SILK BY APPLICATION · 100% MULBERRY SILK
Crisp enough for a collar, soft enough to wear for twelve hours.
START WITH WEIGHT
These are the ranges we recommend to clients building for this application — not the full library, just the weights that behave.
12–22 mm
crisp enough for a collar, soft enough to wear all day.
A silk shirt succeeds or fails on two properties: whether it holds a collar stand, and whether it still looks worn-in rather than slept-in at the end of the day. Crepe de chine at 16 mm answers both — the twist gives crease recovery and enough body for a collar without stiffness.
Below 12 mm the cloth becomes too sheer and too weak at the buttonstand; above 22 mm it stops being a shirt and becomes a jacket. Between those lines, the choice is about surface: matte crepe for everyday, washed crepe for a relaxed look, habotai for a smooth, dressier hand.
Every garment in this category divides into construction jobs. Matching a weave to each job is faster than choosing a fabric you like and hoping it behaves.
Crepe de chine 16 mm — the standard. Holds a collar, creases little, prints and dyes evenly.
Habotai 12–16 mm, silk broadcloth 12–16 mm.
Washed crepe de chine 16 mm, sandwashed charmeuse 19 mm, silk batiste 12 mm.
Stretch crepe de chine 16 mm with 3–5% elastane.
| Family | Weights | Approx. weight | Hand |
|---|---|---|---|
| Silk Charmeuse & Satin | 14, 16, 19 | ≈ 60–82 gsm | A fine matte satin — softer and less shiny than charmeuse, with a subtle skin-like finish. |
| Silk Crepe de Chine | 12, 14, 16 | ≈ 52–69 gsm | Quiet-luxury workhorse. Matte, finely crinkled, and forgiving to sew at almost any skill level. |
| Batiste & Voile | 6, 8, 10, 12 | ≈ 26–52 gsm | A fine plain-weave voile silk — smooth, cool, and the easiest sheer to sew. |
| Silk Habotai | 8, 10, 12, 16 | ≈ 34–69 gsm | Heavier than a standard lining silk — works as a shell fabric or a printed scarf. |
| Silk Twill & Foulard | 12, 14, 16, 18, 20 | ≈ 52–86 gsm | A clean diagonal that presses sharp and takes a print beautifully — the scarf and blouse standard. |
Every family above is 100% mulberry silk, available from 1 metre in stock colours, with custom dyeing from 40 metres per colour. If the weight you need is not listed, ask — most families are woven across a wider range than the stock card shows.
Planning quantities, from standard block patterns. Figures are for a plain layout with no pattern repeat to match.
| Garment or item | At 114 cm width | At 140 cm width | Notes |
|---|---|---|---|
| Scarf 90 × 90 cm | 1.0 m | 1.0 m | Includes a narrow hand-rolled hem; allow more for a wide hem or a border print |
| Camisole or shell top | 1.2 m | 1.0 m | Bias cut; add 15% if the design is cut on the true bias |
| Blouse or shirt | 2.0 m | 1.6 m | Straight body, set-in sleeve; more for a gathered or oversized body |
| A-line skirt | 1.5 m | 1.2 m | Above-knee; a full circle skirt needs roughly double |
| Straight dress | 2.8 m | 2.2 m | Knee length, no train, bodice and skirt from one length |
| Bias slip dress | 3.2 m | 2.6 m | Bias layouts waste more; buy the length the pattern states, not the flat measure |
| Evening gown with train | 5.5 m | 4.5 m | Floor length; fitted bodice plus a trained skirt needs a second length to match |
| Standard pillowcase 50 × 70 cm | 0.7 m | 0.7 m | Envelope closure; pair two if the fabric has a directional nap |
| Curtain panel, 2× fullness | — | 3.0 m per metre of drop | Rule of thumb: drop × 2 to 2.5 for pencil pleat, plus hem and heading allowance |
These are planning figures from standard block patterns, not a cutting guarantee. They assume no pattern matching and no nap. Add 10–15% for a large repeat or a one-direction print, and add your shrinkage allowance before you order. If a program is costing on metres, send us the marker and we will quote against the actual consumption.
Silk is not difficult to sew, but it punishes the wrong needle. The parameters below are the ones our clients converge on for this weight band; test on an offcut first, because a needle size that is fine for one finish will pick threads in another.
| Parameter | What we recommend for 6–20 mm (≈ 26–86 gsm) |
|---|---|
| Machine needle | 65/9 or 70/10 |
| Stitch length | 12–14 stitches per inch (2.0–2.5 mm) |
| Thread | Fine mercerised cotton, silk-finished polyester, or spun silk — matched to the shell so the seam does not pucker |
| Interlining / support | 15–25 gsm weft-insertion or a silk organza self-facing |
| Pressing | silk setting (around 110–130 °C), reverse side, pressing cloth |
| Pre-shrinking | cold soak 10–15 minutes, or thorough steam; dry flat |
| Seam finish | French or hairline seam on anything sheer; overlocked and turned on opaque weights |
Every roll is inspected before dispatch, but cloth is a natural product and dye lots vary. These are the eight checks worth making at goods-in — they take two minutes and they are the difference between a claim and a write-off.
| Check | How to do it | What is a problem |
|---|---|---|
| Shading, side-to-side and end-to-end | Lay the cloth folded end to end and across the width under daylight or a D65 lamp. | Any visible step between the centre and the selvedge, or between the start and the end of a roll. |
| Bowing and skewing | Square the cloth on a table and measure the diagonal, or check a printed repeat against the selvedge. | The weft running more than a few centimetres off square across the width — it distorts every panel cut from it. |
| Slubs, thick and thin places | Expected and structural in dupioni and shantung; check for consistency across panels. | A slub count that varies sharply between panels of the same garment. |
| Broken ends, floats, snagged yarns | Hold the cloth up to a light source and scan across the width. | Any broken filament on a satin face — it will run under tension. |
| Crease marks and chafe marks | Unroll flat and look across the surface at a low angle. | Permanent creases pressed into a finish, or abraded lines where the roll has rubbed in transit. |
| Soiling, oil and water marks | Scan both sides; some marks only show on the reverse. | Any spot. Silk stains cannot be safely spot-cleaned before dyeing. |
| Width short against the ticket | Measure the usable width between the selvedges, excluding the pin-holes. | Less usable width than the quotation states — markers are often drawn tight. |
| Hand and finish against the approved sample | Compare to the bulk sample you signed off, in the same lighting. | A softer or firmer hand, or a difference in lustre. Finishing drifts between dye lots. |
Every roll we ship is inspected before it leaves, and any piece with a defect is cut short and the metrage credited rather than passed on. Even so, check the cloth before it goes under the knife: once a piece is cut it is accepted. Report anything within seven days of delivery with the roll number.
16 mm crepe de chine. It has enough body for a collar stand, creases far less than satin, stays matte under light and dyes evenly — which is why it is the standard for silk shirting.
Yes. Silk is breathable and moisture-wicking, and a 12–16 mm crepe de chine wears cooler than most cotton poplin at the same opacity. Lighter than 12 mm becomes too sheer for a buttonstand.
Washed and sandwashed finishes usually can, on a cold gentle cycle with pH-neutral detergent. Standard crepe de chine and charmeuse should be hand-washed or dry-cleaned to protect the lustre.
It depends on the pattern, the width and whether the design is cut on the bias. The planning table on this page gives working figures for the usual garments at both 114 cm and 140 cm; add 10–15% for a large print repeat and add your shrinkage allowance on top. For a production run, send us the marker and we will quote against real consumption rather than an estimate.
Usually it is a question of opacity and friction rather than comfort. Below roughly 16 mm most silks are translucent in pale colours and need a lining or an underlayer; above 19 mm a dress silk is generally opaque enough to stand alone. Where the garment has to slide over another layer — a jacket over a blouse, a skirt over hosiery — a lining is about friction, not modesty, and a habotai lining is the standard answer.
Order one metre of two adjacent weights and hang them. Weight is the single variable that changes how a silk behaves, and it cannot be judged from a photograph or a spec sheet. Tell us the garment and we will send the two weights we would put in front of a client for that application.
Yes. Custom dyeing starts at 40 metres per colour with a lab dip approved before bulk, and digital printing starts at 40 metres per design after a strike-off. Send the artwork and the base fabric you have in mind and we will confirm what the print can hold before you commit to a quantity.
Cut single layer on a surface with some grip — a flannel-backed table cover or tissue paper under the cloth both work. Pin inside the seam allowance only, use fine silk pins, and consider a rotary cutter and weights instead of shears on slippery weights. On very light silks, cutting between two layers of tissue paper keeps the cloth from moving under the blade.
Stock colours are available from one metre, which is enough to sample a weight and a colour properly. Custom dyeing and printing start at 40 metres per colour or design. Stock dispatch is a matter of a few working days; dyed and printed runs are quoted with a confirmed date once the lab dip or strike-off is approved.
PHOTOGRAPHED FROM OUR STOCK
Unretouched photographs from our own floor, sampled across the families below.












Send the application and the weight you are considering — we will post the closest stock qualities the same week.
BUYING QUESTIONS
Ordering terms for this application: minimums, dips, lead times, stock.
SILK WEIGHTS IN DETAIL
What we actually weave at each weight — the families, the qualities, what it suits and how it sews.