 3 Anstey, H. (Helen) (1997). The Anstey Weston guide to textile terms. Internet Archive. [Great Britain] : Weston. pp. 45, 46. ISBN 978-0-9530130-0-5.

[:3-4] 1 2 "Luster". p. 9. In: Moody, Von; Needles, Howard L. (2004). "Fiber Theory and Formation". Tufted Carpet. pp. 3–21. doi:10.1016/B978-188420799-0.50002-6. ISBN 978-1-884207-99-0.

[5] Choudhury, A. K. Roy (2006-01-09). Textile Preparation and Dyeing. Science Publishers. p. 26. ISBN 978-1-57808-404-3.

[6] Tortora, Phyllis G.; Johnson, Ingrid (2013-09-17). The Fairchild Books Dictionary of Textiles. A&C Black. p. 362. ISBN 978-1-60901-535-0.

[7] Wingate, Isabel Barnum (1952). Textile Fabrics and Their Selection. Prentice-Hall. p. 100. ISBN 978-80-13-02319-3.

[8] Stout, Evelyn E. (1970). Introduction to Textiles. Wiley. p. 67. ISBN 978-0-471-83097-9.

[9] Picken, Mary Brooks (2013-07-24). A Dictionary of Costume and Fashion: Historic and Modern. Courier Corporation. p. 283. ISBN 978-0-486-14160-2.

[10] Denton, Michael James; Daniels, Paul N. (2002). Textile Terms and Definitions. Textile Institute. p. 94. ISBN 978-1-870372-44-2.

[11] Hadjianfar, Mehdi; Semnani, Dariush; Sheikhzadeh, Mohammad (May 2010). "A New Method for Measuring Luster Index Based on Image Processing". Textile Research Journal. 80 (8): 726–733. doi:10.1177/0040517509343814.

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