Lisa PARSONS

6 April 20264 October 2026

How FR Treatment Works: A Plain-English Guide for Interior Designers

What FR treatment does: It slows or prevents the ignition and spread of flame by interfering with the chemistry of combustion at the surface of the fabric.
The two main methods: Back-coating (paste applied to the reverse — standard for upholstery Crib 5) and wet padding (chemical solution applied to the whole fabric — standard for curtain treatment).
Inherent vs topical: Inherent fire resistance is a permanent property of the fibre itself. Topical treatment is applied after weaving and can degrade over time, through cleaning, or through interaction with certain dyes.
Who can certify: Only a UKAS-accredited testing laboratory. No fabric company, designer, or treatment provider can self-certify.

Most interior designers who specify FR-treated fabrics regularly have never seen the treatment process and have only a general idea of how it works. This guide explains the chemistry and process in plain language — not to make designers into treatment specialists, but to give them enough understanding to ask the right questions, spot specification risks before they become problems, and explain FR compliance confidently to clients and contractors.

For which fibres can be treated, see our FR treatment and fibre compatibility guide. For dye types and their interaction with treatment, see our dye types and FR treatment guide. For the fire standards that require treatment, see our Crib 5 guide.

Why Fabrics Need FR Treatment

All organic fibres will burn if exposed to sufficient heat and ignition energy. The chemistry of combustion in textiles follows a consistent pattern. When a fibre is heated, its polymer structure begins to break down — a process called pyrolysis. This produces flammable gases. The gases mix with oxygen from the atmosphere and ignite, producing a flame. The flame generates further heat, which causes more pyrolysis, which produces more flammable gas, which sustains and spreads the fire. This self-reinforcing cycle is what makes unprotected upholstery and curtains a serious fire hazard in public buildings.

FR treatment breaks this cycle at one or more points. Depending on the type of FR compound used, it may prevent or delay pyrolysis, reduce the quantity or flammability of the gases produced, cause the fabric to form a carbonaceous char layer that insulates the underlying structure from the heat source, or dilute the flammable gases with inert gases that cannot sustain combustion. The goal in all cases is the same: to prevent the fabric from sustaining ignition and propagating flame when exposed to the ignition sources defined in the test standard.

The Two Main Treatment Methods

Back-coating. The standard method for upholstery Crib 5 treatment. The fabric is passed through a machine that applies a paste or emulsion of FR chemicals to the reverse face of the fabric. The paste is then dried and cured to fix the compound to the backing structure. The treatment sits on the back face and does not penetrate the face yarns. This is why back-coating, when correctly applied, does not alter the appearance or handle of the face fabric.

The FR compounds used in back-coating are typically phosphorus-based or halogenated compounds — most commonly brominated flame retardants applied in a paste that also contains a binder to hold the compound to the fabric. The phosphorus compounds work primarily in the solid phase: when heated, they decompose to form phosphoric acid, which causes the polymer to char rather than produce flammable gases. The halogenated compounds work primarily in the gas phase: they release halogen radicals that interrupt the chain reactions sustaining the flame.

Back-coating adds weight to the fabric — typically a few grams per square metre — and gives the reverse a firmer, slightly stiffer character. This can be an advantage in upholstery construction because the stiffer back helps the fabric behave consistently during cutting and making-up. It does not affect the face pile character of velvet or the handle of the woven face.

Wet padding. The standard method for curtain FR treatment and some lighter upholstery fabrics. The fabric is fed through a padder — a bath of FR chemical solution followed by rollers that squeeze the solution into the fabric structure under controlled pressure — and then dried and cured. The wet pickup is controlled to achieve the required chemical loading. Because the solution penetrates the whole fabric including the face yarns, wet padding can affect handle and, critically, can interact with certain dye types. See the dye types and FR treatment guide for the specific risks.

The FR compounds used in curtain wet padding are typically water-soluble inorganic salts — ammonium phosphate or ammonium sulphate compounds — applied in aqueous solution. These are effective for cellulosic fibres and work primarily by releasing inert gases when heated that dilute the flammable gas mixture around the burning fabric. They are less suitable for upholstery because they are water-soluble and would wash out in cleaning. Back-coating compounds are insoluble and more durable.

Inherent Fire Resistance vs Topical Treatment

The distinction between inherent and topical fire resistance is commercially significant and frequently misunderstood.

Inherent fire resistance is a permanent property of the fibre itself, arising from its chemical structure. Wool and mohair have inherent fire resistance because they are protein fibres with high nitrogen and sulphur content. These elements make the fibre self-extinguishing — when the ignition source is removed, the fibre stops burning. No chemical treatment is required and no treatment can be washed away. The fire resistance is permanent for the life of the fabric.

Trevira CS is an inherently flame-retardant synthetic fibre. The flame-retardant chemical is incorporated into the polyester polymer during fibre production, not applied to the surface afterwards. Like mohair, the fire resistance is permanent and survives cleaning.

Topical treatment applies FR chemicals to the fabric after it has been woven or knitted. The chemicals are not part of the fibre structure — they sit on or within the fabric surface. This means they can potentially be degraded by cleaning, by mechanical abrasion over time, or by interaction with atmospheric pollutants or incompatible dyes. The degree to which this happens depends on the specific FR compound, the fabric construction, and the cleaning regime.

Back-coated fabrics retain their FR properties well under normal contract cleaning conditions because the back-coating compound is insoluble and mechanically fixed to the backing structure. The relevant risk is the dye interaction problem in wet-padded fabrics described in the dye types guide rather than the physical removal of the compound.

For contract environments where cleaning frequency is high — healthcare, transport seating, hotel restaurants — the distinction between inherent and topical certification carries practical weight. A fabric whose fire resistance survives aggressive cleaning without needing re-treatment or re-certification is operationally simpler and more reliably compliant over its full service life.

The Testing and Certification Process

FR treatment produces a claim of compliance. The claim must be verified by an independent test before it has any legal or commercial standing.

The test is conducted by a UKAS-accredited testing laboratory. The fabric and, for composite tests such as BS 7176, the filling material as well, are prepared and tested against the relevant ignition sources. For BS 5852 Crib 5, the ignition source is a wooden crib of defined dimensions and mass placed at the junction between a test seat and back assembly made from the fabric and a standard filling. The assembly must show no sustained flaming or progressive smouldering after the crib has burned out.

If the assembly passes, the laboratory issues a test certificate. The certificate identifies the fabric by name or reference, the filling used in the test, the standard tested against, and the test result. This certificate is the document that a designer must obtain from the fabric supplier and retain as evidence of compliance for the project.

A fabric supplier’s claim that a fabric is Crib 5 compliant without a certificate from a UKAS-accredited laboratory is not sufficient for contract specification. The Regulatory Reform (Fire Safety) Order 2005 requires the responsible person for a building to be able to demonstrate that furnishings comply with the applicable standard. A verbal assurance or a product description are not adequate evidence. The test certificate is.

What FR Treatment Cannot Do

Understanding the limits of FR treatment is as important as understanding what it achieves.

FR treatment cannot make a fabric fireproof. No textile can be made completely non-combustible by topical treatment. FR treatment reduces ignitability and slows flame spread sufficiently to meet the defined test standard. In a real fire involving sustained heat and ignition energy beyond the test conditions, treated fabric will eventually burn.

FR treatment cannot compensate for incorrect installation. A Crib 5-certified fabric used without the foam specified in the test certificate does not maintain its certification. The certificate is issued for the specific fabric and filling combination tested. Substituting a different foam invalidates the certificate for that assembly.

FR treatment does not substitute for structural fire safety. The fire resistance of the building fabric — walls, floors, doors, compartmentation — is a separate matter from the fire safety of soft furnishings. FR upholstery fabric is one element of a fire safety strategy, not a substitute for the rest of it.

FR treatment does not make a fabric immune to cleaning degradation permanently. Back-coated fabrics are durable under normal cleaning conditions, but cleaning with inappropriate chemicals — very high pH alkaline cleaners, solvents incompatible with the binder system — can over time affect the integrity of the coating. The cleaning code on the fabric data sheet should be followed.

What Happens When a Treated Fabric Is Cleaned

The question designers are most frequently asked by clients is whether the FR treatment survives cleaning. The answer depends on the treatment method and the cleaning agent.

Back-coated upholstery fabrics coded S (solvent clean only) should not be cleaned with water-based products. The binder system holding the back-coating to the fabric may be water-sensitive. Repeated water-based cleaning of an S-coded back-coated fabric can progressively weaken the adhesion of the coating. The FR compound may remain present but its mechanical adhesion to the fabric is reduced.

Back-coated fabrics coded W or WS can be spot-cleaned with water-based products without significant effect on the back-coating, provided the products are not strongly alkaline. Hotel-grade alkaline cleaners applied repeatedly can over time affect the coating. This is one of the reasons to prefer inherently fire-resistant fabrics for hotel environments with high-frequency professional cleaning. See our hotel fabric specification guide for practical guidance on this.

Wet-padded curtain fabrics treated with water-soluble inorganic salt compounds are water-sensitive by nature. The standard BS 5867 Part 2 Type B test includes a water-soak stage precisely to assess whether the treatment survives cleaning. A fabric that passes this stage has demonstrated that its treatment survives a defined level of water exposure. This does not mean the treatment is permanent under repeated laundering. For healthcare curtain applications requiring Type C certification, a more rigorous laundering pre-conditioning is included in the test.

The Treatment Supply Chain

Understanding who is responsible for what in the FR treatment supply chain helps designers avoid the most common specification failures.

The fabric supplier is responsible for knowing whether their fabric can be treated, which treatment method is appropriate, and which treatment providers have successfully treated their fabric before. A good fabric supplier maintains this information and can advise the designer before the fabric is ordered.

The treatment provider applies the FR compound and, in most cases, arranges testing through a UKAS-accredited laboratory. The treatment provider issues the test certificate. They are responsible for the quality and consistency of the treatment and for ensuring the treated fabric meets the specified standard.

The designer is responsible for specifying the correct standard for the project, confirming that the fabric supplier and treatment provider can meet it, and obtaining the test certificate before the fabric is installed. The designer cannot certify compliance — only the testing laboratory can do that — but the designer is responsible for ensuring the certified fabric is what is installed.

The contractor or upholsterer is responsible for installing the certified fabric with the certified filling. Substituting materials without re-testing invalidates the certificate. The contractor should be briefed on this before work begins.

UKAS-Accredited Treatment Providers

Textiles FR, based in Bradford, has operated since 1990 as both a flame-retardant finishing company and a UKAS-accredited test laboratory, combining treatment and independent testing under one roof. The company applies flame-retardant finishes and water and soil repellent treatments and conducts flammability testing to the British Standards covering furniture and furnishing fire safety.

Tek Treatments provides FR treatment and certification covering BS 5852 Crib 5, BS 5867 curtain standards, the IMO FTP Code for marine applications, and FAR/JAR standards for aviation.

Essex Flameproofing provides flame-retardant treatment for contract fabrics, including back-coating for upholstery and wall applications and treatment for curtains.

Quick answers

Does FR treatment change how a fabric looks or feels?
Back-coating, correctly applied to the reverse of an upholstery fabric, does not alter the appearance or handle of the face. The back will feel slightly firmer and heavier but the face pile character and surface quality are unchanged. Wet padding for curtain treatment can affect the handle of lightweight or delicate fabrics — sheers in particular may feel slightly stiffer after treatment. Any fabric where handle or appearance change would be commercially significant should be sample-treated and approved before committing to the full order.

How long does FR treatment last?
Inherent fire resistance is permanent. Topical back-coating is durable under normal contract conditions and will typically remain effective for the life of the fabric provided it is cleaned according to the cleaning code and not subjected to chemicals that attack the binder system. Wet-padded treatments are less durable and may require re-treatment after intensive cleaning or after a defined number of years in high-frequency cleaning environments. For healthcare curtains under BS 5867 Type C, re-treatment after a defined number of wash cycles is standard practice.

Can a fabric be re-treated after cleaning?
Yes, in most cases. Back-coated upholstery fabrics that have been in service for many years can typically be re-treated if the original treatment has degraded, though this requires removing the fabric from the furniture. Wet-padded curtain fabrics can be re-treated when they are laundered if the treatment has been removed. The re-treated fabric must be re-tested if a new certificate is required. Contact the original treatment provider for advice on re-treatment for specific fabrics.

What is the difference between Crib 5 and BS 7176?
BS 5852 Crib 5 is the test method — the specific ignition source and test procedure. BS 7176 is the specification standard for non-domestic upholstered seating that references Crib 5 and additionally includes the cigarette and match tests, a water-soak stage, and documentation of the specific hazard category and filling used. For hotel and contract upholstery, BS 7176 Medium Hazard is the correct standard to specify because it produces a more complete and defensible certificate than Crib 5 alone. See our Crib 5 guide and hotel fabric specification guide for full detail.

Can I self-certify that a fabric is fire retardant?
No. Only a UKAS-accredited testing laboratory can issue a valid fire test certificate. A fabric supplier, designer, treatment provider, or contractor cannot self-certify FR compliance. Under the Regulatory Reform (Fire Safety) Order 2005, the responsible person for a commercial building must be able to produce evidence of compliance. A test certificate from a UKAS-accredited laboratory is that evidence. A verbal assurance, a product description, or a supplier’s own claim of compliance are not.

For the fire standards requiring treatment, see our Crib 5 guide. For which fibres can be treated, see our FR treatment and fibre compatibility guide. For dye types and their FR interaction, see our dye types and FR treatment guide.

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6 April 20264 October 2026

Fabric Hand and Tactile Properties: A Guide for Interior Designers

Fabric hand: The complete tactile character of a fabric — softness, smoothness, warmth, weight, resilience, and drape — assessed by touch and handling.
Why it matters for specification: Hand determines client satisfaction in use more than any other property. A fabric with outstanding technical credentials that feels wrong will generate complaints regardless of its Martindale count or fire rating.
Why it changes: Hand is not fixed. It changes with use, cleaning, humidity, and age — often in ways the specifier did not anticipate.
The communication problem: Hand is subjective and vocabulary-dependent. What one designer calls soft another calls flimsy. Physical samples under agreed conditions are the only reliable basis for client approval.

Every fabric specification involves a tactile decision. A designer handling a sample in a showroom is simultaneously assessing Martindale performance, fire behaviour, cleaning compatibility, and light fastness — but the hand of the fabric is what drives the immediate emotional response and, ultimately, the client’s satisfaction in the finished room. This guide explains the components of fabric hand, the technical factors that produce them, how they differ between the upholstery fabrics most relevant to interior designers, and how hand changes over time in contract use.

The Components of Fabric Hand

Fabric hand is not a single sensation. It is a composite of several distinct tactile properties that combine to produce the overall character a designer or client experiences when handling a fabric. The Kawabata Evaluation System, developed by Japanese researcher Sueo Kawabata in the 1970s and still used in textile research, identifies the primary measurable components of hand as tensile and shear properties, bending stiffness, compression, and surface friction and roughness. For interior designers, these translate into the following practical descriptors.

Softness. The sensation of yielding under gentle pressure. Softness in upholstery fabric is primarily determined by fibre fineness, yarn twist, and pile height or density. Cashmere and fine mohair are the reference points for extreme softness at the top of the market. The softness of a fabric sample held in a showroom is not the same as the softness experienced by a person sitting on upholstered furniture — the filling and construction beneath the fabric significantly affects the perceived softness of the finished piece.

Smoothness. The absence of surface irregularity perceived by a finger drawn across the cloth. A high-lustre mohair velvet in the direction of the pile is extremely smooth — the pile fibres present a continuous, low-friction surface. Against the pile, the same fabric reads as rough because the finger is working against the fibre tips. This directional character of velvet pile is one of the most distinctive tactile experiences in upholstery and the source of the characteristic shading that makes velvet visually responsive to touch and movement.

Warmth. The thermal sensation when the fabric is first touched. Natural protein fibres — wool, mohair, cashmere — feel warm because they are poor thermal conductors; they do not draw heat away from the skin rapidly. Linen and cotton feel cooler to first touch because they conduct heat more readily. Synthetic fibres typically feel neither particularly warm nor particularly cool. This thermal character affects how a fabric is perceived in a room — a pale linen velvet reads visually warm but feels distinctly cooler to the touch than a pale mohair velvet of similar colour.

Weight. The sense of substance when the fabric is lifted or handled. Weight is a function of fibre density, pile height, and the construction of the backing. A heavy fabric suggests durability and permanence. A very light fabric in upholstery can feel insubstantial regardless of its actual Martindale count. Clients frequently conflate weight with quality, which is not always correct but is a consistent perception.

Resilience and recovery. How quickly a fabric returns to its original state after deformation — whether from sitting, pressure, or creasing. Wool and mohair have excellent resilience due to the natural crimp structure of the fibre. When compressed, the crimped fibre springs back. Cotton and linen have lower resilience and are more prone to retaining the impression of pressure over time. This is the difference between a velvet that springs back from a hand impression and one that retains it.

Drape. How a fabric falls and hangs under its own weight when not under tension. Drape is distinct from hand in the technical sense — hand is assessed by touch, drape is observed visually — but the two are closely related. A fabric with low bending stiffness and good weight distribution drapes fluidly. A stiff or heavily backed fabric drapes rigidly. Drape matters most for curtains, where the fall of the fabric in pleats or folds is a primary aesthetic criterion, and for loose upholstery covers where the fabric must conform to curves without puckering.

How Fibre Type Determines Hand

Mohair. The most distinctive hand of any upholstery velvet. The long, smooth, lustrous fibre of the Angora goat produces a pile that is simultaneously slippery and warm — a combination that is immediately identifiable and unlike any other fibre. Running a hand across mohair velvet in the direction of the pile produces almost no friction. Against the pile, the sensation changes to a gentle resistance as the finger lifts the pile tips. The warmth is a protein fibre characteristic. The lustre — visible as directional sheen — is a function of the fibre’s smooth surface, which reflects light rather than scattering it. Mohair velvet is also highly resilient: the pile recovers from pressure quickly, which is why marks from cushions or hands disappear more readily than on cotton velvet.

Cotton velvet. Warmer in appearance than in touch — cotton is a cellulosic fibre and feels slightly cooler than mohair at first contact. The pile is less smooth than mohair because cotton fibres have a more irregular surface than the smooth mohair filament. The drape of cotton velvet is slightly heavier and less fluid than mohair of equivalent pile height. Recovery from pressure is slower and less complete than mohair, meaning crush marks and sitting impressions are more persistent. The handle is soft and pleasant but lacks the distinctly slippery warmth of mohair.

Linen velvet. The most textural of the natural-fibre velvets. Linen fibre has a natural irregularity — the slight variation in diameter along the fibre length — that gives linen velvet a subtly uneven, natural surface unlike the smooth pile of mohair or cotton. The handle is pleasantly dry and cool, which reads as fresh and natural in residential contexts. Linen velvet is less forgiving of pressure marks than mohair and has less resilience. The textural quality is its aesthetic strength: no other velvet has quite this character.

Silk velvet. The most luminous pile of any velvet, with a surface that produces an almost liquid quality of light and shadow. The handle is extremely fine and light — silk velvet feels almost insubstantial compared to mohair or cotton of similar pile height because the fibre itself is much finer. The drape is exceptional: silk velvet falls in deep, fluid folds. The surface is cool to the touch. The fragility of silk velvet — its low abrasion resistance and light fastness — means these tactile qualities are experienced in a context of care and limited use rather than everyday handling.

Cashmere. The reference point for extraordinary softness. The fineness of the cashmere fibre produces a sensation of enveloping warmth and cloud-like softness that no other fibre replicates at the same fineness level. Cashmere velvet — or cashmere-silk velvet blends — is soft to a degree that reads as almost ineffably luxurious. The hand is the primary reason for specifying cashmere; the durability, fire rating, and light fastness are secondary considerations because cashmere fabrics are used where tactile experience is the specification criterion.

Faux leather (PVC). A distinctive hand that communicates durability and cleanability but not warmth or softness. High-specification PVC faux leather has a smooth, slightly firm surface with very low friction. It does not breathe and retains warmth in sustained contact, which is perceived positively in cool environments and negatively in warm ones. The absence of pile or weave texture means there is no directional quality — the hand is the same in all orientations. Clients who have not handled high-quality PVC faux leather before may be surprised by how closely it approximates real leather in surface quality while feeling quite different in temperature and breathability.

Linen (flat-woven). A characteristic cool, slightly dry, slightly rough hand that is immediately identifiable. The natural fibre irregularity is more apparent in flat-woven linen than in linen velvet because the warp and weft structure exposes the fibre surface directly. Linen softens noticeably with use and washing — a new linen upholstery fabric has a crisper, slightly papery quality that relaxes into a softer, more lived-in character over months of use. This evolution of hand is a feature of linen that distinguishes it from synthetic fabrics whose hand is essentially fixed at manufacture.

How Construction Affects Hand

The fibre type is the primary determinant of hand but the construction amplifies or modifies it significantly. Two mohair velvet fabrics from the same fibre can have notably different hands depending on pile height, pile density, backing construction, and finishing.

Pile height affects softness and depth of hand. A longer pile produces a deeper, more enveloping sensation on contact but is more susceptible to crushing and directional disturbance. A shorter, denser pile has a firmer, more controlled surface feel and better resilience to pressure marks. Contract mohair velvets are typically specified with a pile height that balances tactile quality against durability in use.

Yarn twist affects surface smoothness and resilience. Higher-twist yarns produce a firmer, less soft surface but better resilience and reduced pilling tendency. Lower-twist yarns produce a softer, more open pile but may pill more readily and show pressure marks more easily.

Backing construction affects drape and weight. A woven cotton backing gives mohair velvet a firmness and body that supports upholstery construction. A knitted backing produces a more fluid drape. The weight of the backing influences how the fabric behaves when draped over a furniture frame before upholstering — a heavier backing is easier to work with but reduces drape.

Finishing processes — steaming, brushing, and setting — affect the final pile character. A well-finished mohair velvet has a uniform pile direction and a consistent sheen. A poorly finished velvet may show irregular pile direction and uneven surface character even before use.

How Hand Changes Over Time

The hand of an upholstery fabric changes through use in ways that are often not communicated to clients at the point of specification.

Velvet pile flattens in areas of sustained pressure and friction. This is an inherent characteristic of all pile fabrics and is not a fault. In upholstery, the seat area and armrests experience the most pile compression. Mohair velvet recovers well between uses because of the fibre’s natural resilience. Cotton velvet recovers less completely and may show a permanent difference in pile character between heavily and lightly used areas over time. This flattening changes both the tactile and visual character of the fabric — a compressed pile has a different sheen and a different feel from the undisturbed pile on the sides and back of the same piece.

Linen softens with use. A flat-woven linen upholstery fabric has a firmer, slightly papery quality when new that relaxes progressively as the fibres are worn in by use and by the natural absorption and release of atmospheric moisture. This softening is a feature of linen, not a failure. Clients who specify linen upholstery should be informed of this evolution so they are not surprised by the difference between a new piece and a two-year-old piece in the same fabric.

Synthetic fabrics maintain their hand more consistently over time than natural fibres because the polymer structure does not change with use or moisture in the same way. This consistency is an advantage in contract environments where uniformity across a large installation is commercially significant — a hotel that replaces chairs over time needs the new chairs to match the existing ones.

Cleaning affects hand. Dry-cleaned velvet that is cleaned correctly retains its pile character. Velvet that has been wet-cleaned incorrectly may show permanent pile distortion. Faux leather cleaned with incompatible products may show surface dulling or tackiness. When specifying any fabric where hand quality is commercially significant, ensure the recommended cleaning method is part of the client briefing.

Communicating Hand to Clients

Hand is the most subjective dimension of fabric specification and the one most prone to miscommunication between designer and client. A designer who describes a fabric as soft may mean something entirely different from what the client hears. The only reliable communication tool is a physical sample handled by the client under realistic conditions.

Show samples in the context of the finished room wherever possible. A fabric sample held in isolation in a showroom is assessed against the client’s existing mental reference points. The same sample in a furnished room, against the paint colour and flooring of the actual project, reads completely differently — and the hand perceived in that context is closer to the experience of the finished piece.

Describe hand in terms of comparison rather than absolute descriptors. Saying a fabric is softer than cotton velvet but firmer than cashmere gives a client with no prior experience of mohair a reference they can use. Saying it is soft is not useful because soft means different things to different people.

Brief clients on how hand will evolve. A client who buys a linen sofa expecting it to maintain its slightly crisp, fresh character over ten years will be disappointed. A client who is told in advance that linen softens and relaxes with use and develops a more lived-in character will find that evolution satisfying rather than alarming.

Quick answers

What is fabric hand?
Fabric hand is the complete tactile character of a fabric assessed by touch and handling. It encompasses softness, smoothness, warmth, weight, resilience, and drape. In upholstery specification, hand is commercially significant because it determines how a client experiences the finished piece in daily use — and client satisfaction or dissatisfaction with hand is one of the most common sources of post-installation complaint in interior design projects.

What is the difference between fabric hand and drape?
Hand is assessed by touch — it is the tactile sensation produced when a fabric is handled. Drape is assessed visually — it describes how a fabric falls and hangs under its own weight. The two are closely related because both are determined by similar fabric properties: bending stiffness, weight, and structure. A fabric with a fluid, soft hand will typically drape well. A stiff, heavily backed fabric will have a more rigid hand and more structured drape. For upholstery, hand is the primary consideration. For curtains, drape assumes equal or greater importance.

Why does mohair velvet feel different in different directions?
Mohair velvet pile lies in a consistent direction, set during finishing. Running a hand in the direction of the pile produces almost no friction because the smooth fibre tips present a continuous surface. Running a hand against the pile lifts the pile tips and produces a gentle resistance. This directional quality also produces the characteristic shading of velvet — the same fabric appears lighter when viewed with the pile and darker when viewed against it. It is this directionality that gives velvet its depth and visual responsiveness and that makes pile direction a significant consideration in upholstery cutting and making-up.

Will velvet pile flatten with use?
Yes. All pile fabrics flatten in areas of sustained pressure and friction. This is an inherent characteristic and not a fault. Mohair velvet recovers well between uses because of the fibre’s natural resilience. Cotton velvet recovers less completely. The degree of flattening and recovery depends on pile density, pile height, and the intensity of use. In contract upholstery, a denser, shorter pile will show less permanent flattening than a longer, more open pile of the same fibre. Clients should be informed at the point of specification that pile compression in areas of heavy use is a characteristic of the material rather than a product failure.

How does faux leather handle compare to real leather?
High-specification PVC faux leather closely approximates the surface smoothness and firmness of real leather but differs in three important ways. It does not breathe, so it retains heat in sustained contact more than real leather. It has a uniform surface without the natural grain variation and pore irregularity of real leather — the surface is consistent across the entire width of the fabric. And it does not develop patina with age in the way that full-grain real leather does. Real leather softens, moulds slightly to use, and develops a surface character over years that PVC cannot replicate. For most contract upholstery applications these differences are outweighed by the practical advantages of faux leather: consistent colour, no hide-size limitations, and easier maintenance.

How should I present fabric samples to clients?
Show physical samples, not digital images or descriptions. Present samples in the context of the project — against the paint colour, flooring, and other materials being specified — rather than in isolation. Ask the client to handle the sample rather than simply looking at it. Describe hand in comparative terms: softer than X, firmer than Y, warmer than Z. Brief clients on how the hand will evolve with use, particularly for linen and velvet fabrics where the change is significant. For major fabric decisions, leave samples with the client for a week so they can assess them under different light conditions and revisit their response after the initial impression has settled.

For pilling resistance — closely related to fabric hand and surface quality — see our pilling resistance guide. For the specific environments where velvet hand is incompatible with operational requirements, see our when not to use velvet guide.

For fabric type comparisons including hand feel by fibre, see our velvet types compared guide and our faux leather types compared guide. .

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Order cutting samples of any fabric from our current collections. Trade accounts only.

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Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

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Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

6 April 202613 October 2026

Which Fabrics and Fibres Can Be FR Treated: A Guide for Designers

Fibres that can generally be treated: Cotton, linen, wool, mohair, silk, viscose, polyester (with conditions), nylon, modacrylic
Fibres to avoid for FR treatment: Acrylic, polypropylene, polyethylene, pure acetate or triacetate
Exempt fibres (domestic upholstery): Cotton, linen, wool, silk, viscose — do not require match test treatment if at least 75% natural fibre by weight with a Schedule 3 interliner
The single most important rule: Fibre type is a guide, not a guarantee. The specific fabric construction, dye type, and finish all affect treatability. Always confirm with the treatment provider before ordering.

A fabric that cannot be successfully FR treated is a fabric that cannot be legally used in a contract environment without an alternative compliance route. Discovering this after the fabric has been specified, ordered, and delivered is a significant problem. This guide explains which fibres and fabric types are treatable for the UK standards most commonly required in contract interiors, which should be avoided, and what the exemption rules mean for domestic upholstery.

For the fire standards that require treatment, see our Crib 5 guide and our hotel fabric specification guide. For how dye type affects FR treatment, see our dye types and FR treatment compatibility guide.

How Treatability Works

FR treatment works by introducing a chemical compound — typically phosphorus-based or halogenated — into or onto the fabric structure. For the treatment to be effective, the compound must be able to penetrate and adhere to the fabric in sufficient quantity to inhibit combustion. The fibre type determines whether this is chemically and physically possible.

Natural protein fibres — wool, mohair, silk — have an inherently higher resistance to ignition than cellulosic and synthetic fibres, which reduces the amount of chemical treatment required to achieve compliance. This is one reason protein fibre fabrics can often be treated successfully even at relatively low chemical loadings.

Cellulosic fibres — cotton, linen, viscose — ignite readily and require more chemical treatment to achieve compliance. They can generally be treated successfully, but the dye type carried on the fabric affects whether the treatment can be applied without causing colour change. See the dye types and FR treatment guide for detail on this.

Synthetic fibres present a different challenge. Some — polyester, nylon — can be treated. Others — acrylic, polypropylene, polyethylene — melt and flow when exposed to heat rather than forming a char, which FR chemicals cannot effectively prevent. Fabrics containing significant proportions of these fibres cannot be reliably FR treated.

Fibre by Fibre: Treatability for UK Contract Standards

Cotton. Can be treated for both Crib 5 upholstery and BS 5867 Part 2 Type B curtains. Cotton is one of the most commonly treated fibres in the UK contract market. Back-coating is the standard method for upholstery Crib 5. Wet padding is used for curtain treatment. Dye type matters: reactive-dyed cotton carries a risk of post-treatment colour change and should be confirmed with the treatment provider before committing to an order. In domestic upholstery, cotton is an exempt fibre — fabric of at least 75% cotton by weight does not require match test treatment if used with a Schedule 3 fire-retardant interliner.

Linen. Can be treated for Crib 5 and BS 5867. Linen is an exempt fibre for domestic upholstery at 75% or above by weight with a Schedule 3 interliner. For contract use, treatment is required and linen takes FR chemical treatment well when correctly applied. The same reactive dye caution applies as for cotton.

Wool. Can be treated. Wool is a protein fibre with natural fire resistance arising from its high nitrogen and sulphur content. It is an exempt fibre for domestic upholstery. For contract upholstery requiring Crib 5, wool can be back-coated. The treatment chemical loading required is typically lower than for cotton because of wool’s inherent resistance. Wool treated with FR chemicals retains its handle well compared to some other fibres. An exempt fibre for domestic use.

Mohair. Can be treated, and Kothea’s active ranges carry independently certified Crib 5 passes achieved without topical treatment on the tested ranges, meaning treatment is not required. Where a mohair velvet does not carry an inherent certification, it can be back-coated. Mohair is not listed as an exempt fibre for domestic upholstery under the Furniture and Furnishings (Fire) (Safety) Regulations, which means it does not qualify for the Schedule 3 interliner route at any fibre content level. It requires treatment for domestic match test compliance unless it passes the test inherently.

Silk. Can be treated with care. Silk is an exempt fibre for domestic upholstery. For contract use, silk can be back-coated for Crib 5 but the treatment process must be managed carefully — silk is a delicate fibre and incorrect application can alter handle and appearance. Silk velvet in particular is sensitive to any wet process and should be approached with specialist advice before treatment is specified. The low Martindale rub count of silk velvet means it is unlikely to be specified for most contract upholstery applications regardless of fire treatment status.

Viscose and modal. Can be treated. Viscose (also called rayon) is a regenerated cellulose fibre and behaves similarly to cotton in FR treatment. It is an exempt fibre for domestic upholstery. For contract use it can be back-coated or wet-padded. Viscose is prone to shrinkage in wet processes and the treatment must be applied with appropriate tension control. Modal (polynosic) is a modified viscose and is also generally treatable.

Cuprammonium (cupro). Can be treated but is not an exempt fibre. Less commonly encountered in upholstery specification but treatable by similar methods to other regenerated cellulosics.

Acetate and triacetate. Problematic. Acetate and triacetate are cellulose acetate fibres with thermoplastic properties — they melt and drip when heated. This makes effective FR treatment very difficult. Treatment is only practically viable when acetate or triacetate are present as minor components in a blend with natural fibres. Fabrics with significant acetate or triacetate content should be avoided for contract applications requiring FR treatment. Not exempt fibres for domestic use.

Polyester. Can be treated when blended with natural fibres. Pure polyester is a thermoplastic fibre — it melts rather than chars — and standard FR back-coating compounds are less effective on pure polyester than on natural fibres. However, polyester blended with natural fibres at significant proportions can be treated. Trevira CS is a permanently flame-retardant polyester fibre whose fire resistance is inherent to the polymer and does not require topical treatment. Standard polyester in blend with cotton or wool at 50% or above natural fibre content is typically treatable by back-coating. Confirm the specific blend and proposed treatment method with the treatment provider.

Nylon (polyamide). Can be treated when blended with natural fibres. Similar position to polyester — thermoplastic in its pure form, more treatable in natural fibre blends. Nylon 6,6 blended with wool or cotton at significant proportions can generally be back-coated for Crib 5.

Modacrylic. Can be treated. Modacrylic is a modified acrylic fibre with significantly better inherent fire resistance than standard acrylic. It is treatable for both upholstery and curtain standards and behaves well in FR treatment processes.

Acrylic. Avoid. Standard acrylic (at least 85% acrylonitrile) is thermoplastic and melts and drips when exposed to heat. FR chemicals cannot effectively prevent this behaviour. Acrylic should not be specified for contract applications requiring FR treatment. This applies to both upholstery and curtain use. Not an exempt fibre.

Polypropylene. Avoid. Polypropylene burns readily and melts at low temperatures. It cannot be reliably FR treated to UK contract standards. Not an exempt fibre.

Polyethylene. Avoid. Same position as polypropylene — melts and burns without forming a char. Not treatable. Not an exempt fibre.

The Domestic Exemption: What It Means in Practice

The Furniture and Furnishings (Fire) (Safety) Regulations define a category of exempt fibres for domestic upholstery. A fabric composed of at least 75% by weight of exempt fibres — alone or in combination — does not require treatment for the match test (BS 5852 Source 1), provided it is used with a fire-retardant Schedule 3 interliner. It must still pass the cigarette test (BS 5852 Source 0).

The exempt fibres are: cotton, linen (flax), wool, silk, viscose (rayon), modal (polynosic). Mohair is not on the exempt list despite being a natural protein fibre with good inherent fire resistance. A fabric of 100% mohair does not qualify for the Schedule 3 interliner route and must pass the match test by another means — either inherently or through topical treatment.

The exemption applies to domestic upholstery only. It does not apply to contract upholstery, where Crib 5 or BS 7176 certification is required regardless of fibre content. A fabric of 100% cotton used on a domestic sofa with a Schedule 3 interliner is compliant for domestic sale. The same fabric on a hotel chair requires Crib 5 certification.

The Schedule 3 interliner must itself be fire retardant to the required standard. It cannot be a standard curtain interlining or a general-purpose backing fabric. The interliner supplier should provide confirmation that the product meets the Schedule 3 requirement. For how interliners work in domestic and contract furniture, see our Crib 5 interliners guide.

Fabric Construction and Finishes That Affect Treatability

Fibre type is the primary determinant of treatability but not the only one. The following fabric characteristics can affect whether a treatment will be effective or practical.

Pile fabrics. Velvet and other pile fabrics present additional considerations for FR treatment. The pile surface increases the volume of combustible material at the surface relative to a flat-woven fabric of the same fibre and weight. A pile fabric may require a higher chemical loading to achieve compliance than a flat-woven fabric of the same fibre. The pile structure also means that any visible effect of treatment — colour change, handle alteration — is more noticeable than on a plain fabric. Treatment must be applied from the back only, without penetrating the pile face.

Coated or laminated fabrics. Fabrics with a polymer coating or laminate backing may not be treatable by standard back-coating methods because the existing coating prevents adhesion of the FR compound. Faux leather and coated technical fabrics typically achieve their fire performance through the inherent properties of the coating compound rather than topical FR treatment.

Water-repellent or stain-resistant finishes. Some fabrics carry a Teflon, Scotchgard, or similar fluorocarbon finish for stain resistance. These finishes can reduce the penetration of FR chemicals into the fabric structure, potentially reducing treatment effectiveness. Confirm with the treatment provider whether the specific finish is compatible with the proposed treatment method before ordering.

Very lightweight fabrics. Sheer curtain fabrics and extremely lightweight upholstery fabrics may be difficult to treat without visible handle change or shrinkage, regardless of fibre type. The chemical loading required for compliance may be a higher proportion of the fabric weight than for a heavier cloth, making the treated fabric noticeably different in handle from the untreated original.

What to Ask Before Specifying a Fabric for FR Treatment

Before specifying a fabric that will require topical FR treatment for contract use, confirm the following with the fabric supplier and with the proposed treatment provider.

What is the full fibre composition by percentage? The fibre content label gives this, but confirm with the supplier whether any blend components are thermoplastic — polyester, nylon, acrylic — and at what proportion.

Does the fabric carry any surface finish — stain resistance, water repellency, or coating — that might affect FR treatment penetration?

What is the dye class? See the dye types and FR treatment guide for why this matters.

Has this specific fabric been successfully FR treated before, and to which standard? Treatment providers keep records and can often advise whether a specific fabric has been through their process previously.

Is the treatment provider UKAS-accredited to issue the certificate required for the project? For contract upholstery the certificate must be issued by a UKAS-accredited laboratory. No fabric company or designer can self-certify FR compliance.

UKAS-Accredited Treatment Providers

Textiles FR, based in Bradford since 1990, applies flame-retardant finishes and water and soil repellent treatments and is itself a UKAS-accredited test laboratory for the British Standards covering furniture and furnishing fire safety.

Tek Treatments provides FR treatment and certification covering BS 5852 Crib 5, BS 5867 curtain standards, the IMO FTP Code for marine applications, and FAR/JAR standards for aviation.

Quick answers

Can all fabrics be made fire retardant?
No. Fibres that melt rather than char when heated — acrylic, polypropylene, polyethylene, and pure acetate — cannot be reliably FR treated to UK contract standards. FR chemicals work by inhibiting combustion in fibres that burn; they cannot prevent the melt-and-drip behaviour of thermoplastic fibres. Fabrics containing significant proportions of these fibres should not be specified for contract applications requiring Crib 5 or BS 5867 compliance through topical treatment.

Can polyester be FR treated?
Pure polyester is thermoplastic and difficult to treat effectively by standard back-coating methods. Polyester blended with natural fibres at substantial proportions — typically 50% or more natural fibre — can generally be back-coated for Crib 5. Trevira CS is a permanently flame-retardant polyester fibre with inherent fire resistance that does not require topical treatment. Always confirm the specific blend composition and proposed treatment method with the treatment provider before specifying.

Does a fabric with 75% natural fibre content need FR treatment for contract use?
Yes. The 75% natural fibre exemption applies only to domestic upholstery under the Furniture and Furnishings (Fire) (Safety) Regulations, allowing the use of a Schedule 3 interliner in place of match test treatment. It does not apply to contract upholstery, where Crib 5 or BS 7176 certification is required regardless of fibre content. A hotel, restaurant, or other commercial environment requires certified FR compliance irrespective of whether the fabric is made from exempt fibres.

Can mohair velvet be FR treated?
Mohair velvet that does not carry an inherent Crib 5 certification can be back-coated for Crib 5. However, Kothea’s active mohair velvet ranges carry independently certified Crib 5 passes on the tested ranges without topical treatment, which removes the need for treatment entirely. Mohair is not an exempt fibre under the domestic regulations regardless of fibre content, so it requires Crib 5 compliance by inherent certification or topical treatment for all contract applications.

Will FR treatment change how my fabric looks or feels?
Back-coating applied correctly to upholstery fabric does not typically alter the appearance or handle of the face. Wet-padded curtain treatment can affect the handle of lightweight fabrics, particularly sheers. Pile fabrics treated from the back retain their face pile character if the treatment does not penetrate the face. Any fabric where colour or handle change would be commercially significant should be sample-treated and approved before committing to a full order.

Who can issue a Crib 5 certificate?
Only a UKAS-accredited testing laboratory can issue a Crib 5 certificate. A fabric supplier, treatment company, or interior designer cannot self-certify FR compliance. When specifying a fabric for contract use, request the test certificate from the supplier and confirm that the issuing laboratory is UKAS-accredited. For contract curtain treatment requiring BS 5867 Part 2 Type B, the same applies.

For how back-coating and wet padding work, see our how FR treatment works guide. For the fire standards requiring FR treatment, see our Crib 5 guide. For dye types and their interaction with FR treatment, see our dye types and FR treatment guide.

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6 April 20264 October 2026

Dye Types and FR Treatment Compatibility: What Interior Designers Need to Know

The hidden risk: Reactive dyes — used on many cotton, linen, and silk fabrics — can cause progressive fading in the months after FR treatment. The fading is not visible at installation. It develops slowly and cannot be reversed.
The safest dye class for FR-treated fabrics: Vat dyes on cellulosic fibres; acid dyes on protein fibres (wool, mohair, silk). Both form strong bonds resistant to the chemical conditions of FR treatment.
Fibres to approach with caution: Cotton and linen with reactive dyes; fabrics with unknown dye composition.
The practical rule: Always ask the supplier which dye class was used before sending a fabric for FR treatment.

Fire retardant treatment is a routine requirement for contract upholstery and curtains in commercial interiors. What is less widely understood is that the chemical process of FR treatment can interact with certain dye types and cause colour change — sometimes immediately after treatment, and sometimes months later when the problem is much harder to diagnose and impossible to reverse. This guide explains how different dye types are used on the fabrics most relevant to interior designers, which dye types carry the highest risk in FR treatment, and what to confirm with suppliers before committing to treatment.

For how back-coating and wet padding work in plain language, see our how FR treatment works guide. For the fire certification standards that require FR treatment, see our complete guide to BS 5852 Crib 5. For guidance on which fabrics and fibres can be FR treated, see our guide to FR treatment and fibre compatibility. For colour fastness testing, see our colour fastness and crocking guide.

How FR Treatment Works and Why Dyes Matter

The two main methods of applying FR treatment to upholstery and curtain fabrics are back-coating and wet padding. Understanding the difference is essential to understanding the dye interaction risk.

Back-coating applies a chemical compound — typically a phosphorus or halogenated compound suspended in a paste — to the reverse of the fabric. The coating sits on the back face and does not penetrate the face yarns where the dye is located. Provided the back-coating is applied correctly and the fabric is not saturated, back-coating has minimal interaction with the face dyes. The majority of Crib 5 treatments for upholstery fabrics use this method.

Wet padding applies FR chemicals in solution to the whole fabric by running it through a padder — rollers that squeeze the chemical solution into the structure of the cloth. The fabric is then dried and cured. This process is used primarily for curtain fabrics and some lighter upholstery weights. Because the chemical solution penetrates the entire fabric including the face yarns, it comes into direct contact with the dye molecules. This is where dye-FR interaction can occur.

The pH of the FR solution used in wet padding is mildly acidic for phosphorus-based compounds. Certain dye classes are sensitive to acidic conditions. When an acid-sensitive dye is exposed to the mildly acidic FR solution during padding, the bond between the dye molecule and the fibre can be weakened. The weakening may not cause immediate visible colour change. Instead, the dye becomes more susceptible to subsequent degradation by atmospheric pollutants — oxides of nitrogen and sulphur from the environment — which produce acids on the surface of the fabric after treatment. Fading develops progressively over weeks and months. It is not visible at installation and cannot be detected by standard pre-treatment testing.

The Main Dye Classes and Their FR Compatibility

Reactive dyes. The highest-risk dye class for FR treatment. Reactive dyes are used extensively on cellulosic fibres — cotton, linen, viscose — and occasionally on wool and silk blends. They produce bright, vivid colours with good light fastness and excellent wash fastness under normal conditions. The dye molecule forms a covalent chemical bond with the fibre during dyeing. However, this bond is sensitive to acid. The mildly acidic conditions of some FR padding treatments can initiate the breakdown of the dye-fibre bond, making the dye vulnerable to subsequent fading from atmospheric pollutants.

The fading problem with reactive dyes is well documented in the FR treatment industry. It does not affect all reactive dyes equally — different reactive dye variants have different acid sensitivity — but a significant proportion of fading problems encountered by FR treatment companies involve reactive dyes. The problem is compounded by its delayed onset: a fabric that passes visual inspection immediately after treatment may show noticeable fading within three to six months. By the time the fading is visible, installation is complete and remediation is not possible.

The practical advice from experienced FR treatment houses is: where possible, avoid specifying fabrics with reactive dyes for wet-padded FR treatment. If you cannot avoid it — because the fabric is specified and cannot be changed — request that the treatment provider tests a sample and stores it for three to six months before treating the full order. This does not guarantee the full order will behave identically, but it provides the best available advance warning of a fading risk.

Acid dyes. Used on protein fibres — wool, mohair, silk, and some nylon. Acid dyes form strong bonds with protein fibres and are not sensitive to the mildly acidic conditions of FR treatment in the way that reactive dyes are. Back-coated wool and mohair velvets treated for Crib 5 using phosphorus or halogenated back-coating compounds do not typically show dye interaction problems. Acid-dyed silk is more cautious territory because silk is a delicate protein fibre and any chemical exposure requires care, but acid dye instability is not the primary risk for silk in FR treatment.

Vat dyes. The most stable dye class available and the least susceptible to FR treatment interaction. Vat dyes are used on cellulosic fibres — cotton and linen primarily — and produce colours with exceptional light fastness and wash fastness. The dye molecule is insoluble and is locked within the fibre structure rather than bonded chemically at the surface in the same way reactive dyes are. Vat dyes do not react with the acidic conditions of FR treatment and do not show the progressive fading associated with reactive dyes after treatment. Cotton and linen fabrics dyed with vat dyes are among the most FR-treatment-compatible cellulosic fabrics available. The limitation of vat dyes is a smaller colour range and higher dyeing cost compared to reactive dyes, which is why many fabric producers use reactive dyes as their default.

Disperse dyes. Used on polyester and acetate. Disperse dyes are forced into synthetic fibres under high heat and pressure. They are virtually insoluble in water and chemically stable. FR treatment of polyester fabrics, particularly Trevira CS which is inherently flame resistant, does not typically involve the same dye interaction risks as cellulosic FR treatment. Disperse-dyed polyester fabrics are generally low-risk for FR treatment. A known issue with disperse dyes is discolouration from oxides of nitrogen in the atmosphere — a separate problem from FR treatment interaction but worth noting for polyester fabrics in high-pollution urban environments.

Direct dyes. Used on cellulosics. Direct dyes have good substantivity for cotton and linen but moderate wash fastness — they are relatively water-soluble. The FR treatment interaction risk is lower than for reactive dyes because the dye-fibre bond mechanism is different, but direct-dyed fabrics should still be assessed for colour stability before FR treatment. Their water solubility means they are somewhat susceptible to the aqueous conditions of wet padding regardless of pH.

Sulphur dyes. Used on cellulosics, producing blacks, dark browns, and dark navies. Sulphur dyes have been associated with isolated fading problems after FR treatment — typically affecting specific yarn colours within a fabric rather than the entire cloth, making the problem appear as uneven colour change across the weave. This is relatively uncommon but has been observed.

Which Fabrics Carry the Highest Risk

Cotton curtain fabrics in saturated colours — particularly bright reds, coral, fuchsia, and vivid blues and greens — are most likely to be dyed with reactive dyes and carry the highest risk of post-treatment fading. Linen curtain fabrics in the same colour range carry comparable risk. The deeper and more saturated the colour, the more likely reactive dyes are involved.

Pale, muted, or neutral colours in cotton and linen are sometimes dyed with direct or vat dyes, which carry lower risk. However, the dye class cannot be determined from the colour alone. The only way to confirm the dye type is to ask the supplier.

Wool, mohair, and silk upholstery fabrics dyed with acid dyes and back-coated rather than wet-padded are the lowest-risk category for FR treatment colour interaction. This is one of the practical advantages of specifying mohair velvet with an inherent Crib 5 certification: the need for wet-padded FR treatment is eliminated entirely, removing the dye interaction risk from the specification chain.

Synthetic fabrics — polyester, Trevira CS, nylon — are generally low risk for dye interaction in FR treatment, with the specific disperse dye caveat noted above.

What to Ask Before Sending a Fabric for FR Treatment

Before sending any fabric to an FR treatment company for Crib 5 treatment, confirm the following with the fabric supplier.

Which dye class was used on this fabric? If the supplier cannot answer this question, treat the fabric as reactive-dyed and proceed with caution. Most reputable fabric suppliers can provide this information from their mill technical data sheet.

Has this fabric been FR treated before, and were any colour changes observed? A fabric that has been successfully FR treated and stored without fading gives some reassurance. A fabric that has not been treated before carries the full unknown risk.

Is the colour in the current batch produced by the same dyehouse as previous batches? Dye lot variation between batches extends to dye class selection in some mills, where the dyehouse may substitute a dye type if the standard dye is temporarily unavailable.

Once you have confirmed the dye class, convey this information to the FR treatment company before treatment begins. Experienced treatment companies maintain records of which fabrics and dye classes have caused problems and can advise whether a screen test — treating a small sample and storing it for an extended period before treating the full order — is warranted.

The FR Treatment Process and Colour Change: Timing and Detection

Immediate colour change visible at the point of treatment is typically caused by a direct chemical reaction between the FR compound and the dye. This type of problem is detectable during the treatment process and gives the treatment company an immediate opportunity to halt treatment and contact the specifier. It is the minority of dye-FR problems.

Progressive fading developing over weeks to months after treatment is caused by the mechanism described earlier — the FR treatment weakens the dye-fibre bond, making the dye susceptible to subsequent degradation by atmospheric pollutants. This type of problem is not detectable at the time of treatment and will not be evident at the point of installation. It develops after the fabric is in situ. By the time it is noticed, the treatment cannot be reversed and the fading cannot be corrected without replacing the fabric.

This is the most commercially damaging outcome of dye-FR interaction. It occurs after the project is complete, generates a complaint the designer cannot easily resolve, and involves a fault that originated in the specification chain before installation. The only effective mitigation is to avoid the risk at the specification stage by confirming the dye class before specifying the fabric for FR treatment.

Quick answers

Can any fabric be FR treated without colour change risk?
No fabric carries zero risk, but the risk varies significantly by dye class and treatment method. Wool and mohair fabrics dyed with acid dyes and back-coated for Crib 5 carry the lowest practical risk of colour change from FR treatment. Cellulosic fabrics — cotton, linen — dyed with vat dyes and wet-padded carry low risk. Cellulosic fabrics dyed with reactive dyes and wet-padded carry the highest risk of progressive fading. Always confirm the dye class with the supplier before specifying a fabric for FR treatment.

What are reactive dyes and why are they a problem for FR treatment?
Reactive dyes are a dye class widely used on cotton, linen, and viscose that produce vivid colours with good light and wash fastness under normal conditions. The dye molecule forms a covalent chemical bond with the fibre during dyeing. This bond is sensitive to acidic conditions. The mildly acidic FR solutions used in some wet-padding treatments can weaken the bond, making the dye susceptible to progressive fading from atmospheric pollutants in the months after treatment. The fading is not visible at installation. Reactive dyes are the dye class most frequently associated with post-treatment fading problems documented by specialist FR treatment houses.

Does back-coating affect fabric colour?
Back-coating, applied to the reverse of the fabric, does not typically affect the face colour provided the treatment is applied correctly and the fabric is not saturated. It is the wet-padding process — where FR chemicals in solution are applied to the whole fabric — that carries the dye interaction risk. Back-coating is the standard method for upholstery fabric Crib 5 treatment and has minimal colour impact on the face dyes under normal application conditions.

How can I tell if a fabric has been dyed with reactive dyes?
You cannot determine the dye class from visual inspection or handling alone. The dye class must be confirmed with the fabric supplier, who should be able to provide this information from the mill technical data sheet. As a general guide, cotton and linen fabrics in saturated, vivid colours — bright reds, corals, vivid blues and greens — are more likely to be reactive-dyed. Pale and muted neutrals in the same fibres may use direct or vat dyes. This is a guide only and cannot substitute for direct confirmation.

What should I do if I cannot avoid specifying a reactive-dyed fabric for FR treatment?
Request that the FR treatment company treats a sample piece and stores it under normal conditions for three to six months before treating the full order. This does not guarantee that the full order will behave identically, but it provides the best available advance warning of a fading risk. Brief the client on the risk before treatment and document the briefing. If fading develops after installation, having documented the risk identification and mitigation steps provides important protection.

Is mohair velvet at risk from FR treatment colour change?
Mohair velvet that carries an independently certified Crib 5 pass achieved without topical treatment does not require FR treatment and therefore carries no dye-FR interaction risk. This is one of the practical advantages of specifying correctly certified mohair velvet for contract use: the treatment stage and its associated colour risks are removed from the specification chain entirely. Mohair velvet that requires topical treatment — because the specific range does not carry an inherent Crib 5 certification — is typically back-coated rather than wet-padded, which also carries low colour interaction risk as noted above.

For guidance on which fibres and fabric types can be FR treated, see our guide to FR treatment and fibre compatibility. For the fire certification standards that require treatment, see our Crib 5 guide.

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Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

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Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

6 April 20264 October 2026

Colour in Interior Design: Naming, Systems, Translation and Metamerism

The specification problem: Colour names are commercial and subjective. The same underlying colour has dozens of different names across suppliers, paint brands, and clients — and no two designers will necessarily agree on what duck egg means.
The solution: Always resolve to a colour system reference — NCS for interior surfaces, RAL for metal finishes, Pantone for print and brand work — before ordering.
The hidden risk: Metamerism. A fabric that matches in the showroom under daylight may not match under the artificial light in the finished room.
The translation table below groups common UK interior design colour names by the underlying colour they typically describe, as used in 2026.

Colour is the specification decision most likely to cause a client complaint and the one most rarely handled with precision. A client approves a fabric described as blush. The designer orders a paint described as petal. The upholsterer sources a trim described as powder pink. All three are different colours. The scheme arrives on site and nothing matches because no one resolved the name to a number.

This guide covers how colour naming works and why it fails, which colour system to use and when, how to communicate colour precisely across trades, and why the same colour looks different to different people and in different light. The translation reference below groups the most common UK interior design colour names by colour family, as of 2026.

Why Colour Names Fail

Every fabric house, paint brand, and tile supplier names its own colours. The names are chosen for commercial appeal, not precision. A paint company wants Elephant’s Breath to evoke warmth and character. A fabric house wants their Biscuit to suggest luxury neutrality. Neither name tells you where the colour sits in any colour space. Both names could plausibly describe a wide range of warm mid-toned neutrals.

The problem compounds across a project. A designer specifying a scheme involving fabric from one supplier, paint from another, carpet from a third, and joinery from a fourth is working across four independent naming systems. There is no cross-reference between them. The only way to align them is to resolve every colour to a shared external reference — a colour system number — and communicate that number to every trade.

Even within a single supplier’s range, names shift. A fabric house that has offered a colour called Midnight for ten years may reformulate the dye lot, slightly alter the weave, and produce a Midnight that is measurably different from the one specified two years earlier. The name is the same. The colour is not.

The naming problem is also cultural. British designers use colour names that reflect a particular historical and landscape vocabulary — stone, slate, chalk, flint, pewter, linen, dove. American designers use a different vocabulary. European designers working in the Nordic tradition use the NCS system. A project involving international suppliers requires an explicit colour system reference to avoid compounding the naming problem across languages as well as trades.

Colour Systems: Which to Use and When

NCS — Natural Color System. The most useful colour system for interior design specification. NCS describes colours in terms of how they are perceived by the human eye, using six elementary visual colours: white, black, red, yellow, green, and blue. An NCS code such as S 3020-Y50R specifies blackness (30%), chromaticness (20%), and hue (50% toward red from yellow). The S prefix indicates the second edition of the standard. NCS is used by architects and interior designers across Europe and is the reference standard for major paint manufacturers including Jotun and Dulux Trade in their professional ranges. When specifying wall colours for a commercial interior project, NCS is the correct system to use. It allows you to communicate a precise colour to a painter, a fabric supplier, and a joinery manufacturer without relying on any of their proprietary names.

RAL. The European standard for powder coating, metalwork, and architectural finishes. RAL Classic uses four-digit codes covering approximately 215 colours. RAL 9016 is Traffic White. RAL 7016 is Anthracite Grey. When specifying metal chair frames, radiators, window frames, or any powder-coated architectural element, RAL is the correct system. Most powder coating suppliers work from RAL as their primary reference. RAL does not map directly to NCS or Pantone without conversion, and conversions are approximate rather than exact.

Pantone. The dominant colour system in graphic design, brand communication, and print production. Pantone codes are used when specifying a brand colour for print, signage, or product. In interior design, Pantone is occasionally used as a colour reference for upholstery and wallcovering suppliers who offer Pantone matching, but it is not the primary system for architectural finishes. Pantone codes appear on printed swatches and fabric samples but should not be used as the sole colour reference for a painted surface, as the translation from ink to paint is approximate.

BS 4800. The British Standard colour specification for paints used in building work. BS 4800 covers a defined set of colours identified by a code such as BS 4800 10 A 03 (a warm off-white). It is used primarily in public sector and heritage projects where British Standard compliance is specified. Many general contractors and architects working on commercial buildings in the UK will be familiar with BS 4800 references. It is a smaller palette than NCS and less commonly used for bespoke or high-design interiors.

The practical rule is: use NCS for all wall, floor, and soft furnishing colour communication on interior design projects. Use RAL for metalwork and powder-coated elements. Obtain both references where possible so that trades working in either system can match without conversion.

Metamerism: Why the Colour That Matched in the Showroom Looks Wrong on Site

Metamerism is the phenomenon by which two surfaces that appear identical under one light source appear different under another. It is one of the most common causes of colour-match complaints on interior design projects and one of the least discussed with clients in advance.

The reason it occurs is that two surfaces can reflect the same amount of light to the eye under one type of illumination while having different underlying spectral profiles. Under a different light source, the differences in spectral profile become visible. A fabric and a paint that match perfectly under the daylight of a showroom window may look visibly different under the warm tungsten halogen downlights in the finished room. Both colours are correct. The light source changed the relationship between them.

Metamerism is particularly common between natural and synthetic materials. A mohair velvet and a painted wall that match under daylight are likely to show metameric shift under artificial light because natural fibre dyes and paint pigments have different spectral curves. It is also common between fabrics from different fibre types — a cotton and a polyester in the same colourway may match under daylight and diverge under artificial light for the same reason.

The practical response is to view all fabric samples and paint samples together under the artificial light sources specified for the finished room before approving the scheme. This means reviewing the lighting specification in advance and obtaining the same lamp type for the sample viewing. Most clients and many designers view samples in daylight or under office fluorescent lighting and assume the match will hold. It often does not.

For high-stakes colour matching — a large hotel project where hundreds of chairs must match a specified wall colour across multiple rooms — commission a formal metamerism assessment from a testing laboratory before committing to production quantities.

Colour Perception Differences Between People

Approximately 8% of men and 0.5% of women have some form of colour vision deficiency. The most common type is red-green deficiency, in which the receptor cells that distinguish red from green are absent or abnormal. A person with this condition perceives red and green as variations of the same brownish yellow. This is not a minor variation — it is a fundamental difference in how approximately one in twelve male clients perceives the fabric palette a designer is presenting.

Colour vision deficiency is frequently undiagnosed. Clients who have lived with it since birth have developed compensatory strategies and may not disclose it or may not know they have it. A designer who presents a scheme relying on contrast between red-toned and green-toned neutrals — terracotta versus sage, for example — may be presenting a scheme the client cannot see as intended.

Beyond clinical deficiency, there is significant variation in how people with normal colour vision name and categorise colours. Studies have shown that colour naming is culturally and linguistically variable — what one language group calls blue, another language group divides into two separate colour categories. Two designers with normal colour vision looking at the same fabric may describe its undertone differently, and both will be accurately reporting what they see. The human visual system is not a calibrated instrument. It is a perception system shaped by language, culture, expectation, and the colours surrounding the object being observed.

In practice, this means that verbal colour descriptions are unreliable between any two people unless they are standing in front of the same physical sample under the same light at the same time. The specification implication is the same as for naming: resolve to a colour system reference and communicate physical samples, not verbal descriptions or digital images.

Colour Translation Reference: Common Interior Design Names by Family (2026)

The following groups the most frequently used colour names in UK interior design, upholstery, and decorating as of 2026, organised by the underlying colour they typically describe. Names within each group are not identical — they occupy overlapping but distinct territory — but they are commonly used interchangeably by clients, designers, and suppliers who do not share a colour system reference. The groups are a starting point for conversation, not a claim of equivalence.

Whites and near-whites. Brilliant white, pure white, chalk white, off-white, cloudy white, old white, linen white, ivory, cream, antique white, aged white, bone, parchment white, ceramic white, architectural white. These names span a wide range from cold blue-whites through warm cream-whites. A client who asks for cream and a client who asks for ivory may be describing colours a full tone apart. Always show physical samples.

Warm greiges and neutral taupes. Greige, warm grey, stone, putty, linen, parchment, oatmeal, mushroom, taupe, mole, beige, buff, calico, string, natural, jute, raffia, hessian, wheat, biscuit, driftwood, pale stone, light stone, warm stone. This is the most densely populated territory in UK interior design naming and the one most prone to miscommunication. Greige alone is used to describe colours ranging from pale warm beige to mid warm grey. Always resolve to NCS before specifying in this family.

Cool greys. Silver, lead, slate, pewter, gunmetal, graphite, charcoal grey, payne’s grey, dove grey, ash grey, mist grey, flint, pebble, smoke, zinc, concrete grey, storm grey, elephant grey, mouse. The warm-cool axis within grey is the primary source of mismatch in this family. A warm grey specified by a designer may read as brown against the cool grey chosen by a contractor for metalwork. NCS or RAL references resolve this.

Blue-greens and aquas. Duck egg, teal, peacock, kingfisher, jade blue, lagoon, aqua, eau de nil, mineral blue, verdigris, turquoise, malachite, sea green, ocean, petrol, airforce blue (with green undertone). Duck egg and teal are used interchangeably by many clients but occupy different positions — duck egg is typically a pale, muted blue-green and teal is a deeper, more saturated blue-green. Eau de nil is greener and paler than both. These distinctions are lost without a physical sample or a colour system reference.

Blues. Navy, midnight blue, ink, indigo, denim blue, storm blue, petrol (with blue undertone), prussian blue, french navy, cobalt, ultramarine, cornflower blue, wedgwood blue, china blue, powder blue, pale blue, sky blue, dusk blue, twilight blue, deep sea. Navy alone covers a range from near-black blue-black through mid blue-navy to softer slightly lighter navies. Ink and midnight typically sit at the dark end. Wedgwood and china blue sit at the lighter, cooler end.

Greens. Sage, eucalyptus, olive, khaki, moss, fern, forest green, hunter green, racing green, bottle green, dark green, heritage green, military green, lichen, oregano, artichoke, willow, soft sage, pale sage, mint, jade, malachite, emerald, jungle, avocado, apple green, pistachio. Sage is the most widely misapplied name in UK interiors. It is used to describe everything from pale grey-green through mid green-grey to distinctly green muted mid-tones. A client who asks for sage may mean any of twenty different colours.

Pinks and blushes. Blush, dusty rose, dusky pink, rose, antique rose, petal, old rose, powder pink, nude, flesh, ballet pink, candy pink, shell pink, dawn pink, cameo, clay pink, terracotta pink, blossom, peach blush, pale copper. Blush and dusty rose are frequently used as synonyms but blush typically carries a lighter, more pink tone while dusty rose sits further toward red-pink with more grey. Peach blush crosses into the orange-pink territory that can read as terracotta under warm artificial light.

Terracottas and clays. Terracotta, rust, burnt orange, sienna, burnt sienna, copper, brick red, clay, adobe, paprika, spice, cinnamon, ginger, saffron, turmeric, ochre-red. Terracotta has shifted considerably in UK design usage over 2023 to 2026, moving from a darker burnt clay toward lighter, more muted clay pinks. A fabric specified as terracotta in 2019 and a fabric specified as terracotta in 2026 may be visibly different colours.

Ochres and mustards. Ochre, mustard, turmeric, gold, amber, honey, sand, straw, hay, maize, sunflower, chartreuse (warm end), saffron, golden yellow, aged gold, antique gold, harvest. Mustard and ochre are frequently confused. Ochre is typically a more muted, earthy yellow-brown. Mustard is warmer and more saturated. Honey sits between them. Gold crosses into metallic territory that is distinct from pigment-based versions of the same tone.

Browns and taupes. Tobacco, chocolate, mahogany, walnut, chestnut, caramel, mocha, coffee, cocoa, espresso, bark, sepia, burnt umber, raw umber. Taupe, mole, beaver, warm stone, fawn, doeskin, camel, vicuna, praline, hazel, truffle. The brown-taupe family is split between the red-brown furniture tones (walnut, mahogany) and the cooler grey-brown neutrals (mole, taupe, beaver). A client who asks for camel may mean anything from a warm tan through to a dark golden brown depending on their reference point.

Blacks and near-blacks. Jet black, pure black, soft black, charcoal, anthracite, gunmetal, ink, pitch, ebony, onyx, carbon, slate black, warm black, blue-black, off-black. Off-black and near-black have become a significant design category in UK interiors. Railings (blue-black), Downpipe (blue-grey-black), and similar deep tones occupy different positions on the warm-cool axis within apparent black and will not match each other on site.

Quick answers

What is the difference between duck egg and teal?
Duck egg is typically a pale, muted blue-green with significant whiteness — it reads as a soft, quiet colour in most rooms. Teal is deeper and more saturated, with a stronger blue-green chromatic content. Some suppliers use the names interchangeably, which makes them unreliable without a physical sample. Eau de nil sits to the greener, paler side of duck egg. Petrol sits to the darker, bluer side of teal. Always view physical samples side by side rather than ordering from name descriptions alone.

What does greige mean?
Greige is a portmanteau of grey and beige, describing a neutral that sits between the two. It has become one of the most popular colour families in UK interior design since approximately 2018 and is heavily used in both residential and hospitality specification. The problem is that different suppliers use greige to describe colours spanning a significant range — from pale warm beige with barely perceptible grey, through to mid warm grey with beige undertones. There is no standard definition. Always request a physical sample and resolve to an NCS reference before ordering.

What colour system should interior designers use?
NCS is the most appropriate colour system for interior design specification in the UK and Europe. It describes colours in terms of visual perception, is used by major paint manufacturers in their professional ranges, and allows precise communication across trades without relying on proprietary colour names. RAL should be used for metalwork, powder coating, and architectural hardware. Pantone is appropriate for brand colour communication and print. BS 4800 applies to public sector and heritage projects with British Standard requirements. Always obtain an NCS reference for any colour that will be matched across multiple suppliers or trades.

What is metamerism and how does it affect fabric specification?
Metamerism is the phenomenon by which two surfaces that appear identical under one light source appear different under another. In interior specification, it most commonly occurs when a fabric approved in daylight in a showroom does not match the paint or other materials under the artificial lighting of the finished room. The underlying colours are correct — the light source changed the relationship between their spectral profiles. To avoid metameric mismatches, always view fabric and paint samples together under the same light source as the finished room before approving a scheme. For large-scale projects, a formal metamerism assessment can be commissioned from a testing laboratory.

What is sage green?
Sage is one of the most widely misapplied colour names in UK interior design. It is used by different suppliers and clients to describe colours ranging from pale grey-green (barely green, primarily grey) through to distinctly green mid-tones with visible chromatic content. The common territory is a muted, greyed green — a green that has been reduced by the addition of grey or its complementary colour until the green is soft rather than vivid. Eucalyptus, willow, and soft sage typically sit at the paler, more muted end. Lichen and oregano sit at the more complex, multi-toned end. Always use a physical sample and NCS reference when specifying any green in this family.

Why do colours look different to different people?
Two main reasons. First, approximately 8% of men and 0.5% of women have colour vision deficiency, most commonly red-green deficiency, in which red and green are perceived as variations of the same brownish tone. This is frequently undiagnosed. Second, even among people with normal colour vision, colour naming is variable — shaped by language, culture, and prior experience. Two designers with identical colour vision may describe the same fabric undertone differently and both are accurately reporting their perception. The implication for specification is consistent: verbal descriptions and digital images are unreliable. Physical samples under agreed lighting conditions are the only reliable basis for colour approval.

For guidance on colour fastness and how fabric colours perform over time, see our colour fastness and crocking guide and our light fastness and Blue Wool Scale guide.

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6 April 20264 October 2026

Colour Fastness and Crocking: Specifier’s Guide for Interior Designers

Crocking grade minimum for contract upholstery: Grade 4 dry / Grade 3 wet (ISO 105-X12 grey scale)
Light fastness minimum for contract interiors: ISO 105-B02 grade 5 — grade 6 for south-facing or high-light environments
Highest crocking risk: Dark colourways, velvet pile fabrics, deeply saturated reds and navies
Reverse crocking risk: New denim, dark throw cushions, and clothing transferring dye onto light upholstery

Colour fastness describes how well a fabric retains its colour when exposed to the agents most likely to cause change: light, rubbing, cleaning, and moisture. Crocking is a specific type of colour fastness failure in which excess dye transfers from one surface to another through friction. Both are routine specification criteria for contract fabric but are consistently underspecified in residential projects, which is where most complaints about colour change and dye transfer originate.

This guide explains the two tests that matter most — ISO 105-B02 for light fastness and ISO 105-X12 for crocking — how to read the grades, which fabrics and colourways carry the highest risk, and what to specify to avoid problems in use. For colour naming, systems, and metamerism — why the same colour looks different in different light — see our colour naming and specification guide. For light fastness guidance specific to room orientation and project environment, see our complete guide to light fastness and the Blue Wool Scale. For dye types and their interaction with FR treatment, see our post on dye types and FR treatment compatibility.

The Two Tests That Matter

Colour fastness is not a single test. It is a family of tests under the ISO 105 series, each measuring resistance to a specific agent. For interior fabric specification, two tests are routinely relevant and should appear on every contract fabric data sheet.

ISO 105-B02: Colour fastness to light. This test measures how resistant a fabric’s colour is to degradation by light. A xenon arc lamp simulates sunlight and the fabric is exposed for a controlled duration. The result is graded against the Blue Wool Scale from 1 to 8, where grade 1 indicates very poor light fastness and grade 8 indicates the highest possible resistance. For a full explanation of this test and the Blue Wool Scale, see our light fastness guide.

ISO 105-X12: Colour fastness to rubbing (crocking). This test measures how much dye transfers from a fabric onto other surfaces through friction. The fabric is rubbed with a standardised white cloth using a crockmeter — a machine that applies controlled pressure and movement — under both dry and wet conditions. The degree of staining on the white cloth is assessed using the grey scale for staining, graded from 1 to 5. Grade 5 indicates no staining. Grade 1 indicates severe staining. Most contract specifications require a minimum of grade 4 for dry rubbing and grade 3 for wet rubbing.

Understanding Crocking

Crocking occurs when dye that has not fully bonded to the fabric fibre transfers onto another surface through friction. Every dyed fabric contains some proportion of unfixed dye after manufacture. The degree of crocking depends on the dye class used, the dyeing process, the fibre type, and whether the fabric has been adequately washed and finished after dyeing to remove surplus dye.

Dry crocking is caused by mechanical abrasion alone. A fabric in good condition and correctly dyed will typically achieve a better dry crocking grade than wet. Wet crocking occurs when moisture is present — from perspiration, cleaning, or humidity — and is almost always worse than dry crocking because water molecules help loosen dye and carry it to the adjacent surface. This is why a fabric that appears stable in dry conditions can transfer colour noticeably on a humid day or after light spillage.

The fabrics most susceptible to crocking are those with rough or open pile surfaces, dark saturated colourways, and fibres that are difficult to dye with strong molecular bonds. Velvet is the most relevant category for interior designers. The pile surface of velvet creates more friction points than a flat-woven fabric and dye at the pile tips is more exposed to contact than dye within the body of a woven yarn. Dark velvet colourways — deep navy, rich red, dark green, charcoal — are dyed with higher concentrations of pigment and carry greater crocking risk than pale or mid-tone colourways of the same fabric.

Denim is the most commonly cited source of reverse crocking onto upholstery. New denim is typically dyed with indigo, which physically lodges within the fibre structure rather than forming a covalent bond. Indigo is easily dislodged by friction and moisture and will transfer readily onto light-coloured upholstery, particularly in warm or humid conditions. In a hotel or hospitality environment this is commercially significant: a guest in new jeans sitting on a pale upholstered chair can leave a visible mark within a single visit.

Crocking Grades: What They Mean in Practice

Grade 5: No staining. No dye transfers to the rubbing cloth. Rarely achieved by dark saturated colourways on pile fabrics.

Grade 4: Slight staining. A small amount of dye transfers but is barely visible. The minimum acceptable grade for dry crocking in most contract specifications.

Grade 3: Moderate staining. Visible dye transfer that would be noticeable in use. The minimum acceptable grade for wet crocking in most contract specifications. Grade 3 dry would indicate elevated crocking risk and should prompt discussion with the supplier before specifying for high-contact applications.

Grade 2: Significant staining. Noticeable colour transfer likely in use. Not acceptable for contract upholstery. May be flagged as acceptable for cushion or decorative applications only.

Grade 1: Severe staining. The fabric will visibly transfer colour in normal use. Not acceptable for any upholstery application.

The accepted industry minimum for contract upholstery fabrics is grade 4 dry and grade 3 wet. For hotel and hospitality environments where guests wear a wide range of clothing and the fabric is cleaned frequently, specifying grade 4 for both dry and wet provides better protection. Always confirm both grades — dry and wet — before specifying, as some suppliers report only the dry grade.

Crocking and Velvet: Specific Considerations

Velvet requires particular attention in crocking specification for two reasons. First, the pile structure creates more contact surface than a flat-woven fabric, increasing the potential for dye transfer in use. Second, velvet in dark colourways is dyed with higher pigment concentrations to achieve the depth of colour that makes dark velvet visually distinctive. The combination of pile structure and high pigment load means that dark velvets consistently achieve lower crocking grades than the same fabric in pale colourways.

This does not mean dark velvet cannot be specified for contract use. Mohair velvet in particular achieves good colour fastness due to the natural receptivity of the mohair fibre to acid dyes and the strong molecular bonds those dyes form with protein fibres. A well-dyed dark mohair velvet will typically achieve grade 3 to 4 dry and grade 3 wet, which is within the acceptable range for contract use. The key is confirming the actual grade for the specific colourway before specifying, not assuming a single grade applies across all colourways in the range.

Pale colourways of any velvet carry the reverse crocking risk: dye transfer from clothing onto the fabric. This is most acute with white, cream, and very pale colourways in environments where guests may be wearing freshly laundered dark clothing or new denim. For hotel seating in these colourways, confirm the crocking grade of the fabric in the context of incoming dye transfer, not just outgoing.

For a full comparison of velvet fibre types and their relevant specification data, see our velvet types compared guide.

Light Fastness and Crocking: How They Relate

Light fastness and crocking are distinct tests measuring different forms of colour stability, but they are both dye-related and a fabric that performs poorly on one will often perform poorly on both if the underlying dye chemistry is weak. A fabric dyed with reactive dyes, for example, will typically show moderate light fastness and may show crocking susceptibility, particularly after FR treatment. A fabric dyed with vat dyes — the most stable dye class — will achieve excellent light fastness and low crocking risk. Understanding the dye type used is therefore useful context when evaluating both grades.

The practical relationship for specifiers is as follows. A fabric that achieves light fastness grade 6 and crocking grade 4 dry is a well-dyed fabric with strong molecular dye-fibre bonds throughout. A fabric that achieves light fastness grade 3 and crocking grade 2 dry has weak dye-fibre bonds and is likely to show visible colour change and dye transfer in use within months. Neither extreme is always obvious from looking at the fabric in a showroom.

Always request both grades from the supplier before specifying for contract use. A supplier who cannot provide both grades — either because the fabric has not been tested or because the grades are not published — is a supplier whose fabric should not be specified for contract without independent testing.

Colour Fastness After FR Treatment

FR treatment can affect colour fastness. Back-coating, the most common method of applying Crib 5 treatment to upholstery fabrics, involves applying a chemical compound to the reverse of the fabric. Provided the treatment is applied correctly and does not penetrate the face of the fabric, it typically has no effect on the colour fastness or crocking grade of the face fabric.

Wet padding, used for certain curtain and lighter-weight fabrics, applies FR chemicals to the fabric in solution. Reactive dyes are known to be sensitive to the mild acidic conditions involved in some FR padding treatments. In some cases, fading can develop in the months following treatment — not immediately after, but progressively as atmospheric pollutants interact with the treated fabric. This is not visible at the time of installation and cannot be detected by standard pre-treatment testing. If specifying a fabric with reactive dyes for FR treatment, confirm with the treatment provider whether fading has been observed with that dye class on similar fabrics, and request sample swatches treated and stored for three to six months before committing to a full order.

For full detail on dye types and FR treatment interactions, see our post on dye types and FR treatment compatibility.

What to Check Before Specifying

Request the ISO 105-X12 crocking grade for both dry and wet conditions, and for the specific colourway you are ordering. Crocking grades can vary significantly between colourways within the same range, particularly between dark and pale colourways. A grade reported for the standard or mid-tone colourway in a range may not reflect the performance of the darkest available colourway.

Request the ISO 105-B02 light fastness grade for the specific colourway. As with crocking, light fastness varies between colourways and a dark colourway may achieve a higher grade than a pale one in the same range.

If the fabric is to be FR treated, confirm the dye class and whether fading problems have been observed with similar fabrics and treatments. Ask the treatment provider directly, not just the fabric supplier.

For hotel and hospitality projects, consider the reverse crocking risk for pale upholstery. The fabric’s own crocking grade tells you how much dye will transfer out. It does not tell you how resistant the fabric surface is to incoming dye transfer from guests’ clothing. Pale, tight-woven, or coated fabrics are more resistant to incoming dye transfer than pale velvet or pale linen.

Quick answers

What is crocking in upholstery fabric?
Crocking is the transfer of excess dye from a fabric onto another surface through friction. It occurs when dye has not fully bonded to the fibre during dyeing, leaving surplus pigment on or near the surface that is dislodged by contact. Crocking can be dry, caused by mechanical friction alone, or wet, where moisture helps carry the dye to the adjacent surface. Wet crocking is almost always worse than dry. It is tested to ISO 105-X12 and graded 1 to 5, with grade 5 meaning no transfer and grade 1 meaning severe transfer. The minimum acceptable grades for contract upholstery are grade 4 dry and grade 3 wet.

Which fabrics crock the most?
Dark saturated colourways of pile fabrics — particularly velvet — carry the highest crocking risk. The pile surface creates more friction points than a flat-woven fabric and dark colourways are dyed with higher pigment concentrations. Denim is the most commonly cited source of reverse crocking onto upholstery, particularly onto pale fabrics. New denim dyed with indigo can transfer blue dye onto light-coloured seating on first contact. Cotton velvet in dark colourways has higher crocking risk than mohair velvet in comparable colourways due to the stronger molecular bond formed between acid dyes and protein fibres.

What crocking grade should I specify for hotel upholstery?
For hotel and hospitality upholstery, specify a minimum of grade 4 dry and grade 3 wet to ISO 105-X12. For pale upholstery in environments where guests wear a wide range of clothing, consider the reverse crocking risk from incoming dye transfer and prefer fabrics with tighter weave structures or protective finishes. For dark velvet in high-contact seating, confirm the specific colourway crocking grade with the supplier before ordering, as grades can vary significantly between the darkest and lightest colourways in the same range.

Does FR treatment affect crocking and colour fastness?
Back-coating, the most common method for upholstery, typically does not affect the face colour of the fabric if applied correctly. Wet padding treatments used for curtains and lighter fabrics can affect fabrics dyed with reactive dyes. Reactive dyes are sensitive to mild acidic conditions and can fade progressively in the months following treatment, a problem that is not visible at installation. If specifying a fabric with reactive dyes for FR treatment, confirm with the treatment provider whether this has been observed with similar fabrics.

What is the difference between crocking and light fastness?
Crocking is the transfer of dye to other surfaces through friction, tested to ISO 105-X12. Light fastness is the resistance of a fabric’s colour to degradation by light exposure, tested to ISO 105-B02 and graded on the Blue Wool Scale from 1 to 8. Both reflect the quality of the dye-fibre bond, and a fabric with weak dye chemistry will often perform poorly on both. They are separate tests and a fabric must be tested to both standards to report both grades. A high Martindale rub count does not imply good crocking or light fastness — these are entirely separate properties.

Can new jeans stain my upholstery?
Yes. New denim is typically dyed with indigo, which physically lodges within the cotton fibre rather than forming a chemical bond. Indigo transfers readily onto adjacent surfaces through friction, particularly in warm or humid conditions. The risk is highest with pale upholstery fabrics, particularly those with open or pile surfaces. Tight-woven, solution-dyed, or coated fabrics are more resistant to incoming dye transfer than velvet or linen. In hotel environments with pale seating, this is a practical specification consideration rather than a theoretical one.

For specification data on individual Kothea ranges see the mohair velvet, upholstery linen, and faux leather product pages.

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Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

6 April 20267 October 2026

Faux Leather Types Compared: PVC vs PU vs Silicone Leather for Upholstery

Most durable for contract use: PVC — highest abrasion resistance, best chemical resistance, inherently suited to Crib 5 certification
Softest handle: PU — closer to genuine leather in feel, better breathability, lower abrasion resistance than PVC
Best for marine, healthcare, and outdoor: Silicone leather — inherently flame resistant, UV stable, no plasticisers, widest temperature range
Kothea range: Faux Leather 3 is PVC — in excess of 200,000 Martindale, Crib 5, wipe-clean, 140cm wide

Faux leather is not a single material. The term covers three structurally distinct product types — PVC, PU, and silicone leather — each with different performance profiles, fire characteristics, cleaning requirements, and environmental credentials. Specifying between them on the basis of appearance alone is the most common error in faux leather selection. This guide explains the differences that matter for a professional specification.

For background on Martindale rub counts referenced throughout this guide, see our Martindale rub test guide. For fire standards, see our Crib 5 guide and, for marine projects, our IMO marine fire standards guide.

What All Three Have in Common

PVC, PU, and silicone leather are all coated fabrics. They consist of a woven or knitted textile backing, typically polyester, to which a polymer coating is applied to create a surface that resembles leather. The backing provides tensile strength, dimensional stability, and the base for the coating to adhere to. The coating determines the surface properties: appearance, feel, stain resistance, fire behaviour, UV resistance, and cleaning compatibility.

All three can be produced in a wide range of colours and surface textures. All three are sold by the metre without the hide-size limitations of genuine leather. All three are easier to specify consistently across large projects than genuine leather, where dye lot and grain variation between hides is unavoidable. None requires the animal welfare considerations associated with genuine leather.

Beyond these shared characteristics, the three types diverge significantly in performance, sustainability, and appropriate application.

PVC Leather (Polyvinyl Chloride)

PVC leather is the most widely used faux leather in UK contract interiors. It consists of a PVC polymer paste coating applied over a polyester backing. The structure is dense and impermeable, with no open pores in the surface coating. This is what gives PVC leather its characteristic durability, stain resistance, and ease of cleaning.

Durability. PVC leather achieves the highest abrasion resistance of any faux leather type. High-specification PVC ranges routinely exceed 100,000 Martindale rubs. The dense multi-layer structure resists surface wear better than PU at equivalent price points. This makes PVC the default choice for hotel restaurant seating, bar stools, transport upholstery, and any application where the fabric will receive sustained and continuous contact.

Fire rating. PVC contains inherent fire-resistant properties due to its high chlorine content. A correctly formulated PVC faux leather can achieve BS 5852 Crib 5 certification without backcoating, though the specific compound formulation and any foam used in a composite test must be confirmed by an independent test certificate. PVC faux leather is among the most readily Crib 5-certifiable upholstery materials available.

Cleaning and chemical resistance. PVC resists water, alcohol, disinfectants, and most common cleaning agents. The impermeable surface can be wiped clean between uses without specialist products. This is the property that makes PVC faux leather the standard choice for healthcare environments, food and beverage seating, and any application where contamination is a practical concern. Confirm compatibility between specific cleaning agents and the specific product before specifying for environments using industrial or hospital-grade disinfectants.

Light fastness. PVC has good inherent UV resistance, typically achieving ISO 105-B02 grade 6 or above in mid and dark colourways. This is significantly better than most natural-fibre upholstery fabrics and makes PVC suitable for south-facing rooms and high-light environments where natural fabrics would require careful colourway selection.

Handle and breathability. PVC leather is the least breathable of the three types. In sustained contact, particularly in warm environments, the impermeable surface can feel warm or sticky. This is rarely a significant factor for seating used in short intervals — restaurant chairs, bar stools, meeting room chairs — but is relevant for seating used for extended periods, such as office chairs or long-haul transport seating where PU may be preferred.

Chemical compliance. PVC faux leather is subject to REACH, the chemical safety regulation restricting substances of very high concern. Phthalate plasticisers including DEHP, DBP, DIBP, and BBP have been restricted to 1,000 mg per kg in consumer textiles since November 2020, and high-specification PVC faux leather now commonly uses phthalate-free plasticiser formulations and REACH-compliant stabilisers as standard. Request a REACH compliance declaration confirming the absence of restricted substances from the supplier, rather than relying on a general assurance. The durability of high-specification PVC is a relevant factor alongside chemical compliance: a fabric achieving 200,000 Martindale rubs and a service life measured in decades requires replacement far less frequently than shorter-lived alternatives, which reduces the cumulative material and manufacturing impact over the life of an installation. For a full treatment of chemical compliance, durability, and certification as sustainability measures, see our faux leather sustainability guide.

Cold weather performance. PVC faux leather can stiffen and crack in sustained low temperatures as the plasticisers within the polymer approach their glass transition point. This is tested to ISO 17233, which determines the cold crack temperature of a surface coating by flexing it at progressively lower temperatures until it fractures. Standard PVC formulations typically begin to stiffen around 0 degrees Celsius and may crack if flexed below minus 5 degrees. Cold-resistant formulations, using different plasticiser chemistry, can be specified to withstand minus 20 degrees or lower. This is a relevant specification question for marine exterior use, outdoor terrace furniture, and any cold-climate installation, and should be confirmed with the supplier alongside the standard Martindale and fire certification data. For the test method and what figures to specify, see our cold crack temperature testing guide.

Cost position. Mid-range. High-specification PVC faux leather offering 100,000+ Martindale rubs and Crib 5 certification is competitively priced relative to the performance it delivers. It is typically less expensive than equivalent-performing PU microfibre or silicone leather.

Best for: Hotel restaurant and bar seating, healthcare upholstery, transport seating, high-traffic contract environments, marine exterior seating, headboards in hotel bedrooms, wall panelling in food and beverage environments.

Not recommended for: Extended-contact seating in warm environments where breathability matters. Sustained sub-zero temperature exposure without a cold-resistant formulation confirmed. Applications requiring inherent flame resistance without reliance on PVC chemistry.

For a direct two-way comparison of these two materials and which to specify, see our PVC vs PU leather guide.

PU Leather (Polyurethane)

PU leather consists of a polyurethane coating applied over a textile backing, typically a cotton or polyester base. The polyurethane surface is softer, more flexible, and more breathable than PVC, and produces a finish that more closely resembles genuine leather in handle and drape.

Durability. Standard PU leather achieves 30,000 to 80,000 Martindale rubs depending on construction and grade. High-specification PU microfibre products, where the PU coating is applied to a microfibre non-woven backing, can exceed 100,000 rubs and approach PVC performance. However, at equivalent price points, PVC typically outperforms standard PU in abrasion resistance. PU is also more susceptible to degradation from hydrolysis — the breakdown of the polymer by moisture and humidity over time — particularly in warm, humid environments. This is the primary cause of the peeling and surface delamination seen in lower-grade PU after two to three years of use.

Fire rating. PU does not have the inherent fire resistance of PVC. PU faux leather typically requires a fire-retardant additive or backcoating to achieve BS 5852 Crib 5 certification. The treatment adds cost and affects lead time. Always confirm the Crib 5 certification method with the supplier — whether inherent to the formulation or applied — and request the independent test certificate.

Cleaning and chemical resistance. PU leather is water-resistant but less resistant to solvents and alcohol than PVC. The micro-surface of PU is more prone to absorbing certain staining agents over time. PU is generally not recommended for environments where strong disinfectants are used routinely. Confirm the specific cleaning regime with the supplier before specifying for healthcare or high-frequency cleaning environments.

Light fastness. PU achieves good light fastness — typically ISO 105-B02 grade 5 to 6 — though slightly lower than PVC in most cases. Standard PU is not recommended for outdoor use. High-specification PU microfibre designed for automotive applications achieves better UV performance, but standard contract PU faux leather should be confirmed for light fastness before specifying in south-facing or high-light environments.

Handle and breathability. PU is softer and more breathable than PVC. In extended seating use it is more comfortable and does not produce the warm or sticky sensation associated with PVC in warm conditions. For office seating, residential-specification seating in hospitality environments, and any application where extended contact comfort matters, PU offers a noticeably better tactile experience.

Environmental profile. PU is more environmentally benign than PVC in manufacture and disposal. It does not contain chlorine and does not produce dioxins. Some PU products use water-based polyurethane systems, which significantly reduce VOC emissions during manufacture. PU is the more sustainable choice between PVC and PU for projects with environmental requirements, though silicone leather goes further on most sustainability measures.

Cost position. Mid to high. Standard PU faux leather is broadly comparable to PVC. High-specification PU microfibre products are premium priced.

Best for: Luxury residential specification where genuine leather handle is desired without the maintenance requirements. Boutique hotel seating where tactile quality is a client priority. Office seating where extended contact comfort matters. Environments where PVC sustainability concerns are commercially relevant.

Not recommended for: High-humidity environments where hydrolysis degradation is a risk. Environments requiring regular disinfectant cleaning. Heavy contract seating where maximum abrasion resistance is the priority. Marine exterior use.

Silicone Leather

Silicone leather is a coated fabric where the coating is a silicone resin rather than a PVC or PU polymer. It is the newest of the three types in commercial interior use and commands a significant price premium. Its performance profile is distinctive enough to make it the correct specification in a specific set of applications.

Durability. Silicone leather achieves high abrasion resistance — 100,000 Martindale rubs and above — and is resistant to UV degradation, extreme temperatures, and chemical exposure in ways that PVC and PU cannot match. The silicone polymer does not break down under UV light, maintains flexibility at low temperatures where PVC may crack, and remains stable at high temperatures. This makes it the correct specification for outdoor and semi-outdoor use, and for environments with extreme temperature or UV exposure.

Fire rating. Silicone is inherently flame resistant. The polymer structure does not require plasticisers or fire-retardant additives to achieve fire resistance. This inherent property survives cleaning and does not degrade over the life of the fabric. For applications where fire certification must survive aggressive cleaning regimes — healthcare, public transport, marine interiors — the inherent nature of silicone’s fire resistance is a significant specification advantage.

Cleaning and chemical resistance. Silicone leather has the best chemical resistance of the three types. Its low surface tension makes it inherently stain-resistant and resistant to oils, solvents, disinfectants, and most common cleaning agents. Hospital-grade disinfectants, bleach solutions, and alcohol-based cleaners that would degrade PU and may affect certain PVC formulations over time can be used on silicone leather without surface damage.

Light fastness. Silicone leather offers the best UV resistance of the three types. The polymer structure does not degrade under UV exposure in the way that PVC and PU can over time. Silicone leather is the correct specification for outdoor seating, terraces, poolside furniture, and marine exterior cushions exposed to sustained sunlight.

Handle and breathability. High-quality silicone leather has a distinctive soft, smooth handle that is different from both PVC and PU. It does not have the rigidity or warmth-retention of PVC, and its surface does not develop the micro-cracking associated with ageing PU. The handle is a matter of preference but it does not closely approximate genuine leather in the way that high-grade PU can.

Environmental profile. Silicone is derived from silica, a naturally occurring mineral. The manufacturing process uses no solvents, produces low VOC emissions, and no dioxins or phthalates. Silicone does not break down into microplastics. It can be downcycled at end of life. Silicone leather is the most environmentally responsible of the three types by most measures, and its environmental credentials are defensible to a degree that PVC and standard PU are not.

Cost position. High. Silicone leather commands a significant premium over PVC and PU. For most standard contract applications where PVC would perform adequately, the premium is not justified by the performance advantage. Where the specific properties of silicone — UV stability, temperature range, chemical resistance, inherent flame resistance — are genuinely required, the cost is appropriate.

Best for: Outdoor and semi-outdoor seating exposed to UV and weather. Marine interior seating on commercial and charter vessels where IMO certification is required and inherent flame resistance is an advantage. Healthcare environments requiring aggressive chemical cleaning with inherent fire resistance. High-end residential projects where sustainability credentials are a client requirement.

Not recommended for: Standard contract interiors where PVC delivers equivalent performance at lower cost. Any project where budget is a primary constraint.

Comparison at a Glance

Martindale rub count: PVC high-specification 100,000+; PU standard 30,000 to 80,000, PU microfibre 100,000+; silicone 100,000+.

Fire certification: PVC can achieve Crib 5 inherently; PU typically requires FR additive or backcoating; silicone is inherently flame resistant.

Cleaning compatibility: PVC excellent with most agents; PU good with mild products, caution with solvents; silicone excellent with all agents including hospital-grade disinfectants.

UV resistance: PVC good, grade 6+; PU moderate, grade 5 to 6; silicone excellent, stable under extended UV exposure.

Breathability: PVC low; PU moderate; silicone moderate.

Chemical compliance and durability: PVC REACH compliant with phthalate-free formulations available, best durability of the three; PU REACH compliant, moderate durability, susceptible to hydrolysis; silicone no plasticisers required, longest service life under UV and temperature extremes.

Cost relative to performance: PVC best value for standard contract use; PU best value where handle and breathability matter; silicone justified where its specific properties are genuinely required.

Kothea Faux Leather

Kothea’s Faux Leather 3 is a high-specification PVC faux leather achieving in excess of 200,000 Martindale rubs with a Crib 5 fire rating. It is 140cm wide, available in over 20 colourways, and carries a wipe-clean surface compatible with water-based hotel and contract cleaning products. It is the correct specification for hotel restaurant and bar seating, headboards, wall panelling, and high-traffic contract upholstery where maximum durability, fire certification, and cleaning compatibility are the primary requirements.

For hotel and hospitality specification guidance including Martindale thresholds by room type, see our hotel fabric specification guide. For marine projects requiring IMO certification, see our IMO marine fire standards guide.

Quick answers

What is the difference between PVC and PU faux leather?
PVC faux leather uses a polyvinyl chloride coating and has the highest abrasion resistance, best chemical resistance, and most readily achievable Crib 5 fire rating of any faux leather type. PU faux leather uses a polyurethane coating and is softer, more breathable, and more environmentally responsible than PVC, but typically achieves lower abrasion resistance at equivalent price points and requires FR treatment to achieve Crib 5. PVC is the standard choice for heavy contract use. PU is preferred where tactile quality and breathability matter more than maximum durability.

What is silicone leather and when should I specify it?
Silicone leather is a coated fabric where the surface coating is silicone resin rather than PVC or PU. It is inherently flame resistant, UV stable, resistant to extreme temperatures, and compatible with hospital-grade cleaning agents. It commands a significant price premium over PVC and PU and is the correct specification for outdoor and semi-outdoor seating, marine interiors, healthcare environments requiring aggressive chemical cleaning, and high-end projects where environmental sustainability is a client requirement. For most standard contract interiors, PVC delivers equivalent or superior performance at lower cost.

Which faux leather is most durable for hotel use?
High-specification PVC faux leather is the most durable and most practically suited to hotel use. It achieves 100,000+ Martindale rubs, can be Crib 5 certified, and is compatible with the water-based and alkaline cleaning products used in hotel housekeeping. PU leather at equivalent price points achieves lower abrasion resistance and is less resistant to the cleaning chemicals used in hotel environments. For hotel restaurant seating, bar stools, and headboards, PVC is the default specification. See our hotel fabric specification guide for Martindale thresholds by room type.

Is PVC faux leather suitable for marine use?
PVC faux leather is suitable for marine use subject to fire certification. For private yachts, a Crib 5 certificate is typically sufficient. For commercial charter vessels under the MCA Large Commercial Yacht Code, the fabric must hold an IMO FTP Code Part 8 certificate obtained from an IMO-approved laboratory. A Crib 5 certificate does not substitute for an IMO Part 8 certificate on commercial vessels. PVC is well suited to marine environments in terms of moisture resistance, UV stability, and cleaning compatibility. Silicone leather offers superior UV and temperature performance for exterior marine applications. See our IMO marine fire standards guide for full detail.

Does faux leather fade in sunlight?
PVC faux leather typically achieves ISO 105-B02 grade 6 or above and is suitable for most residential and contract environments including south-facing rooms. PU achieves grade 5 to 6 and should be confirmed for high-light environments. Silicone leather is the most UV stable of the three types and is the correct specification for outdoor or sustained direct-sunlight applications. For full guidance on light fastness grades and room orientation, see our light fastness guide.

Is PVC faux leather REACH compliant?
High-specification PVC faux leather is subject to REACH, which restricts phthalate plasticisers including DEHP, DBP, DIBP, and BBP to 1,000 mg per kg in consumer textiles. Current PVC faux leather commonly uses phthalate-free plasticiser formulations and REACH-compliant stabilisers as standard. Request a specific REACH compliance declaration from the supplier confirming the absence of restricted substances, rather than a general assurance. Silicone leather requires no plasticisers at all, and PU leather is also REACH compliant in current formulations.

For healthcare fabric specification including silicone leather and healthcare-grade PVC, see our healthcare fabric guide. For when to use faux leather instead of velvet, see our when not to use velvet guide.

For faux leather specification in outdoor terraces and semi-outdoor hospitality environments, see our outdoor terrace fabric specification guide.

For Building Safety Act 2022 documentation requirements for fabric in higher-risk buildings, see our Building Safety Act guide. For the full specification library organised by environment, application, and performance need, see our fabric buying guide by purpose.

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Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

5 April 20267 October 2026

Fabric for Wall Panels and Headboards: BS EN 13501-1, BS 476 Part 7 and Headboard Fire Standards

Wall lining standard: BS EN 13501-1 (new projects) / BS 476 Part 7 (legacy specifications)
Most commercial interiors require: Euroclass B or C — circulation routes require B-s1,d0 or better
Crib 5 does not qualify fabric for wall use — wall panels must be tested as a composite with their substrate
Headboards: confirm with fire officer whether BS 5852 or BS EN 13501-1 applies before specifying

Fabric applied to walls and fabric used in headboards occupies a regulatory category that is distinct from upholstery fabric and frequently misunderstood. The standard that governs contract upholstery, BS 5852, is not typically the governing standard for wall linings, though it may still be required in parallel for padded elements where the fire strategy treats them as upholstered furniture. Wall-mounted fabric falls primarily under the surface spread of flame framework: BS EN 13501-1 for new UK projects, or BS 476 Part 7 for legacy specifications. BS EN 13501-1 is now the modern standard for most new work and uses a different classification system from BS 476 Part 7, based on a different test methodology. The difference matters because a fabric that carries a full BS 5852 Crib 5 certificate may not satisfy the requirements for a wall panel application in the same room.

Headboards introduce a further complication. Whether a headboard must meet the upholstery standard or the wall lining standard depends on how it is constructed and installed, and on the interpretation of the fire officer or building control officer responsible for the project. This guide explains both frameworks, where they overlap, and how to specify correctly for each application.

For the upholstery fire standard referenced throughout this guide, see our complete guide to BS 5852 Crib 5.

Specifier Decision Framework

Before researching specific fabrics or requesting certificates, confirm the answers to the following questions in order. They determine which standards apply and what testing is required.

Is the fabric fixed to the wall as a surface lining? If yes, the primary standard is BS EN 13501-1 for new projects, or BS 476 Part 7 for legacy specifications. Confirm the required Euroclass with the fire officer before selecting fabric.

Is the wall-fixed element padded, upholstered, or thick enough that the fire strategy may treat it as furniture? If yes, confirm with the fire officer whether BS 5852 or BS 7176 is also required in parallel with the wall lining standard.

Is the fabric in a circulation route or means of escape? If yes, the required Euroclass is typically more demanding, often B-s1,d0 or equivalent. Confirm the specific requirement for the building type and area.

Is it a headboard? Confirm whether the headboard is classified as upholstered furniture (BS 5852 or BS 7176) or as a wall surface element (EN 13501-1 or BS 476 Part 7). See the headboard section below.

Is the application acoustic? Confirm that the face fabric is not coated or laminated in a way that reduces acoustic transmittance, and that the composite panel has been tested as an assembly.

The Wall Lining Standards: BS EN 13501-1 and BS 476 Part 7

BS EN 13501-1 is the current primary fire classification standard for construction products and building elements in the UK and Europe, and is the system most new projects specify to. It classifies reaction to fire using a Euroclass system of A1, A2, B, C, D, E, and F, with suffix designations for smoke production (s1, s2, s3) and flaming droplets (d0, d1, d2). The Euroclass system is based on the Single Burning Item test (EN 13823) and additional small flame tests, and measures a broader range of fire behaviours than the earlier British Standard tests.

BS 476 Part 7 is an older British Standard still referenced in many legacy specifications and some current projects. It classifies surface spread of flame from Class 1 to Class 4, with Class 1 representing the lowest spread. Euroclass B is often considered broadly comparable to Class 1 in practice, but the two systems use different test methods and are not directly equivalent. Where a project specifies in BS 476 terms, confirm with the fire officer or building control authority whether the EN classification is also acceptable as an alternative, and which system takes precedence.

For commercial buildings in England and Wales, Approved Document B of the Building Regulations increasingly references Euroclass requirements for wall and ceiling linings. For most internal areas, Euroclass B or C is required. For circulation areas and means of escape, a higher Euroclass, typically B-s1,d0 or better, may be required. The specific requirement varies by building type, area of use, and the fire strategy for the project. Always confirm the applicable standard and classification level with the fire officer or building control authority before specifying.

Euroclass Quick Reference

The BS EN 13501-1 Euroclass system is unfamiliar to many designers coming from a background in BS 476 or BS 5852. The main classes for wall and ceiling linings are as follows.

A1 and A2 are non-combustible or limited combustibility materials. Stone, concrete, glass, and mineral wool products typically achieve these classes. No fabric achieves A1. Some treated or composite fabrics on non-combustible substrates can approach A2.

B indicates very limited contribution to fire. This is the class typically required for wall linings in most contract commercial environments and is often considered broadly comparable in practice to Class 1 under BS 476 Part 7, though the two are not directly equivalent.

C indicates limited contribution to fire. Acceptable in some less critical internal areas depending on the fire strategy. Often considered broadly comparable in practice to Class 2 under BS 476 Part 7.

D and E indicate higher contribution to fire and are generally not acceptable for wall linings in commercial environments. F indicates no performance determined.

The suffix designations add further information. s1, s2, s3 indicate smoke production from low to high. d0, d1, d2 indicate flaming droplet production from none to high. A specification of B-s1,d0 means Euroclass B with low smoke and no flaming droplets, which is typically required in the most demanding areas such as means of escape. Where the suffix is not specified in a project brief, confirm the required level with the fire officer as it significantly affects which materials are acceptable.

Why Substrate Assembly Testing Is Not Optional: Real Examples

The following failures occur regularly on wall panel and headboard projects and are preventable only if the assembly is tested before specification is finalised.

Fabric passed Crib 5 but failed the wall panel test on MDF. A designer specified a mohair velvet with a full Crib 5 certificate for a hotel wall panel. The fire officer required BS 476 Part 7 Class 1 for the wall application. The Crib 5 certificate did not apply. The fabric was then tested on MDF and achieved only Class 2. FR treatment was required, adding three weeks to the programme.

Same fabric, different outcome on a different substrate. The same fabric, when tested on plasterboard with a mineral wool backing, achieved Class 1 without treatment. The substrate had determined the outcome, not the fabric alone. The panel system was redesigned around the plasterboard configuration.

Velvet classification changed after FR treatment was applied. A linen velvet achieved Class 2 untreated. FR treatment was applied to reach Class 1. The treatment visibly altered the pile handle and introduced a slight sheen to the surface that was unacceptable to the client. The fabric was replaced and the programme was delayed by four weeks.

Certificate rejected because the installation adhesive differed from the tested configuration. A fabric wall panel had been tested and certified using a specific contact adhesive. The site contractor used a different adhesive for practical reasons. The building control officer required re-testing of the as-built configuration.

Why Wall Fabric Must Be Tested as an Assembly

The most important practical point in specifying fabric for wall panels is that the fire test must be conducted on the fabric as it will actually be installed, including the substrate to which it is fixed and the method of fixing. A fabric tested on one substrate may achieve Class 1. The same fabric fixed to a different substrate with a different adhesive may achieve only Class 2 or Class 3. The certificate is valid for the tested combination only.

This means that a supplier’s claim that a fabric is Class 1 must be read carefully. Class 1 to what substrate? With what backing? Using what adhesive or fixing method? If the project’s substrate or installation method differs from the tested configuration, a new test is required or the supplier must confirm that the existing test covers the intended configuration.

For fabric-covered wall panels, the typical assembly consists of the face fabric, a backing or interliner, and a substrate panel, most commonly MDF, plasterboard, or a proprietary acoustic panel. The face fabric and the substrate together must be tested as a composite. The backing, if any, forms part of the tested assembly and cannot be substituted without affecting the validity of the certificate.

BS 5852 and BS 476 Part 7: Different Standards for Different Applications

BS 5852 measures how an upholstered composite of fabric and filling responds to an ignition source placed at the junction of the seat and back, simulating the conditions most likely to start a fire in a piece of seating. It is a composite test and the result applies to the specific combination of cover fabric and filling tested.

BS 476 Part 7 measures how quickly flame travels across the surface of a wall lining material when exposed to radiant heat. It is a surface test and the result applies to the specific fabric and substrate combination tested, as they would be installed on the wall.

The two standards test for different fire behaviours under different conditions and are not interchangeable. A fabric that passes BS 5852 Crib 5 for use on a sofa has not been tested for surface spread of flame on a wall. A fabric that achieves Class 1 to BS 476 Part 7 for use on a wall has not been tested for resistance to ignition as an upholstery composite. A fabric used for both wall panels and seating in the same project may need to be tested to both standards separately.

Specifying Fabric for Wall Panels in Practice

Before selecting a fabric for a wall panel application, confirm the following with the fire officer, building control officer, or the project’s fire strategy consultant.

What classification is required for wall linings in this building and this room? The answer will be Class 1 or Class 0 to BS 476 Part 7, or its EN equivalent, and may vary between different areas of the same building. Circulation routes and means of escape typically require a higher standard than finished rooms.

Has the specific fabric been tested to the required standard, and in what configuration? Request the test certificate and confirm that the substrate, backing, and fixing method in the certificate match the proposed installation.

If the fabric has not been tested, can the supplier arrange testing? Many specialist fabric suppliers and FR treatment companies can arrange composite testing through a UKAS-accredited testing laboratory. The test typically requires samples of the fabric and substrate together and takes three to four weeks. Budget for this in the project programme.

Does the fabric require topical FR treatment to achieve the required classification? If so, the same considerations apply as for upholstery: the treatment must be appropriate for the fabric type, must not visibly alter the appearance or handle, and must be carried out by a reputable specialist. The treated fabric must then be tested in the treated state, as the treatment forms part of the tested configuration.

Velvet on Walls

Velvet is a common choice for fabric wall panels in hospitality environments, luxury residential projects, and acoustic installations. The pile surface of velvet creates a warm and visually distinctive finish and provides genuine acoustic benefit. However, velvet requires careful specification for wall applications because the pile surface presents additional combustible material compared to a flat-woven fabric of the same fibre and weight.

The pile surface of velvet affects surface spread of flame performance through a combination of surface geometry, mass per unit area, and fibre type. The three-dimensional pile structure can encourage faster initial flame spread than a flat fabric of similar composition, though the fibre type is often the more significant variable. A mohair or wool velvet, whose fibre has inherent fire-resistant properties, may achieve a better surface spread of flame classification than a flat synthetic fabric of the same weight. Always test the fabric in its final pile form, including whether the pile will be cut or uncut, and with any surface treatments applied.

Mohair velvet, which carries natural fire-resistant properties arising from the protein structure of the fibre, performs better in surface spread of flame testing than cotton or linen velvet of equivalent construction. However, a wall panel application must be independently tested regardless of the fibre type. A Crib 5 certificate for mohair velvet as upholstery does not confer any classification under BS 476 Part 7 for wall use.

For full detail on velvet types and their fire characteristics as upholstery fabrics, see our velvet types compared guide.

Acoustic Wall Panels

Fabric-covered acoustic panels are a common specification in hospitality, office, and residential projects where both aesthetics and sound absorption are required. The acoustic performance of a panel depends primarily on the density and thickness of the absorptive core, typically a mineral wool, polyester fibre, or acoustic foam substrate, and is not significantly affected by the face fabric provided the fabric is sufficiently open in weave to allow sound to pass through.

The face fabric for an acoustic panel must allow sound to pass through rather than reflect it. Most upholstery velvets are sufficiently open in construction to be acoustically semi-transparent, though heavy coatings, tight laminated backings, or very dense pile can significantly reduce sound absorption. Faux leather and PVC-coated fabrics are acoustically reflective and are not suitable as the face fabric of an acoustic panel unless acoustic performance is not a requirement. Confirm the acoustic transmittance of the face fabric with the panel manufacturer before specifying, particularly if the fabric has any backing applied.

The fire classification of an acoustic panel is determined by the composite of face fabric, core material, and substrate. The core material in many proprietary acoustic panels is inherently non-combustible mineral wool, which significantly supports the fire performance of the overall panel. Confirm the composite test data with the acoustic panel manufacturer rather than specifying the face fabric and core separately and assuming the combination will achieve the required classification.

Headboards: The Regulatory Ambiguity

Headboards are the most ambiguous fabric application in interior specification from a fire standard perspective. Whether a headboard must meet the upholstery standard BS 5852 or the wall lining standard BS 476 Part 7 depends on its construction, its method of fixing, and the interpretation of the fire officer or building control authority for the project.

A headboard that is freestanding, or attached to the bed frame and structurally independent of the wall, is typically treated as upholstered furniture. In a hotel or other commercial environment this means the fabric and filling composite should meet BS 5852 Crib 5, and for hotel projects the full BS 7176 Medium Hazard standard is appropriate. For full detail on hotel headboard specification see our hotel fabric specification guide.

A headboard that is fixed directly to the wall and forms part of the wall surface may be treated as a wall lining under the building’s fire strategy, in which case BS 476 Part 7 Class 1 is the appropriate standard rather than BS 5852. In some projects, particularly where a large padded wall panel extends beyond the width of the bed and forms a feature wall, the fire officer may treat the entire panel as a wall lining.

The correct approach in any commercial project is to confirm the applicable standard with the fire officer before selecting the fabric, rather than assuming which standard applies. Where uncertainty exists, specifying a fabric that can be tested to both BS 5852 Crib 5 and BS 476 Part 7 Class 1 eliminates the ambiguity, though both tests will need to be carried out separately and the certificates documented separately.

Headboard Classification at a Glance

The applicable fire standard for a headboard depends on its construction and installation method. The following gives the typical position, though confirmation with the fire officer is always required.

Freestanding or bed-mounted headboard: typically treated as upholstered furniture. Standard: BS 5852 Crib 5 and, for hotel projects, BS 7176 Medium Hazard.
Wall-fixed padded panel forming a headboard: may be treated as a wall surface element. Standard: BS EN 13501-1 or BS 476 Part 7, confirmed with fire officer.
Large feature wall panel extending beyond the bed: typically treated as a wall lining throughout. Standard: BS EN 13501-1 for the full panel area.
Ambiguous or mixed construction: confirm in writing with the fire officer before specifying. Where both standards may apply, test to both separately.

What to Ask Your Fabric Supplier

Before ordering fabric for a wall panel or headboard project, confirm the following with the supplier.

Has the fabric been tested to BS EN 13501-1 or BS 476 Part 7 for wall applications? If so, what Euroclass or Class was achieved? On what substrate was it tested, and what adhesive or fixing method was specified in the test? A certificate that does not specify the substrate configuration provides limited assurance.

Can the fabric be tested on the substrate configuration proposed for this project? If the supplier’s existing certificate covers a different build-up, confirm whether re-testing is available and the lead time and cost involved.

If FR treatment is required to achieve the classification needed, has the supplier arranged treatment for this fabric before? What effect does the treatment have on the pile handle and appearance? Can treated samples be provided for client approval before treatment of the full order?

If a backing or interliner is part of the proposed panel build-up, has the fabric been tested with that specific backing? Backers and interliners form part of the tested assembly and changing them may affect the classification.

Kothea Fabrics for Wall Panel and Headboard Applications

Mohair velvet from Kothea achieves rub counts of 80,000 to 100,000, tested to Martindale or Wyzenbeek depending on the range, and carries independently certified Crib 5 passes on the tested ranges without topical treatment. For headboard applications where BS 5852 Crib 5 is the applicable standard, the active mohair velvet ranges are suitable subject to confirmation with the fire officer. For wall panel applications requiring BS 476 Part 7 Class 1, the fabric would need to be tested in the specific composite configuration intended for the project.

Faux Leather 3 from Kothea achieves in excess of 100,000 Martindale rubs with a Crib 5 fire rating and a wipe-clean surface. It is suitable for headboards where BS 5852 is the applicable standard and is practical for hotel bedroom headboards where cleaning compatibility is a consideration. As a coated fabric it is acoustically reflective and is not suitable as the face of an acoustic wall panel.

For any wall panel or headboard project requiring specific fire certification, contact Kothea to discuss the certification status of the relevant ranges and the testing options available.

Quick answers

What fire standard applies to fabric on walls in a commercial building?
Fabric fixed to walls in commercial buildings in the UK must meet the surface spread of flame standard BS 476 Part 7, with Class 1 required for most internal wall and ceiling linings under Approved Document B of the Building Regulations. In circulation areas and means of escape, Class 0 performance may be required, combining Class 1 spread of flame with compliance with the fire propagation index of BS 476 Part 6. The European equivalent classification system, BS EN 13501-1, uses different class designations and should be confirmed separately. Always confirm the specific requirement with the fire officer or building control authority for the project before specifying.

Does a Crib 5 certificate qualify fabric for use on walls?
No. BS 5852 Crib 5 is the fire standard for upholstered seating. It tests how a composite of fabric and filling responds to ignition sources placed at the junction of a seat and back. BS 476 Part 7 tests the surface spread of flame across a wall lining material under radiant heat. The two standards test different fire behaviours and are not interchangeable. A fabric with a Crib 5 certificate must be independently tested to BS 476 Part 7 in the intended wall panel configuration before it can be specified as a wall lining.

Does the substrate affect the fire classification of a fabric wall panel?
Yes, significantly. The fire classification under BS 476 Part 7 applies to the fabric as installed, including the substrate to which it is fixed and the adhesive or fixing method used. The same fabric can achieve different classifications depending on the substrate. A certificate obtained on one substrate configuration does not apply to a different substrate. Always confirm that the substrate, backing, and fixing method in the test certificate match the intended installation before specifying.

What fire standard applies to hotel bedroom headboards?
This depends on how the headboard is constructed and installed. A headboard that is freestanding or attached to the bed frame is typically treated as upholstered furniture and should meet BS 5852 Crib 5 and, for hotel projects, BS 7176 Medium Hazard. A headboard fixed directly to the wall as part of the wall surface may be treated as a wall lining requiring Class 1 surface spread of flame to BS 476 Part 7. The applicable standard should be confirmed with the fire officer before specifying. Where uncertainty exists, specifying a fabric that can be independently tested to both standards eliminates the ambiguity, though both tests are required separately.

Can velvet be used on walls in a hotel or commercial interior?
Yes, subject to achieving the required fire classification in the specific wall panel configuration. Velvet is widely used on fabric wall panels in hospitality environments and provides acoustic benefit alongside aesthetic quality. The pile surface of velvet increases combustible material at the surface and may require FR treatment to achieve Class 1 under BS 476 Part 7, depending on the fibre and construction. The fabric must be tested in its final form, as installed, with the intended substrate. Mohair velvet performs better in surface spread of flame testing than cotton or linen velvet due to the natural fire-resistant properties of mohair fibre, but all velvet wall panel applications require independent testing. A Crib 5 certificate as upholstery does not qualify any velvet for use as a wall lining.

Is fabric suitable for the face of an acoustic wall panel?
Most plain-woven fabrics including velvet are acoustically semi-transparent and are suitable as the face of an acoustic panel. The face fabric should not have a dense coating or laminate that reflects sound. Faux leather and PVC-coated fabrics are acoustically reflective and are not suitable for acoustic panels. The fire classification of the panel is determined by the composite of face fabric, core, and substrate and should be confirmed with the acoustic panel manufacturer using composite test data, rather than specifying the face fabric and core separately.

What Martindale count do I need for a fabric-covered wall panel?
Martindale rub count is a measure of abrasion resistance for upholstery fabric and is not a primary specification criterion for wall panels. Wall panels are not subject to the sustained friction of seating use and do not require the same Martindale thresholds as contract upholstery. That said, a fabric with a reasonable abrasion resistance of 20,000 rubs or above is practical for a wall panel application as it will resist minor contact, brushing, and cleaning without visible degradation. For headboards, a minimum of 25,000 rubs is appropriate. For full guidance on Martindale thresholds see our Martindale rub test guide.

For pattern matching and fabric quantity calculation on wall panel projects with large-scale repeats, see our pattern matching guide. For fabric specification at each RIBA Plan of Work stage including wall panel decisions, see our RIBA Plan of Work fabric guide.

For the surface spread of flame standard applicable to fabric wall and ceiling linings, see our BS 476 Part 7 guide.

For velvet as an acoustic treatment in home studios and music rooms, see our fabric for home studio acoustics guide.

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Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

5 April 20267 October 2026

IMO Fire Standards for Yacht Interiors: FTP Code Part 7, 8 and MCA MGN 580

Applicable standard: IMO 2010 FTP Code — not BS 5852 Crib 5
Upholstery: Part 8 / Curtains: Part 7 / Bedding: Part 9 — certificates are not interchangeable between parts
BS 5852 Crib 5 is not accepted as an equivalent to IMO Part 8 by classification societies or the MCA
UK flag state: MCA Large Commercial Yacht Code — topical FR treatment must comply with MGN 580

Specifying fabric for a yacht or superyacht interior (sometimes referred to as boat upholstery fabric or marine upholstery fabric) is fundamentally different from specifying for a hotel or residential project. The fire safety framework at sea is governed by the International Maritime Organization, not by British Standards. A fabric with a BS 5852 Crib 5 certificate, which represents the benchmark for most UK contract upholstery, does not automatically qualify for use on a commercial vessel. The IMO and BS standards use different test methodologies and the certifications are not legally interchangeable. This guide explains the IMO fire testing framework, which standards apply to which applications onboard, how UK flag state requirements work through the MCA, and what questions to ask before specifying fabric for a marine project.

For the UK land-based fire standards referenced in comparison throughout this guide, see our complete guide to BS 5852 Crib 5.

How to Specify Fabric for a Marine Project: Fast Path

Before researching specific fabrics, confirm the answers to these questions in order. They determine which standards apply and what documentation you will need.

Is the vessel commercial, meaning used for charter or commercial purposes under LY3 or equivalent? If yes, IMO FTP Code certification is required. If no, land-based or residential standards may be sufficient, though many private owners specify to IMO standards voluntarily.

What is the application onboard? Upholstered seating and sofas require IMO FTP Code Part 8. Curtains and vertically hanging textiles require Part 7. Bedding components require Part 9. A certificate for one part does not substitute for another.

Is the fabric inherently fire resistant or does it require topical treatment? Inherently fire-resistant fabrics proceed directly to certification verification. Topically treated fabrics require confirmation of the treatment route, including whether the treatment provider operates under MCA-recognised procedures for UK-flagged vessels.

What foam will be used in the installation? The IMO Part 8 certificate is valid only for the specific fabric and filling combination tested. Confirm foam compatibility with the test certificate before ordering fabric.

What are the UV exposure conditions and cleaning regime onboard? These determine the light fastness grade required and whether the fabric’s cleaning code is compatible with the vessel’s maintenance routine.

IMO Compliance Sits in the Assembly, Not the Fabric

The single most important principle in marine fabric specification is this. IMO compliance does not sit in the fabric alone. It sits in the tested assembly of fabric, filling, and construction as they will be installed on the vessel. A fabric is not “IMO compliant” in isolation. It is compliant when tested as part of a specific configuration.

The practical consequence is that a certificate obtained by a fabric manufacturer for their standard foam configuration may not cover the project’s foam. If the foam specified by the upholsterer or the shipyard differs from the foam used in the test, the certificate does not apply. You must either use the foam specified in the certificate or commission new testing with the intended foam.

This is the most common source of certification problems on yacht projects and the point most frequently misunderstood by designers coming to marine specification from land-based contract work.

Common Failure Points in Marine Fabric Specification

The following failures occur regularly on yacht and superyacht projects and are largely preventable with the right questions asked at the right time.

Fabric approved to BS standards rejected by classification society. A designer specifies a fabric with a BS 5852 Crib 5 certificate, assuming it satisfies the fire requirement. The classification society requires IMO FTP Code Part 8. The fabric may well pass if tested, but it must be tested independently to the IMO standard. The project is delayed while the fabric is re-tested.

Certificate invalid because the project foam differs from the test foam. The fabric holds an IMO Part 8 certificate, but the certificate was obtained using a standard foam the manufacturer supplies. The shipyard uses a different foam. The certificate does not cover the actual installation. New testing is required at late stage in the project.

FR treatment rejected because the provider is not recognised under MGN 580. A fabric requires topical treatment for a UK-flagged commercial yacht. The treatment is carried out by a provider experienced in land-based contract work but not operating under MCA-recognised procedures. The classification society does not accept the treatment documentation. The fabric must be re-treated or replaced.

Curtain fabric passes BS 5867 but is rejected under IMO Part 7. The designer has specified curtain fabrics with full BS 5867 Part 2 Type B certification. The standards are not interchangeable. The curtain fabric must be tested to IMO Part 7 before it can be accepted.

Light fastness not specified. Fabric is installed in a sun-exposed saloon on a Mediterranean charter yacht. Within one season, fading is visible. The designer specified for fire and durability but did not confirm the light fastness grade. The fabric was grade 4, insufficient for sustained UV exposure at sea.

S-coded fabric specified for a charter vessel. A velvet with a solvent-only cleaning code is installed in a high-use saloon. The charter cleaning team uses water-based products as standard. The fabric watermarks and the pile distorts within the first charter season. There is no dry-cleaning service available at the vessel’s typical berth locations.

Responsibility in a Marine Project

Marine specification involves a chain of responsibility that is different from land-based contract work. Understanding who approves what prevents misunderstandings about which party is accountable for compliance.

The interior designer selects materials and is responsible for requesting the correct certificates and confirming that the specification is appropriate for the intended use. The designer is not responsible for testing and cannot self-certify compliance.

The contractor or shipyard installs the materials and is responsible for ensuring that installation follows the configuration under which the materials were tested. Substituting materials without re-testing invalidates the certificate.

The classification society reviews documentation and approves compliance. The classification society’s approval is the operative confirmation that the vessel meets the required standard. A supplier’s claim of compliance, or a designer’s belief that a material is suitable, does not substitute for classification society approval.

The flag state authority, which for UK and Red Ensign Group flagged vessels is the MCA, enforces the regulation and can require inspection at any time. Final responsibility for the vessel’s compliance sits with the flag state and the vessel owner, not the designer or supplier.

Which Vessels Require IMO Fire Certification

The IMO’s fire safety requirements apply to international commercial ships under the International Convention for the Safety of Life at Sea (SOLAS). In practice, the framework extends to large commercial yachts and superyachts used for charter or commercial purposes, as well as passenger vessels and cruise ships.

In the United Kingdom, the relevant regulatory authority is the Maritime and Coastguard Agency (MCA). Under the MCA Large Commercial Yacht Code (LY3), vessels of 24 metres in length and above used for commercial purposes, including charter, must comply with fire safety requirements through the LY3 code and the applicable classification society, with those requirements referencing the IMO Fire Test Procedures Code. Similar requirements generally apply across Red Ensign Group registries under equivalent yacht codes, though the specific provisions of individual registries such as the Cayman Islands or Isle of Man should be confirmed separately for any project outside direct MCA jurisdiction.

Private yachts not used for commercial purposes are not subject to the same mandatory requirements, though many owners and designers specify to IMO standards voluntarily for safety and resale value reasons. When in doubt about whether a specific vessel falls within scope, the classification society managing the vessel’s certification or the flag state authority should be consulted before specifying fabric.

The IMO 2010 FTP Code

The IMO 2010 Fire Test Procedures Code, adopted by Resolution MSC.307(88), is the definitive framework for fire testing of materials used on international vessels. It replaced the earlier 1996 FTP Code and has been mandatory for new vessels since 2012. The code comprises eleven parts, each covering a specific type of material or application.

For interior designers specifying soft furnishing fabrics, three parts are directly relevant. Part 7 governs vertically suspended textiles and films, which covers curtains, drapes, and hanging textiles. Part 8 governs upholstered furniture, which covers seating, sofas, and upholstered panels. Part 9 governs bedding components, which covers mattresses, pillows, blankets, and bedspreads. Each part uses different ignition sources and pass criteria. A certificate for one part does not confer compliance with another. A fabric certified to Part 7 for curtains is not automatically certified for use as upholstery under Part 8.

IMO FTP Code Part 8: Upholstered Furniture

Part 8 is the most relevant standard for interior designers specifying seating, sofas, headboards, and any upholstered surface on a commercial vessel. The test assesses whether a fabric and filling composite resists ignition and flame propagation when exposed to the ignition sources most likely to occur onboard.

The test uses two ignition sources applied to a test rig assembled from the actual cover fabric and filling materials to be used in the finished piece. The cigarette test places a lit cigarette at the junction between the seat and the back of the test assembly. The assembly must show no progressive smouldering after one hour. The burner tube test applies a propane flame for 20 seconds at the same junction. No flaming or progressive smouldering is permitted to continue for more than 120 seconds after the flame is removed.

The test is a composite test. The cover fabric and the filling foam must both be present and both must be the materials that will actually be used in the finished installation. A certificate issued for a specific fabric over a specific foam is valid only for that combination. If the foam specification changes, the certificate is no longer valid for the new assembly.

Where topical FR treatment has been applied to a fabric before testing, Part 8 may require pre-conditioning including repeated cleaning cycles, particularly for topically treated fabrics. This is more demanding than the pre-conditioning used in many land-based standards, and it means that a topically treated fabric must demonstrate that its FR properties survive the cleaning conditions used onboard the vessel.

IMO FTP Code Part 7: Vertically Supported Textiles

Part 7 applies to curtains, drapes, and any other fabric suspended vertically onboard a vessel. The test involves two ignition modes applied to a vertically suspended fabric specimen: a surface ignition with a propane flame applied perpendicular to the fabric surface for five seconds, and an edge ignition with the flame applied to the bottom edge of the fabric for fifteen seconds.

To pass, the fabric must not show an afterflame time greater than five seconds, must not burn through to any edge of the specimen, must not ignite cotton wool placed below the specimen to catch flaming droplets, must not exhibit an average char length exceeding 150mm, and must not show a surface flash propagating more than 100mm from the ignition point.

Part 7 is the maritime equivalent of BS 5867 Part 2 Type B for land-based contract curtains. The test principles are similar but the standards are not legally interchangeable. A BS 5867 certificate does not satisfy the IMO Part 7 requirement.

IMO FTP Code Part 9: Bedding Components

Part 9 covers mattresses, pillows, blankets, quilts, and bedspreads on commercial vessels. The test uses a cigarette ignition source and a propane flame applied to the bedding assembly. No progressive smouldering or flaming ignition is permitted. This standard is relevant for yacht designers specifying guest cabin bedding on commercial charter vessels.

BS 5852 Crib 5 and IMO Part 8: Not Interchangeable

This is the most commercially significant point in the guide. BS 5852 Crib 5 and IMO FTP Code Part 8 are not legally interchangeable standards. A fabric with a full BS 5852 Crib 5 certificate, regardless of how stringent that test is, cannot be used on a commercial vessel in place of an IMO Part 8 certificate. Classification societies and the MCA explicitly do not accept BS or EN standards as alternatives to IMO certification for vessels within scope.

The technical reason is that the two tests use different ignition sources, different test rigs, different pass criteria, and different pre-conditioning requirements. The IMO Part 8 test does not include the large wooden crib ignition source used in Crib 5. It uses a cigarette and a propane flame. The Crib 5 crib uses a larger ignition source, but the tests are not directly comparable in terms of severity — they assess different aspects of fire behaviour in different configurations. What matters is that the legal basis for each standard is entirely separate.

If a fabric has been tested to BS 5852 Crib 5 for land-based contract use, it must be independently tested to IMO FTP Code Part 8 for marine commercial use. The same fabric may well pass both, but it must be tested to both to hold both certificates.

The MCA Large Commercial Yacht Code and MGN 580

For UK-flagged and Red Ensign Group vessels under the MCA Large Commercial Yacht Code, the relevant guidance is Marine Guidance Note 580 (MGN 580), which governs the equivalence of topical FR treatment to inherently fire-retardant materials onboard these vessels.

The practical implication of MGN 580 is as follows. Where a fabric is not inherently fire retardant, the topical FR treatment must be applied and certified in accordance with MCA-recognised procedures, typically involving approved or verified treatment providers overseen by a recognised organisation or classification society. The treatment must be tested to the relevant parts of the 2010 IMO FTP Code, including the pre-conditioning requirements. Treatment carried out without recognition under MGN 580, or tested to BS or EN standards rather than IMO standards, is not accepted as compliant.

Inherently fire-retardant materials, meaning fabrics whose fire resistance is a property of the fibre rather than an applied coating, must comply with the relevant 2010 IMO FTP Code standards directly, without the additional treatment approval requirement. This is a significant practical advantage for inherently fire-resistant fabrics on marine projects.

BS and EN standards, including BS 5852 Crib 5, are not accepted as equivalents for compliance with IMO requirements for vessels within the scope of MGN 580. This has been the case since the original MCA guidance came into effect in 2012 and was reinforced by the MGN 580 amendment effective from January 2020.

Inherent vs Topical FR for Marine Projects

The distinction between inherent and topical fire resistance carries greater practical weight in marine specification than in land-based contract work, for three reasons.

First, the pre-conditioning requirement. IMO Part 8 requires ten full cleaning cycles before fire testing of topically treated fabrics. A fabric whose treatment begins to degrade after several cleaning cycles may pass the test at the point of certification but perform less well in service on a vessel where cleaning is frequent. An inherently fire-resistant fabric is not subject to the same degradation risk through cleaning.

Second, the treatment supply chain. MGN 580 requires that topical FR treatment is applied by an MCA-approved provider. The number of such approved providers in the UK is limited. Specifying an inherently fire-resistant fabric removes the requirement to source and commission an approved treatment provider and reduces the risk of certification delays.

Third, the documentation chain. Marine projects operated by classification societies involve rigorous documentation review. An inherently certified fabric with a single clear test certificate is simpler to document than a topically treated fabric requiring a Declaration of Conformity from the treatment provider alongside the test certificate from an IMO-approved laboratory.

Marine Environmental Considerations Beyond Fire

Fire certification is the primary regulatory requirement for marine fabric specification, but the marine environment introduces additional performance considerations that do not arise in land-based contract work.

UV exposure. A superyacht in the Mediterranean or Caribbean receives sustained, intense UV exposure, particularly in deck-level saloons and cockpit areas with large glazed panels. Upholstery fabrics in these locations need a light fastness grade of at least 6 to ISO 105-B02, and specialist outdoor-rated fabrics should be considered for any semi-outdoor or cockpit application. For full guidance on light fastness grades, see our light fastness and Blue Wool Scale guide.

Deck and cockpit fabric: solution-dyed acrylic. For fully exposed deck-level seating, cockpit cushions, and flybridge upholstery, solution-dyed acrylic is the standard specification. The dye is incorporated into the fibre during extrusion rather than applied to the surface, producing light fastness grades of 7 to 8 to ISO 105-B02 that interior upholstery fabrics cannot match. Solution-dyed acrylic is also water-repellent, mould and mildew resistant, and dimensionally stable under repeated wetting and drying — essential properties for fabric exposed to salt spray, rain, and constant humidity variation. For covered deck areas and enclosed cockpits where direct weathering is reduced, outdoor-rated faux leather offers a more premium aesthetic alongside comparable UV and moisture resistance. For the full specification of outdoor and semi-outdoor fabric applications including the parallel requirements for hotel terraces, see our outdoor terrace and semi-outdoor fabric guide.

Salt air and humidity. The marine environment accelerates degradation of certain fabric finishes and dye systems. Salt air can cause colour shift in some fabrics over time. High humidity below deck creates conditions that can encourage mould growth on natural-fibre fabrics if ventilation is inadequate. Synthetic fabrics and PVC or PU faux leathers are generally more resistant to these conditions than natural-fibre upholstery fabrics.

Cleaning agents. Vessels in charter service use commercial cleaning products that may be more aggressive than standard hotel housekeeping products. Confirm the cleaning regime with the captain or vessel manager before specifying and ensure the fabric’s cleaning code is compatible. Fabrics coded S, meaning solvent-only cleaning, can be difficult to maintain in a charter environment where professional dry cleaning services are not always accessible.

Weight and drape. In sailing yachts, fabric weight can occasionally be a minor consideration for curtains and lightweight furnishings, primarily for racing or performance sailing vessels rather than large motor yachts or superyachts where this is rarely a practical factor.

What to Ask Your Fabric Supplier

When specifying for a commercial marine project, ask the following questions of any fabric supplier before ordering samples.

Does the fabric hold an IMO FTP Code Part 8 certificate for upholstered furniture? If so, which foam was used in the test, and is that foam available for the project? If the certificate was obtained with a specific foam that is not available or not appropriate for the project, the certificate may not cover the actual installation.

For curtain fabrics, does the fabric hold an IMO FTP Code Part 7 certificate? If it requires treatment, is the treatment provider MCA-approved under MGN 580 for UK-flagged vessels?

Is the fabric inherently fire resistant or does it require topical treatment? If it requires topical treatment, is there an MCA-approved treatment provider available, and what is the lead time for treatment and certification?

What is the fabric’s light fastness grade to ISO 105-B02? For use in sun-exposed areas on a superyacht, this is as important as the fire certificate.

What cleaning code does the fabric carry and is it compatible with the cleaning products used on the vessel?

Kothea Fabrics for Marine Applications

Kothea’s Faux Leather 3 (a high-specification PVC leather — for a full comparison of PVC, PU and silicone leather types see our faux leather types compared guide) achieves in excess of 100,000 Martindale rubs with a Crib 5 fire rating and a wipe-clean surface compatible with marine cleaning regimes. Its PVC-based construction offers good resistance to humidity and salt air. For commercial marine projects requiring IMO Part 8 certification, the fabric would need to be independently tested to that standard with the specific foam to be used in the installation. Contact Kothea to discuss this requirement for a specific project.

Mohair velvet from Kothea achieves rub counts of 80,000 to 100,000, tested to Martindale or Wyzenbeek depending on the range — for guidance on rub count requirements see our Martindale rub test guide — and carries independently certified Crib 5 passes achieved without topical treatment on the tested ranges. For private yacht use where IMO certification is not a mandatory requirement, mohair velvet is an appropriate specification for interior saloon seating. For commercial vessels requiring IMO Part 8 certification, independent testing to the IMO standard with the specific foam to be used would be required.

For any marine project with specific IMO certification requirements, contact Kothea to discuss the certification status and testing options for the relevant ranges before specifying.

Quick answers

Does BS 5852 Crib 5 certification qualify a fabric for use on a commercial yacht?
No. BS 5852 Crib 5 and IMO FTP Code Part 8 are separate standards with different test methodologies and different legal bases. Classification societies and the MCA do not accept BS 5852 as an equivalent to IMO FTP Code Part 8 for vessels within the scope of SOLAS or the MCA Large Commercial Yacht Code. A fabric specified for commercial marine use must hold an independent IMO FTP Code Part 8 certificate obtained from an IMO-approved laboratory. A Crib 5 certificate from land-based contract testing does not substitute for this.

What is the IMO FTP Code Part 8 test for upholstered furniture?
IMO FTP Code Part 8 tests upholstered furniture assembled from the actual cover fabric and filling to be used in the finished piece. Two ignition sources are applied at the junction between the seat and the backrest: a smouldering cigarette, after which no progressive smouldering is permitted after one hour, and a propane burner flame applied for 20 seconds, after which no flaming or progressive smouldering is permitted for more than 120 seconds. Where the fabric has been topically treated with FR chemicals, the assembly must undergo ten full cleaning cycles before the fire test is conducted. The certificate is valid only for the specific fabric and filling combination tested.

What is MGN 580 and when does it apply?
MGN 580 is a Marine Guidance Note issued by the Maritime and Coastguard Agency that governs topical FR treatment as an equivalent to inherently fire-retardant materials on UK and Red Ensign Group flagged vessels certified under the MCA Large Commercial Yacht Code. It requires that FR treatment is applied by an MCA-approved treatment provider monitored by a Notified Body, and that the treatment is tested to the relevant parts of the 2010 IMO FTP Code. BS and EN standards are explicitly not accepted as equivalents under MGN 580. It has applied since 2012 and was updated by amendment effective January 2020.

Does a curtain fabric certified to BS 5867 qualify for marine use?
No. BS 5867 Part 2 Type B is the UK land-based standard for contract curtains. IMO FTP Code Part 7 is the marine equivalent for vertically suspended textiles. The test principles are broadly similar but the standards are not legally interchangeable. A curtain fabric for a commercial vessel must hold an IMO FTP Code Part 7 certificate from an IMO-approved laboratory.

Is mohair velvet suitable for yacht interiors?
For private yachts where IMO certification is not a mandatory requirement, mohair velvet is suitable for interior saloon seating and is a common specification choice in superyacht design. Its durability of 80,000 to 100,000 Martindale rubs, natural fire-resistant properties, and aesthetic qualities make it well suited to high-end marine interiors. For commercial charter vessels requiring IMO FTP Code Part 8 certification, independent testing to the IMO standard with the specific foam to be used in the installation would be required. Confirm the certification requirement with the flag state authority or classification society before specifying.

What light fastness grade should I specify for a superyacht in the Mediterranean?
For interior saloon areas with large glazed panels and significant sun exposure, specify a minimum of ISO 105-B02 grade 6. For semi-outdoor or cockpit seating areas, specify grade 7 to 8 and use specialist outdoor-rated fabrics rather than standard interior upholstery fabric. Superyachts in Mediterranean and Caribbean deployment receive sustained and intense UV exposure, and the light fastness specification is as commercially significant as the fire certification for fabric longevity. For full guidance see our light fastness guide.

What is the difference between IMO Part 7, Part 8, and Part 9?
IMO FTP Code Part 7 applies to vertically suspended textiles such as curtains and drapes. Part 8 applies to upholstered furniture including seating, sofas, and upholstered panels. Part 9 applies to bedding components including mattresses, pillows, and blankets. Each part uses different ignition sources and pass criteria. A certificate for one part does not confer compliance with another. A fabric must be tested independently under each part applicable to its intended use onboard the vessel.

Is boat upholstery fabric the same as yacht upholstery fabric?
The terms are used interchangeably in general usage, but the fire standard that applies depends on the vessel’s commercial classification, not on which word is used to describe it. Small leisure boats and private vessels not used commercially are not subject to mandatory IMO fire certification, and land-based standards such as BS 5852 Crib 5 are commonly specified instead. Larger commercial yachts and superyachts operating under LY3 or an equivalent code require IMO FTP Code certification regardless of whether the vessel is described as a boat or a yacht. Confirm the vessel’s commercial status before specifying fabric.

For hotel and hospitality fabric specification, see our hotel fabric specification guide.

For guidance on which fabrics are unsuitable for outdoor and semi-outdoor environments including yacht deck areas, see our when not to use velvet guide.

A downloadable yacht interior fabric specification checklist is available as a PDF: Yacht Interior Fabric Specification Checklist (PDF).

For the surface spread of flame standard applicable to wall lining materials, see our BS 476 Part 7 guide.

For hotel terrace and semi-outdoor fabric specification — covering the same fabric types used in yacht deck applications — see our outdoor terrace fabric specification guide.

To discuss fabric specification for a yacht or marine project, contact Kothea directly.

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Specification Guides

Buying Guide by Purpose Crib 5 Fire Guide Martindale Rub Test BS 5867 Curtains Marine Fabric

5 April 20267 October 2026

Hotel Fabric Specification Guide: Martindale, Crib 5, Cleaning and Dye Lots

Minimum Martindale: 40,000 rubs (bedroom) / 60,000 rubs (restaurant and bar) / 80,000–100,000 rubs (lobby)
Fire standard: BS 7176 Medium Hazard — not just Crib 5
Cleaning code: W or WS preferred — S-coded fabrics are often incompatible with hotel housekeeping
Download: Hotel fabric specification checklist (PDF)

Hotel and hospitality fabric specification is categorically different from residential work. The same fabric that performs well in a client’s drawing room will fail visibly within months in a hotel bedroom. The difference is not only the volume of use but the nature of that use: guests treat hotel furniture differently from their own, housekeeping applies chemicals that residential cleaning never encounters, and the fire authority expects documentation that a residential project never requires. This guide covers every dimension of hotel fabric specification, from Martindale thresholds by room type to dye lot consistency across multi-phase projects.

For the testing standards referenced throughout this guide, see our posts on the Martindale rub test, BS 5852 Crib 5 fire certification, light fastness and the Blue Wool Scale, fabric care symbols and cleaning codes, and velvet types compared.

Understand the Project Before Specifying Any Fabric

Before selecting a fabric, confirm the following with the client or project manager. The answers determine every specification decision that follows.

Brand tier and refurbishment cycle. A budget hotel expecting to refurbish every five years has different durability requirements from a five-star property projecting a ten-year lifecycle. The longer the expected service life, the higher the Martindale threshold should be.

Occupancy pattern. A hotel running at 90% year-round occupancy subjects its furniture to dramatically more use than a seasonal resort. A 24-hour city-centre hotel has different requirements from a boutique property with a primarily weekend leisure clientele.

Housekeeping regime. Ask what cleaning products are used on upholstered surfaces. Many hotels use alkaline-based multi-purpose cleaners across all surfaces. These are effective at removing soiling but can degrade the back-coating on topically treated fabrics over time. If the housekeeping contractor uses a standard alkaline spray on upholstered chairs, specify fabrics with a W or WS cleaning code, or confirm that the specific fabric survives the cleaning agent in use. Solvent-coded fabrics coded S require specialist in-situ cleaning and are not compatible with standard hotel housekeeping routines unless a specialist cleaning contract is in place.

Fire risk assessment category. Under the Regulatory Reform (Fire Safety) Order 2005, the responsible person for the building must carry out a fire risk assessment and procure furnishings accordingly. For most hotel environments the relevant standard is BS 7176 Medium Hazard. Confirm the specific hazard category with the fire officer or the client’s fire safety consultant before specifying.

Project phasing. A hotel refurbished in phases over two to three years will need fabric from the same dye lot across phases, or a supplier able to replicate the colourway in future batches. This is the most frequently overlooked risk in large hotel projects and the one most likely to create a visible inconsistency across rooms completed at different times.

Martindale Thresholds by Room Type

No single Martindale figure applies across an entire hotel. Different areas have different use intensities and the fabric specification should reflect this. These thresholds are industry guidelines rather than formal standards and should be adjusted based on fibre type, construction, and project conditions. The following figures represent the minimum acceptable for each area in a standard UK hotel. For premium properties with longer refurbishment cycles, specify 20,000 to 30,000 rubs above each figure.

Hotel bedroom: desk chair, occasional chair, chaise. Minimum 40,000 Martindale rubs. Guest bedrooms receive regular but not continuous use. A single bedroom chair may be sat in by two guests per night at occupancy, which is low by contract standards but higher than a comparable chair in a private home. 40,000 rubs provides adequate headroom for a five-year refurbishment cycle at typical occupancy.

Hotel bedroom: headboard. Minimum 25,000 Martindale rubs. Headboards are subject to contact rather than seated abrasion. Hair products, moisturisers, and leaning are the primary wear factors. A fabric with good abrasion resistance at 25,000 rubs and a stain-resistant finish is appropriate for most hotel bedroom headboards. For boutique hotels expecting a longer first-refurbishment interval, specify 40,000 rubs. See the headboard section below for fire rating considerations specific to this application.

Restaurant and dining seating. Minimum 60,000 Martindale rubs. Restaurant seating in a busy hotel receives sustained use from breakfast through dinner service, often with multiple seatings per day. Food and beverage spills are frequent. The fabric must combine high abrasion resistance with good stain resistance and a cleaning code compatible with damp wiping between services. High-performance faux leather, often tested to 100,000 or more Martindale rubs or equivalent methods, is one of the most practical specifications for high-volume restaurant seating. For properties where aesthetics require a woven fabric, specify a minimum of 60,000 rubs with a stain-resistant finish.

Bar and lounge seating. Minimum 60,000 Martindale rubs. Bar seating receives the most demanding use of any upholstered surface in a hotel. Guests sit for extended periods, often in close-fitting clothing that generates sustained friction, and spills involving alcoholic beverages are common. For bar stools and high-seat bar chairs where the seating surface is under direct and continuous pressure, 80,000 rubs is a more defensible specification. Alcohol can also degrade certain topical fabric finishes, which is a reason to favour inherently resistant fabrics or faux leather in bar applications.

Hotel lobby seating. Minimum 60,000 to 100,000 Martindale rubs depending on the lobby’s function. A lobby used primarily as a transit space with limited seating use can be specified at 60,000 rubs. A lobby that doubles as a working space, café, or meeting point and receives continuous use throughout the day requires 80,000 to 100,000 rubs. Lobby furniture is also highly visible and first-impressions critical, which means early visible wear is commercially significant regardless of actual structural failure.

Meeting room and event space seating. Minimum 40,000 Martindale rubs. Meeting room chairs receive intense but intermittent use. A conference chair may be occupied for six to eight hours during a full-day event and then unused for days. 40,000 rubs is sufficient for most meeting room applications. For chairs used in training rooms or learning environments with continuous daily occupation, specify 60,000 rubs.

Spa and wellness seating. Minimum 40,000 Martindale rubs, with additional consideration of moisture and skincare product resistance. Guests using spa facilities arrive in robes or swimwear, and skincare products including oils and lotions come into contact with seating surfaces. Specify fabrics whose cleaning code permits water-based cleaning and confirm compatibility with the specific products used in the spa. Faux leather is often the most practical choice for spa seating.

Fire Rating for Hotel Environments

The fire standard for most UK hotel upholstery is BS 7176 Medium Hazard. This standard incorporates BS 5852 Crib 5 and additionally requires the cigarette and match tests and a water-soak test to simulate cleaning. The specification document must state the specific foam used in the test, as BS 7176 is a composite test of fabric and filling combined, not of the fabric alone.

In practice, many fabrics that pass BS 5852 Crib 5 can be used to achieve BS 7176 Medium Hazard when combined with the appropriate filling, but BS 7176 is a broader composite standard with additional requirements including cigarette, match, and water-soak testing. The difference is also in the documentation: a BS 7176 certificate names the end-use environment and the foam specification, making it a more defensible document for a contract project. For hotel upholstery, specify BS 7176 Medium Hazard rather than simply Crib 5 and request the full certificate naming the foam used in the test. Always request full test certificates rather than relying on generic compliance statements.

For mohair velvet that achieves a Crib 5 pass without topical treatment, confirm that the specific range has been independently tested to BS 5852 and request the test certificate. Where applicable, the certificate should also demonstrate compliance to BS 7176 Medium Hazard or indicate the foam configuration under which the test was conducted.

For curtains in hotel bedrooms and public areas, the applicable standard is BS 5867 Part 2 Type B, which is a separate standard from BS 5852 and governs vertically hanging fabrics. The two standards are not interchangeable. A Crib 5 certificate for an upholstery fabric does not qualify the same fabric for use as a contract curtain.

For full detail on the Crib 5 test, inherent versus topical certification, and BS 7176 hazard categories, see our complete guide to BS 5852 Crib 5.

The Hotel Cleaning Regime and What It Means for Fabric Specification

The housekeeping regime is the single most underspecified variable in hotel fabric selection. Fabrics are routinely tested in laboratory conditions, but hotel cleaning products introduce chemical stresses that standard abrasion tests do not replicate.

Standard hotel housekeeping uses multi-purpose alkaline cleaners for daily surface cleaning across guest rooms and public areas. These products, typically in the pH 8 to 11 range, are effective against the greases, body oils, and food residues that accumulate on upholstered surfaces. However, alkaline cleaners can progressively reduce the effectiveness of some topical FR treatments and may cause surface dulling or discolouration on certain pile fabrics. Cleaning codes indicate suitable cleaning methods but do not guarantee resistance to specific commercial cleaning chemicals.

The practical consequence for specification is as follows. A fabric with a topical Crib 5 treatment and a solvent-only cleaning code (S) is often incompatible with standard hotel housekeeping unless a specialist cleaning regime is in place. Cleaning codes indicate suitable methods but do not guarantee resistance to specific commercial cleaning chemicals. Prefer fabrics suitable for water-based cleaning (W or WS), or confirm compatibility with the actual cleaning products used by the hotel’s housekeeping contractor before finalising the specification. In most hotel projects, the simpler solution is to specify fabrics whose FR certification does not depend on topical treatment, or to select faux leather or other wipe-clean surfaces for high-contact areas.

Deep cleaning of upholstered furniture in hotels typically occurs two to four times per year, using specialist upholstery cleaning services. At this frequency, cumulative chemical exposure is significant over the course of a five or ten-year refurbishment cycle. When specifying a fabric for a long-lifecycle hotel project, ask the supplier to confirm the fabric’s resistance to the specific cleaning agents the hotel uses, and request confirmation in writing before finalising the specification.

Light Fastness in Hotel Environments

Hotel bedrooms present a wide range of light exposure conditions. A north-facing bedroom on the fourth floor of an urban hotel receives very little natural light. A south-facing suite on a high floor with full-height glazing may receive intense direct sunlight for much of the day. The same fabric specified throughout a hotel will perform very differently in these two environments.

For hotel bedrooms with standard glazing and mixed orientations, specify grade 5 where possible for upholstery fabrics and curtains. For south-facing bedrooms, suites with large glazed areas, and hotel lobbies with skylights, specify grade 6 or above. For glazed atriums and hotel exteriors or terraces, specify grade 7 to 8 and use specialist outdoor-rated fabrics.

Modern hotel glazing frequently incorporates low-e coating or UV-filtering film, which reduces UV transmission and can extend the effective service life of a fabric beyond what the grade alone would suggest. If the project specification includes high-performance glazing, factor this into the light fastness requirement but do not reduce the grade below 5 on that basis. Glazing specifications can change during a refurbishment and fabrics need to perform adequately under worst-case light conditions.

For full guidance on light fastness grades and what they mean by room orientation, see our guide to light fastness and the Blue Wool Scale.

Dye Lot Consistency Across Large Projects

A hotel project may specify the same fabric across 200 bedrooms, three dining areas, and a lobby, with installation spread over two to three years across multiple phases. Unless dye lot consistency is managed proactively, the rooms completed in phase one will have a subtly different colour from those completed in phase three.

Dye lot variation is a normal property of any dyed fabric. Even the same colourway produced by the same mill in the same month can show variation between rolls that is invisible side by side but visible when comparing a freshly installed chair with one installed eighteen months earlier. In a hotel where guests move between rooms, this variation is commercially significant.

The practical approach is as follows. At the point of specification, confirm with the supplier the minimum quantity that can be reserved from a single dye lot for the full project. For very large projects, request that the supplier weave the full quantity from the same yarn batch and production run where possible. Where this is not possible, establish the supplier’s tolerance standards for dye lot variation and ensure that comparison samples are retained from the first delivery for matching against subsequent deliveries.

For phased projects where new fabric cannot be reserved in advance, specify the colourway and confirm with the supplier that the range will remain in production for the duration of the project. Discontinued colourways mid-project are the most common cause of unresolvable dye lot inconsistency in hotel refurbishments. For dye lot reservation, cuttings, custom colour matching, and lead time planning across a phased contract, see our lead times, cuttings and custom colour matching guide.

Headboards

Hotel bedroom headboards present a specific specification challenge. The fire standard applicable to headboards is less universally agreed than for seating. BS 5852 is explicitly a test for upholstered seating. Whether a headboard, as a wall-mounted or freestanding fixed element, falls under the same seating standard or under a separate wall-covering or surface-finishing standard depends on how it is constructed and installed.

A headboard that is freestanding or attached to the bed frame and upholstered in the same way as a sofa is often treated as upholstered furniture and specified to BS 5852 Crib 5. A headboard that is fixed to the wall and forms part of the wall surface may be treated as a surface finish and be subject to BS 476 Part 7 or the surface spread of flame classification relevant to that building. Confirm with the fire officer and the hotel’s fire safety consultant which standard applies to the headboard construction specified in the project.

For Martindale specification of headboard fabric, 25,000 rubs is adequate for most hotel bedroom applications. The primary wear on a headboard is contact from hair, hair products, and leaning, rather than the sustained abrasion of seated upholstery. A stain-resistant finish is more valuable on a headboard than an elevated rub count.

Curtains in Hotel Bedrooms and Public Areas

Contract curtain fabrics in hotel bedrooms must meet BS 5867 Part 2 Type B. This is a separate standard from the upholstery fire standards and governs vertically hanging fabrics. The test involves a vertical flame applied to the hanging fabric and measures flame spread and post-flame smouldering. Type B is the standard for most hotel applications. Type C applies to NHS and healthcare environments with more frequent laundering requirements.

Most decorative curtain fabrics require topical treatment to meet BS 5867 Part 2 Type B. Some inherently fire-resistant fabrics, including certain Trevira CS constructions, meet the standard without treatment. The treatment process for curtains involves impregnation or dipping rather than back-coating, and affects different fabric types differently. Sheer and lightweight fabrics are particularly susceptible to visible changes after treatment. Confirm the suitability of the specific fabric for curtain FR treatment with the supplier before specifying.

For hotel bedrooms with south or west-facing windows, curtain light fastness requires the same attention as upholstery. A curtain fabric that faces direct afternoon sun will fade at the fold lines before the body of the fabric shows colour change, creating an irregular striped effect that is difficult to remedy without full replacement. Specify grade 6 or above for curtain fabrics in hotel bedrooms with significant sun exposure.

Kothea Fabrics for Hotel Specification

Mohair velvet from Kothea achieves rub counts of 80,000 to 100,000 across the active mohair ranges, tested to Martindale or Wyzenbeek depending on the range, and carries independently certified Crib 5 passes achieved without topical treatment on the ranges tested. The combination of high durability and FR certification without treatment makes mohair velvet suitable for hotel bedroom seating, lobby furniture, restaurant seating at the appropriate rub count, and bar seating at the higher end of the range.

Faux Leather 3 from Kothea achieves in excess of 200,000 Martindale rubs with a Crib 5 fire rating and a wipe-clean surface. Its cleaning code is compatible with water-based hotel housekeeping products. It is suitable for restaurant seating, bar seating, spa seating, headboards, and wall panelling in hotel environments where a wipe-clean surface is required. The 140 cm width and 20-plus colourways make it practical across multiple areas within a single project.

Recline Linen from Kothea achieves 80,000 Martindale rubs and is suitable for hotel bedroom occasional chairs and low-use contract seating where a natural linen aesthetic is specified. Fire treatment is required for contract use.

For full specification data including Martindale rub counts, fire ratings, cleaning codes, and light fastness grades, see the mohair velvet upholstery page, the faux leather upholstery page, and the upholstery linen page.

Quick answers

What Martindale rub count do I need for hotel upholstery?
For hotel bedroom chairs and occasional seating, specify a minimum of 40,000 Martindale rubs. For restaurant and bar seating, specify a minimum of 60,000 rubs, with 80,000 rubs preferred for high-volume bar seating. For hotel lobby seating in continuous use throughout the day, specify 80,000 to 100,000 rubs. For hotel bedroom headboards, 25,000 rubs is the minimum with a stain-resistant finish. These figures are minimums for a standard five-year refurbishment cycle. For premium properties with a ten-year cycle, add 20,000 to 30,000 rubs to each threshold. For full guidance on the Martindale rub test and how rub counts translate to classification, see our Martindale rub test guide.

What fire standard applies to hotel upholstery in the UK?
For most UK hotel environments, the applicable standard is BS 7176 Medium Hazard, which incorporates BS 5852 Crib 5 plus the cigarette and match tests and a water-soak stage. The certificate must document the specific foam used in the test, as BS 7176 is a composite test of fabric and filling together. Specifying BS 7176 Medium Hazard rather than simply Crib 5 provides a more complete and defensible specification for contract hotel projects. Confirm the specific hazard category with the fire officer for the project. For curtains in hotel bedrooms, the applicable standard is BS 5867 Part 2 Type B, which is a separate standard from BS 5852.

Can velvet be used in hotel bedrooms?
Yes. Mohair velvet with a Martindale rub count of 80,000 or above and an independently certified Crib 5 pass achieved without topical treatment is suitable for hotel bedroom seating. The practical limitation is the cleaning code. Most mohair velvet is coded S, meaning solvent-based dry cleaning only, which is not compatible with standard hotel housekeeping routines that use water-based or alkaline cleaners. If the hotel’s housekeeping contractor applies water-based products to upholstered surfaces as routine, a fabric coded W or WS should be specified instead, or a specialist cleaning contract for velvet surfaces must be established in advance.

What is the difference between BS 5852 Crib 5 and BS 7176 for hotel furniture?
BS 5852 Crib 5 is the test method for ignition source 5. BS 7176 is the specification standard for non-domestic upholstered seating that references BS 5852 and additionally requires the cigarette and match stages, the water-soak procedure, and documentation of the specific end-use environment and foam configuration. Similar FR approaches are often used to meet both standards, but BS 7176 certification depends on the full upholstery system including the filling, not the fabric alone. A BS 7176 Medium Hazard certificate is the correct standard to specify for most UK hospitality environments.

How do I manage dye lot consistency on a phased hotel project?
Reserve the full project quantity from a single dye lot at the point of specification, or request that the supplier weave the full quantity from the same yarn batch in a single production run. For projects where this is not possible, retain comparison samples from the first delivery and establish the supplier’s tolerance standards for dye lot variation. For phased projects with undetermined future phases, confirm that the colourway will remain in production for the duration of the project. Discontinued colourways mid-project are the most common source of unresolvable dye lot inconsistency in hotel refurbishments.

Is faux leather suitable for hotel restaurant seating?
Yes. Faux leather is one of the most practical fabrics for hotel restaurant seating. A high-specification PVC faux leather achieving in excess of 200,000 Martindale rubs with a Crib 5 fire rating and a wipe-clean surface is compatible with the cleaning regimes used between restaurant services, resists food and beverage spills, and requires no specialist cleaning contract. The cleaning code of W or WS makes it straightforward for housekeeping staff to maintain. The aesthetic limitation is that faux leather does not replicate the warmth and texture of natural upholstery fabrics, which may not suit the positioning of certain hotel restaurants.

What light fastness grade do I need for hotel bedroom curtains?
For hotel bedroom curtains in rooms with mixed orientations, specify a minimum of ISO 105-B02 grade 5. For south or west-facing bedrooms, suites with large glazed areas, or any bedroom where afternoon sun falls directly on the curtain face, specify grade 6 or above. Curtain fabrics are particularly vulnerable to fading at fold lines, which creates an irregular striped effect before the body of the fabric shows colour change. This is commercially significant in a hotel where curtains are highly visible to guests. For full guidance on light fastness grades and room orientation, see our light fastness guide.

Does hotel housekeeping damage upholstery fabric?
Standard hotel housekeeping cleaning products, typically alkaline-based multi-purpose cleaners, can degrade topical FR treatments on upholstery fabrics over time and may cause surface dulling on certain pile fabrics if applied incorrectly. The risk is greatest with fabrics that have a solvent-only cleaning code (S), as water-based products applied by housekeeping staff will eventually compromise both the fabric surface and any chemical FR coating. To avoid this, specify fabrics with a W or WS cleaning code for hotel bedroom and public area upholstery, or ensure that a specialist cleaning contract is in place for any S-coded fabric specified in the project.

Download the Hotel Fabric Specification Checklist (PDF) — a printable one-page reference covering Martindale thresholds by room type, fire compliance, cleaning compatibility, dye lot strategy, and documentation sign-off.

For mohair velvet thermal and moisture management properties in hospitality, see our mohair thermal properties guide. For healthcare fabric specification, see our healthcare fabric guide. For fabric decisions at each RIBA Plan of Work stage, see our RIBA Plan of Work fabric guide.

For the Building Safety Act 2022 and fabric documentation requirements in higher-risk buildings, see our Building Safety Act and fabric specification guide.

For fabric specification for hotel terraces and semi-outdoor hospitality spaces, see our outdoor terrace fabric specification guide. For the full specification library organised by environment, application, and performance need, see our fabric buying guide by purpose.

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