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Unread 09-23-2014, 08:49 PM   #1
Fabulousity
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Dupioni question

So I know with sewing the rule is always line up your pattern pieces with the lengthwise grain, but I found this really nice silk dupioni that would be perfect for my Queen Elsa cosplay, but I'd have to line it up with the crosswise grain in order for the fabric to work. Is that okay? I was researching this and I had seen where other people had lined it up with the crosswise grain so the slubs were running vertically. Do you think this would be okay? I really need the slubs running vertically; it would ruin the look of the outfit if they were going horizontally. Any advice? Thanks!
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Unread 09-23-2014, 09:00 PM   #2
lemuries
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I seem to remember that the warp of dupioni is much weaker than the weft, so if you make it crosswise instead of grainwise, you are increasing the chances that it might fail on you. BUT!!! I urge you to research "flatlining", because if you flatline the dupioni, the lining takes the force, not the dupioni.
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Unread 09-24-2014, 05:57 PM   #3
Eldi
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Sorry to not have an answer, but I have a similar dilemma, but with a polyester which only looks like dupioni- would it have the same weaknesses? Also, would interfacing help as much as flat lining?
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Unread 09-24-2014, 07:20 PM   #4
CapsuleCorp
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Interfacing is meant to stiffen, so no, it's not the same as flatlining. Flatlining puts a lining layer right up against the fabric so that it moves with the fabric, does everything it does.

If it's a silk duponi, then yeah, you probably want something to help give it a little strength just in case the weight of the skirt, over time, pulls on the seams. But anything that just has a dupioni or shantung weave without being silk? Nah, you're probably fine. If you're concerned, you can always flatline it with muslin just to be safe (muslin being the cheapest option) and hide that inside the regular lining, since Elsa's skirt is actually lined with a different fabric inside. But with a costume, you may not be putting enough wear and tear on the garment to actually cause seams to fail, so it might not be necessary.

(to be quite honest I've always wondered why dupioni has the slubs on the wrong grain when everybody knows vertical lines look better on people. But eh, the mysteries of the history of fabrics)
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Unread 09-24-2014, 11:37 PM   #5
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Quote:
Originally Posted by CapsuleCorp View Post
(to be quite honest I've always wondered why dupioni has the slubs on the wrong grain when everybody knows vertical lines look better on people. But eh, the mysteries of the history of fabrics)
In case you wanted an answer:

The slubs are in the crossgrain because of the way floor looms work. The long way is made of warp threads and the cross way (from selvedge to selvedge) is the weft. The threads that make the weft are loaded on a wide space on a shuttle (they can look like luge sleds or rockets) and shot through the opening. The warp threads, on the other hand, are strung through a tiny heddle eye and they rub on the top and bottom when the loom changes the harness position to make the warp threads cross over the weft threads. If the slubs were in the warp (lengthwise position), they would get hung on the eyes instead of advancing, and snap. Warp threads need to be strong (to stand the tension), smooth, and evenly-sized or it's murder on the weaver.

I've woven on floor looms, card looms, and even a warp-weighted loom. They all use some form of the "small eye in the heddle" way of creating the space (called the shed) through which the shuttle travels. A tapestry loom doesn't require a heddle (it uses a smooth wide stick turned sideways to create the shed), but tapestry weaving is very slow compared to heddle weaving, so I assume that's why we don't see slubbed warp threads.
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Unread 09-25-2014, 07:53 PM   #6
CapsuleCorp
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I did, and that's a fascinating explanation. I have learned something today! So it's in the weaving, and the slubs are a byproduct of the method which in turn creates the distinctive look. Good to know!
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