T-shirt also tee shirt (tê shûrt) noun

A short-sleeved, collarless undershirt. An outer shirt of a design similar to the T-shirt.

The starting point of a weave. This is seen in diagrams A and B which are said to be plain weaves ,on opposite tab'. Tab is probably derived from 'tabby', especially when used in relation to plain weave.

Note: When two or more weaves are combined to form a stripe, cheek, or figured design, a better fit of the weaves and a neater edge to the figure is obtained by ensuring that the weaves used are 'on the tab' or on the correct footing relative to each other.

A finely woven, yarn-dyed furnishing fabric that has alternate warp stripes of satin and plain weave.

The simplest of all weave interfacings in which the odd warp threads operate over one and under one weft thread throughout the fabric with the even warp threads reversing this order to under one, over one, throughout.

note 1.. A plain weave does not necessarily result in a plain surface effect or design in the fabric, e.g., variation of the yarn linear densities warp to weft or throughout the warp and/or weft and variation of the thread spacing warp to weft can produce rib effects (see taffeta, poult, faille and grosgrain), while colour patterning of the warp and/or weft results in colour-and-weave effects.

note 2: The area containing the two solidly filled squares in the square paper design indicates one weave repeat, i.e., 2 ends x 2 picks.

A method of producing woven plain or patterned narrow fabrics. The warp shed is controlled by tablets made of thin, stiff material, e.g., cardboard, plastic, bone etc. Tablets are usually about 5cm to 10cm square, although other shapes, e.g., triangles, hexagons, etc., are also employed. Each tablet has a hole at each corner through which the warp yarns are threaded. Rotating the tablets controls the rise and fall of the warp yarns. If the tablets are continually turned in one direction, the yarns threaded through the same tablet twist around each other giving a warp twisted structure, but by frequently reversing the tuming direction, the twist can be obviated and normal warp weft interlace in ends are produced. This, combined with the turning of tablets individually, not altogether as a pack, gives at large range of structure and design possibilities. In all these cases, the result is a warp-face fabric, the weft normally being visible only at the selvedge. Rotation of the tablets, weft insertions and beat-up are normally hand operations.

A finely woven, yarn-dyed furnishing fabric that has alternate warp stripes of satin and plain weave.

The sewing together. of the two selvedges of a fabric to form a tube in order to prevent selvedge curling, to encourage ballooning, and thereby reduce rope marking in the fabric face during wet processing.

A material made from a polymer film with a backing substrate. The film is melted by a roller to which it adheres. As the film and roller separate a fibrous pile is formed.

(tàf¹î-te) noun A crisp, smooth, plain-woven fabric with a slight sheen, made of various fibers, such as silk, rayon, or nylon, and used especially for women's garments.

A ribbon of continuous-filament yarn in plain weave, with a relatively high warp density and very fine, almost imperceptible rib, generally with a selvedge of contrasting weave tail A length of yarn wound on to a cheese or cone at the comi-nencei-nciit of winding that protrudes from the main build-up of yarn and can later be attached to the free end of yarn of a second package during magazine creating.

tai·lor (tâ¹ler) noun One that makes, repairs, and alters garments such as suits, coats, and dresses.

verb tai·lored, tai·lor·ing

To make (a garment), especially to specific requirements or measurements. To fit or provide (a person) with clothes made to that person's measurements.

A mechanism for controlling the winding-forward of fabric during weaving. There are two main types:

(i) Positive take-up motions in which the take-up roller is gear driven, a change wheel or variable-throw pawl and rachet being provided to allow the required rate to be obtained, so determining the pick spacing.(ii) Negative take-up motions in which the take-up roller is rotated by means of a weight or spring, this roller only rotating when the force applied by the weight or spring is greater than the warp-way tension in the fabric. The take-up rate is controlled by the size of the force applied by the weight or spring and/or the warp tension. U%

(tàngk ṭp) noun A sleeveless, tight-fitting, usually knit shirt with wide shoulder straps and no front opening.

Tapestry, historically, a handwoven textile, typically decorated with figures, and used as a wall hanging, curtain, carpet, or furniture covering. Since the 18th century, the technical definition of tapestry has included only heavy, reversible, patterned or figured handwoven textiles.

Techniques and Materials

Tapestry differs from other forms of weaving in having no weft, or horizontal thread, that is carried the full width of the fabric. The thickness of the warp, or vertical threads, determines the thickness of the fabric. Over time, the warp of tapestries has become much finer. Tapestry involves discontinuous wefts that can meet or join in several ways. The simplest treatment is a slit in which two wefts coming from opposite directions wrap and turn around adjacent warps, leaving an open space. A second technique is called dovetailing, in which wefts turn over a common warp, creating a blurred or saw-toothed outline. Interlocking involves adjacent wefts looped through one another between two warps, creating a more continuous surface. Another tapestry technique is twill, in which the weft is floated over two or more warps, then under one or more warps to form a diagonal ribbing.

Traditional European tapestry is woven either on a vertical loom, which stretches the warp vertically, or a horizontal loom, which is more commonly used and stretches the warp horizontally. With either loom, the weaver always works from the back side of the tapestry.

Eastern, Asian, and Pre-Columbian Tapestries

The earliest known tapestry weaving was done by Egyptians in the 15th century BC. In the 4th century AD the Copts (Egyptian Christians) began weaving wool and linen tapestry embellishments for garments. Greek and Roman tapestries are known primarily from literary sources.

Silk tapestries have long been produced in China, and the earliest surviving examples come from the Tang dynasty (618-907). Characterized by tiny slits formed along the design edges, Chinese tapestry technique was brought to Japan in the 15th or early 16th century. The majority of Islamic tapestries were produced in Egypt after the Muslim invasion in 640. Islamic techniques followed Coptic tradition, but the motifs usually consisted of interlacing geometric designs. Tapestry first appeared in Peru about 900 BC. Peruvian tapestry was either all cotton or had a cotton warp and wool weft; it was used primarily for garment decorations.

European Tapestries

Western European tapestry reached its greatest development between the 14th and 18th centuries. In the 14th century the tapestry industry was centered in Paris and in Arras, Flanders. Other important tapestry centers in the late 15th and early 16th centuries included the Flemish cities of Tournai and Brussels. The 17th century marked the end of the predominance of the Flemish centers, as religious persecution drove Protestant weavers from their homes. Henry IV of France established workshops in the Louvre in Paris and encouraged the immigration of Flemish weavers. During the reign of Louis XIV (1643-1715) the Gobelins workshop was established, as was the state-subsidized factory at Beauvais. The town of Aubusson also produced fine tapestries. In the late 18th century, however, the art of tapestry declined.

During the 19th century, for the first time, most tapestries were machine woven. Late in the century a revival in handwoven tapestry was spearheaded by English poet and artist William Morris, the leader of the Arts and Crafts movement. Followers of Morris were influential in the tapestry revival in 20th-century France. Tapestries considered truly modern emerged beginning in the 1950s.

1. Any of numerous textile patterns consisting of stripes of varying widths and colors crossed at right angles against a solid background, each forming a distinctive design worn by the members of a Scottish clan.

2. A twilled wool fabric or garment having such a pattern.

3. A plaid fabric.