Tag Archives: textile

A Geek’s Guide To Microfiber Towels

Microfibers were invented by Japanese textile company Toray in 1970, but the technology wasn’t used for cleaning until the late 1980s.

The key, as the name suggests, is in the fiber: Each strand is really tiny—100 times finer than human hair—which allows them to be packed densely on a towel. That creates a lot of surface area to absorb water and pick up dust and dirt. Plus, microfibers have a positive electric charge when dry (you might notice the static cling on your towels), which further helps the towel to pick up and hold dirt. “They tend to trap the dirt in but not allow it to re-scratch the finish,” explains professional concours detailer Tim McNair, who ditched old T-shirts and terry cloths for microfibers back in the 1990s.

These days, the little towels are ubiquitous and relatively cheap, but in order to perform wonders consistently, they need to be treated with respect. Below, a miniature guide to microfibers.

Care for Your Towels: Dos and Don’ts

“They’re just towels,” you might say to yourself. But if you want them to last and retain their effectiveness, microfiber towels need more care than your shop rags:

DO: Keep your microfiber towels together in a clean storage space like a Rubbermaid container. They absorb dirt so readily that a carelessly stored one will be dirty before you even use it.

DON’T: Keep towels that are dropped on the ground. It’s hard to get that gunk out and it will scratch your paint.

DO: Reuse your towels. “I have towels that have lasted 15 years,” says McNair. That said, he recommends keeping track of how they’re used. “I’ll use a general-purpose microfiber to clean an interior or two, and I’ll take them home and wash them. After about two, three washings, it starts to fade and get funky, and then that becomes the towel that does lower rockers. Then the lower rocker towel becomes the engine towel. After engines, it gets thrown away.”

DON’T: Wash your microfibers with scented detergent, which can damage the fibers and make them less effective at trapping dirt. OxiClean works great, according to McNair.

DO: Separate your microfibers from other laundry. “Make sure that you keep the really good stuff with the really good stuff and the filthy stuff with the filthy stuff,” says McNair.

DO: Air-dry your towels. Heat from the dryer can damage the delicate fibers. If you’re in a rush, use the dryer’s lowest setting.

How Do You Know Microfiber Is Split Or Not?

A widespread misunderstanding is that you can “feel” if a microfiber towel is made from split microfiber or not by stroking it with your hand. This is false!

The theory is that if it feels like the towel “hooks” onto tiny imperfections on dry  unmoisturized hands, this is because the fibers are split and they microscopically grab your skin. Although this is partially true, you cannot feel split microfiber “hook” onto your skin. These microscopic hooks are way too small to feel, but do generate a general surface resistance called “grab”. Yet, this is not the “individual” hooking sensation you feel when you touch most microfiber towels. It’s the tiny loops in loop-woven microfiber that are large enough to actually feel grabbing imperfections on your hands (minute skin scales). 

Try it for yourself: gently stroke a loop-weave microfiber towel of any kind, split or not. If your hands are dry and unmoisturized, you will feel the typical “hooking” sensation most people hate. It’s simply the loops that catch around the scales on your skin like mini lassos. Take a picture of the microfiber material with your smartphone, zoom in and you can clearly see the loops.

Now try stroking a cut microfiber towel which is not loop-woven, split or not, and it will not give that awful hooking sensation. If you take a picture of this material, you will see a furry surface without those loops. Because there are no loops, it won’t “hook”.

Now you know the truth: it’s the loops that latch onto your skin when you touch a microfiber towel, regardless if the towel is split microfiber or not. Tightly woven microfiber towels without pile (e.g. glass towels) can also have the “hooking” effect, caused by the way their fibers are woven, but less pronounced than loop weave towels.

Another misunderstanding is that a towel that is made of non-split microfiber will “push away” water and is non-absorbent. This also is not true!

Although a non-split microfiber fiber is not absorbent, water is still caught in between the fibers. You can do the test: submerge a 100% polyester fleece garment (check the label), which is always non-split fiber, in a bucket of water and take it out after about 10 sec. Wring it out over an empty bucket and you’ll see that it holds quite a bit of water, meaning it is absorbent.

So, another myth is busted: non-split microfiber can’t be determined simply by testing if it holds water. You can however test how much water it holds. Compare it to a similar dry-weight towel that is known to be split 70/30 microfiber: Submerge both in a bucket of water. If they hold about the same amount of water, they are both split microfiber. If the 70/30 towel holds more than twice as much water, the test towel is more than likely non-split material.   

How do you know if Microfiber is split or not?

A widespread misunderstanding is that you can “feel” if a microfiber towel is made from split microfiber or not by stroking it with your hand. This is false!

The theory is that if it feels like the towel “hooks” onto tiny imperfections on dry  non-moisturized hands, this is because the fibers are split and they microscopically grab your skin. Although this is partially true, you cannot feel split microfiber “hook” onto your skin. Our friends at classiccarmaintenance.com have more to say about this- “these microscopic hooks are way too small to feel, but do generate a general surface resistance called “grab”.” Yet, this is not the “individual” hooking sensation you feel when you touch most microfiber towels. It’s the tiny loops in loop-woven microfiber that are large enough to actually feel grabbing imperfections on your hands (minute skin scales). 

Try it for yourself: gently stroke a loop-weave microfiber towel of any kind, split or not. If your hands are dry and unmoisturized, you will feel the typical “hooking” sensation most people hate. It’s simply the loops that catch around the scales on your skin like mini lassos. Take a picture of the microfiber material with your smartphone, zoom in and you can clearly see the loops.

Now try stroking a cut microfiber towel which is not loop-woven, split or not, and it will not give that awful hooking sensation. If you take a picture of this material, you will see a furry surface without those loops. Because there are no loops, it won’t “hook”.

Now you know the truth: it’s the loops that latch onto your skin when you touch a microfiber towel, regardless if the towel is split microfiber or not. Tightly woven microfiber towels without pile (e.g. glass towels) can also have the “hooking” effect, caused by the way their fibers are woven, but less pronounced than loop weave towels.

Another misunderstanding is that a towel that is made of non-split microfiber will “push away” water and is non-absorbent. This also is not true!

Although a non-split microfiber fiber is not absorbent, water is still caught in between the fibers. You can do the test: submerge a 100% polyester fleece garment (check the label), which is always non-split fiber, in a bucket of water and take it out after about 10 sec. Wring it out over an empty bucket and you’ll see that it holds quite a bit of water, meaning it is absorbent.

So, another myth is busted: non-split microfiber can’t be determined simply by testing if it holds water. You can however test how much water it holds. Compare it to a similar dry-weight towel that is known to be split 70/30 microfiber: Submerge both in a bucket of water. If they hold about the same amount of water, they are both split microfiber. If the 70/30 towel holds more than twice as much water, the test towel is more than likely non-split material.   

Tim’s Towels

The budget pack of microfiber towels will serve you fine, but if you want to go down the detailing rabbit hole, there’s a dizzying variety of towel types that will help you do specific jobs more effectively. Here’s what McNair recommends:

General Use: German janitorial supply company Unger’s towels are “the most durable things I’ve ever seen,” says McNair.

Drying: Towels with a big heavy nap are great for drying a wet car (but not so great for taking off polish).

Griot's Garage blanket towel
Griot’s Extra-Large Edgeless Drying towel, $45usd/ $65.09cad Griot’s Garage

Polishing: Larger edgeless towels are good at picking up polishing compound residue without scratching the paint.

Wheels and other greasy areas: This roll of 75 microfiber towels from Walmart is perfect for down-and-dirty cleaning, like wire wheels. When your towel gets too dirty, throw it away and rip a new one off the roll.

Glass: There are specific two-sided towels for glass cleaning. One side has a thick nap that is good for getting bugs and gunk off the windshield. The other side has no nap—just a smooth nylon finish—that’s good for a streak-free final wipe down.

Griot's Garage glass towels
Griot’s Dual Weave Glass Towels, Set of 4, $20usd/ $28.93 cad Griot’s Garage

Far Reaching Effects Of Visual Culture In Our World Of Appearances

Dusty book stall archeologist and writer Jonathan Guyer oversees the far reaching effects of visual culture in our modern ‘all about appearances’ world.

Jonathan Guyer on CBC -Canada Broadcasting Corporation 

Through frequent excursions to the bookshops of downtown Cairo in Egypt,  Guyer has unearthed a wealth of forgotten political narratives and overlooked illustrative histories. Book-ending his fascination with the alternative story lines of locally appropriated Western comics, Guyer’s faith in the ethical and ideological potential of cartoons and satirical imagery extends to the underground artistic movements of contemporary self-published zine-makers. In his eloquent interview, the prolific and level-headed writer remarks on welcome shifts in the Middle Eastern visual landscape, the necessary and terrifying obligations of artists, and the autonomy of art in an authoritative society.

Bascha Mon Prince Street Rag oil on canvas

Adaptive and indomitable painter Bascha Mon has traced each frame of light between the new and full moons. Bound to spontaneity and guided by intuition, Mon’s practice feels out a logic from the sanctuary and purgatory of a blank canvas. Impelled by the psychic pains of a laboring human family, Mon retrieves the fragments of her commiserating heart from the cold grasp of reality, like pulling her distorted reflection from the surface of the water. Expressed in her stirring and poignant interview, Mon’s necessary attachment to art conceals a deep solidarity with the misplaced souls of the Earth, who struggle to make sense of an existence where whimsy and intense meaning coexist. The sage observer and painter is never dissatisfied by an individual work, as no piece is anything less than perfect if it belongs to a whole.

Shipping Container is a book on Literary Theory by Craig Martin

Reading something interesting?

Tom Allen, is ensnared by the vehement poems of mid 19th century writer Jules Laforgue, the progenitor of free verse in the French tradition and treasure to the great modernist poets. Laforgue fashioned his fervent style of observation from the fiery idealism of the symbolists and the microcosmic subjectivity of impressionism. Another one of our users, Niels Van Tomme, is pleasantly amused by the playful and engaging Shipping Container, Craig Martin’s contribution to the Object Lessons series. Martin’s colorful prose enlivens the itinerant existence of this ubiquitous transport vessel, the unsung hero of our convenient and mobile world.

Urging the flow of time and water is the promise of change made by a fork in the stream.

For the Silo, Brainard Carey.

A world first: The City of Lahti pilots a deposit system to encourage recycling of textile waste

Residents of the City of Lahti in Southern Finland live close to nature. More than one in two live less than 300 metres from a quiet area. In Lahti, an area is defined as quiet when there are mainly natural sounds and no traffic noise, for example. Quiet places in Lahti include the extensive outdoor areas of Salpausselkä ridge system, many parks, and protected natural areas. www.lahti.fi

Inspired by the country’s highly effective deposit system for beverage containers, the Finnish city is piloting an incentive-based system for recycling textiles. Finns recycle up to 97% of aluminum cans, will a small reward inspire them to sort and recycle their old fabrics?

The average European throws away 11kg of textiles every year*. Around the world, a truckload of textiles is landfilled or incinerated every single second. Separate collection of textile waste is set to be rolled out across the EU by 2025, but to change our bad textile habits, a lot of work is needed. Lahti’s textile deposit hopes to inspire a change in consumer behavior.

“As a pioneer in urban environmentalism, Lahti has set a goal of being a waste free city by 2050. The textile deposit is a great example of an everyday innovation that directly aims to minimize the amount of waste and showcases the potential of discarded textiles as a raw material for industries and design,” says Communications Director Veera Hämäläinen from the City of Lahti.

New Waste Act promotes circularity

Finland took a step towards a circular economy for textiles at the beginning of the year, as a new law requiring cities and municipalities to make separate collection bins for textile waste available to all Finns came into effect. The separate collection of textile waste makes it possible for discarded clothes and household textiles to be reused as recycled fiber.

“Our future depends on a circular economy, but it can’t just be the consumers’ responsibility to take care of recycling. With this pilot we want to ask what countries, cities and companies can do to help make recycling easier and more attractive to people. Deposits have worked well before, maybe there could be one for textiles in the future”, says Kimmo Rinne, Development Manager at Salpakierto, a municipal company that handles waste management in the Lahti Region.

The textile Deposit asks if an incentive can inspire locals to recycle

The pilot on a textile deposit aims to investigate if a citywide reward system can incentivise locals to recycle their textiles. At the pilot stage, Lahti residents can exchange a bagful of textiles for vouchers for local services, such as cafes or passes to a local pool. Initially, the pilot will run during the first weeks of June. Cities have a major role in making recycling easy for people. As a leading environmental city, Lahti wants to be in the forefront of leading the conversation on how cities can lead the change into a more sustainable lifestyle.

The City of Lahti is also launching a national design competition that aims to find new and creative uses for discarded textiles. The competition runs from now to 13 August 2023. With the design competition Lahti wants to promote innovation and entrepreneurship in the field of circular economy. The competition is organized in collaboration with the Sustainable Lahti Foundation, LAB University of Applied Sciences and Salpakierto.

The textiles collected in Lahti will be processed into recycled fiber at Finland’s largest textile processing facility in Paimio. In the spirit of circular economy, the recovered fiber can be used in the production of new products, such as thread, insulation materials and acoustic panels. For the Silo, Veera Hämäläinen.

*EU Commission: https://ec.europa.eu/commission/presscorner/detail/en/QANDA_22_2015

Lahti 
Lahti tackles future challenges together with residents, companies and the educational sector. A sustainable future calls for action, which is why Lahti will achieve carbon neutrality by 2025. As the leading environmental city in Finland, we offer our citizens everyday life that is both smooth and sustainable.

The Royal Ontario Museum Publishes Cloth That Changed The World: The Art And Fashion Of Indian Chintz

New book explores the story of India’s richly coloured textiles ahead of ROM original exhibition

Photography by Tina Weltz

TORONTO — The Royal Ontario Museum (ROM) is pleased to announce the publication of Cloth that Changed the World: The Art and Fashion of Indian Chintz on December 2, 2019. The collection of essays explores the far-reaching influence this vividly printed and painted cotton cloth has had on the world, from its origins 5,000 years ago to its place in fashion and home décor today. The volume is the official companion to the ROM-original exhibition The Cloth that Changed the World: India’s Painted and Printed Cottons, which runs from April 4 to September 27, 2020 in Toronto.

The scholarly and beautifully illustrated publication draws from the Royal Ontario Museum’s own Indian chintz collection, which ranks as one of the best in the world. Featuring extensive new research, this multidisciplinary book traces the story of chintz and the indelible footprint it has left on the world. The publication combines vivid field photography of artisans at work with striking images from the ROM’s world-class collection, as well as images from India’s fashion runways and the work of top designers embracing this heritage textile today.

“The world would be a drab place without India,” says Sarah Fee, editor, Cloth that Changed the World and ROM Senior Curator of Eastern Hemisphere Fashion and Textiles. “Our blue jeans and printed T-shirts trace much of their lineage back to the ingenuity of India’s cotton printers and dyers. This exhibition and companion book celebrate how India ‘clothed the world’ in exuberantly coloured cottons for thousands of years. It explores the art’s resiliency in the face of modern industrial imitation and shares the exciting stories of reviving natural dyes and hand skills in India today.”

Contributing writers include leading experts Ruth Barnes, Rosemary Crill, Steven Cohen, Deepali Dewan, Max Dionisio, Eiluned Edwards, Sarah Fee, Maria João Ferreira, Sylvia Houghteling, Peter Lee, Hanna Martinsen, Deborah A. Metsger, Alexandra Palmer, Divia Patel, Giorgio Riello, Rajarshi Sengupta, Philip Sykas, and João Teles e Cunha, and a preface by Sven Beckert, Harvard University’s Laird Bell Professor of History.

Next spring, the book comes to life in the ROM’s Patricia Harris Gallery of Textiles and Costumes, where ROM-original exhibition The Cloth that Changed the World: India’s Painted and Printed Cottons will take visitors on a journey through the ROM’s world-renowned collection of chintz, on public display for the first time in over 50 years.

The striking exhibition will explore thought-provoking themes, including the ingenuity, skill and technique of Indian artisans; the adaptation of chintz for international markets; and the environmental impact of the global textile industry over time. With a focus on attire and home furnishings, the exhibition features 80 objects spanning 10 centuries and four continents. Religious and court banners for India, monumental gilded wall hangings for elite homes in Europe and Thailand, and luxury women’s dress for England showcase the versatility and far-reaching desire for Indian Chintz.

About Sarah Fee (Curator and Editor)

Dr. Sarah Fee is Senior Curator of Eastern Hemisphere fashion and textiles at the Royal Ontario Museum. She has degrees in Anthropology and African studies from Oxford University and the School of Oriental Studies, Paris, and in 2002, guest-curated an exhibition on Madagascar for the Smithsonian’s National Museum of African Art. Today, she continues to focus on Malagasy historic textiles and fashions, in addition to those of Zanzibar and Western India. A research associate at the Musée du Quai Branly, Paris, and the Indian Ocean World Centre at McGill University, Fee also teaches at the University of Toronto’s Department of Art. Fee is a past Board Member of the Textile Society of America, and currently sits on the editorial board of the Textile Museum Journal (TMJ).

About the Publication

Cloth that Changed the World: The Art and Fashion of Indian Chintz
Editor: Sarah Fee
Available at the ROM store starting December 2, 2019.
9 x 12, 272 pages, 300 colour illustrations.
$50.00.
Royal Ontario Museum and Yale University Press.

ROM SOCIAL MEDIA 

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Sarah Fee
@aTextilesCurator

ABOUT THE ROM

Founded in 1914, the Royal Ontario Museum showcases art, culture and nature from around the world and across the ages. Among the top 10 cultural institutions in North America, Canada’s largest and most comprehensive museum is home to a world-class collection of 13 million art objects and natural history specimens, featured in 40 gallery and exhibition spaces. As the country’s preeminent field research institute and an international leader in new and original findings, the ROM plays a vital role in advancing our understanding of the artistic, cultural and natural world. Combining its original heritage architecture with the contemporary Daniel Libeskind-designed Michael Lee-Chin Crystal, the ROM serves as a national landmark, and a dynamic cultural destination in the heart of Toronto for all to enjoy.

ON NOW


It’s Alive! Classic Horror and Sci-Fi Art from the Kirk Hammett Collection
Gods in My Home: Chinese New Year with Ancestor Portraits and Deity Prints

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November 16, 2019 | Bloodsuckers: Legends to Leeches
March 7, 2020 | Egyptian Mummies: Exploring Ancient Lives


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Sauve qui peut! L’art des grands films d’horreur et de science-fiction de la collection de Kirk Hammett
Accueillir les divinités : Portraits d’ancêtres et estampes de dieux pour le nouvel an chinois

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Le 16 novembre 2019 | Soif de sang
Le 7 mars 2020 | Les momies égyptiennes : À la rencontre des Anciens