Category: Product Comments

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Martindale vs Wyzenbeek – Rub Test By Abrasion Explained

Both Wyzenbeek and Martindale are abrasion tests, also referred to as rub tests. They are different tests which measure different properties, and success in one does not infer success in the other. Wyzenbeek involves rubbing along the warp and weft of the fabric whereas Martindale uses a figure-of-eight motion. This article gives summary information to assist interior designers in specifying the right levels of abrasion resistance for upholstery.

For a complete guide to the Martindale test including its history, full methodology, rub count classifications, what the test does not measure, and detailed specification guidance, see our comprehensive article: The Martindale Rub Test: A Complete Guide for Interior Designers and Specifiers.

Heavy Duty Usage

For heavy duty upholstery applications, specify a minimum of 30,000 double rubs to the Wyzenbeek method, or 40,000 cycles to the Martindale method.

End use examples where fabric rated at 30,000 Wyzenbeek double rubs is appropriate include single-shift corporate offices, hotel rooms and suites, conference rooms, and dining areas.

More demanding environments may require higher figures. End uses that may require above 30,000 double rubs include 24-hour transportation terminals, 24-hour healthcare emergency rooms, 24-hour casino areas, and high-traffic public gathering spaces such as theatres, stadiums, lecture halls, and fast food restaurants.

Rub counts above 100,000 do not generally provide meaningful additional value in use. Higher abrasion resistance does not necessarily indicate a significant extension of service life.

Test Methods

Wyzenbeek. A sample of the test fabric is pulled tight in a frame and held stationary. Individual specimens cut from the warp and weft directions are rubbed back and forth using an approved fabric as the abradant. The number of double rub cycles achieved before two yarn breaks occur, or noticeable wear is observed, is recorded as the fabric’s abrasion rating.

Martindale. Fabric samples are mounted flat and rubbed in a figure-of-eight motion using a piece of worsted wool cloth as the abradant. The number of cycles the fabric can endure before showing an objectionable change in appearance, such as yarn breaks, pilling, or holes, determines the abrasion rating. Results are recorded in multiples of 5,000 cycles.

Can You Infer One Result from the Other?

No. There is no reliable correlation between Wyzenbeek and Martindale results. It is not possible to estimate the number of cycles a fabric would achieve on one test from the results of the other.

For heavy duty usage, the two equivalent thresholds are 30,000 Wyzenbeek double rubs or 40,000 Martindale cycles. In that sense, for a given level of usage, the Martindale figure is approximately 33% higher than the Wyzenbeek figure. This is a directional guide for specifying purposes only. A fabric scoring 100,000 on one test cannot be assumed to score 133,333 on the other. The result could be higher or lower. The only way to know is to test to both standards independently.

Despite what appears on other websites, including those of well-known fabric houses, you cannot infer a Wyzenbeek score from a Martindale score or vice versa.

For further reading on the Martindale test, including its history, full methodology under BS EN ISO 12947, rub count classification bands, and guidance on what the test does not measure, see: The Martindale Rub Test: A Complete Guide for Interior Designers and Specifiers.

For information on specific collections see mohair velvet upholstery, faux leather upholstery, and upholstery linen.

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What is the martindale rub test?



Most upholstery fabrics undergo the Martindale test to assess their durability and suitability for different applications, from domestic furniture through to heavy contract use. The test is also known as the rub test and measures abrasion resistance. Results are given as a score in thousands of rubs. The higher the score, the more resistant the fabric is to wear.

The video below shows a Martindale machine in operation.

For a complete explanation of how the test works, what the rub count figures mean for different applications, what the test does not measure, and how Martindale compares to the Wyzenbeek standard used in North America, see our full guide: The Martindale Rub Test: A Complete Guide for Interior Designers and Specifiers.

For a direct comparison of the Martindale and Wyzenbeek test methods, see: Martindale vs Wyzenbeek: Rub Test by Abrasion Explained.

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Will my curtain fabric fade?

Clear skies produce strong Ultra-Violet (UV) rays and when used near water light is further reflected.

Ultra violet light is one of the major contributing factors that cause fading and fabrics to break down.  Here are some simple tips to optimise the life of your curtains:

  • Always use good quality lining.

  • Consider the compositions of fabrics; some will fade and break down faster than others.

  • Sunscreen blinds are recommended

  • Always allow space for your curtains / blinds to be pulled back off your windows.

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Bleaching :: The Environmental Impact Of Fabric

We were recently asked about the impact of fabric bleaching on the environment.  We covered this in January <here>.

Basically, try to use unbleached fabric if you are concerned about environmental impact. The natural colour of some fabrics such as linen can be aesthetically pleasing but also variable. If the fabric is dyed it may also be bleached first. if it has to be bleached the best option is for hydrogen peroxide bleaching.

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Martindale Rub For Faux Leather

Martindale Rub Count for Faux Leather Upholstery

Faux leather upholstery fabrics typically achieve very high Martindale rub counts compared to woven textiles. This is because the PVC or PU surface layer does not have fibres that can break or abrade in the same way as a woven yarn — the test measures wear of the surface coating rather than yarn breakdown. Kothea’s faux leather ranges achieve in excess of 100,000 Martindale rubs, placing them in the severe contract category suitable for the most demanding commercial environments.

For the Martindale rub test explained in full including what the numbers mean by room type and application, see our Martindale rub test guide. For faux leather types compared including PVC, PU, and silicone leather, see our faux leather types guide.

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Is Velvet Cat Proof? What to Specify If You Have Cats

Is Velvet Cat Proof? What to Specify If You Have Cats

A question we are asked regularly: is there a cat proof or claw-resistant velvet for upholstery?

The honest answer is no. Cats’ claws act like knives, and no fabric is knife proof. The question is not whether a fabric can resist a cat’s claws entirely — it cannot — but which fabrics survive the longest and look best under regular feline attention.

Why Velvet Is Particularly Vulnerable

Velvet pile is composed of cut fibre loops standing upright from a woven backing. A cat’s claw catches the pile fibres easily and pulls them from the backing. Over time this produces visible snags, thinning, and eventually pile loss in the areas the cat uses most. The softer and longer the pile, the more vulnerable it is. Mohair velvet and silk velvet are the most susceptible. Cotton velvet is slightly more resistant. None is suitable for a household with an active scratching cat.

The Most Resistant Options

At the practical end of the scale, faux leather — PVC or PU — offers the most resistance. A cat’s claw slides across a smooth, non-pile surface rather than catching in fibres. Marks from repeated scratching may eventually appear as surface scuffs but the structural damage accumulates much more slowly than with velvet. The texture provides less purchase for the claw, which may also reduce the cat’s interest in using the furniture as a scratching surface.

Tightly woven flat-weave fabrics — dense contract weaves in wool or synthetic blends — are more resistant than velvet because the tight interlacement of warp and weft yarns gives the claw less to catch. A flat weave will show wear over time but typically survives far longer than velvet under the same conditions.

Microfibre fabrics with a very short, dense pile are another option sometimes marketed specifically as pet-friendly. The short pile provides less claw purchase than standard velvet. Their durability is variable and depends heavily on the quality of the backing construction.

The Practical Recommendation

If you have cats and want to keep velvet, the only realistic approach is to give the cat an alternative — a dedicated scratching post or surface near the furniture — and keep the cat’s claws trimmed regularly. Even with these measures, velvet upholstery in a cat household will show wear faster than in a cat-free environment.

If the client wants fabric that genuinely holds up against cats over years of use, specify a high-quality faux leather or a tight flat-weave contract textile rather than velvet. For occasional cat contact — a cat that mostly uses the furniture as a sleeping spot rather than a scratching surface — a dense short-pile velvet may be acceptable if the client understands the risk.

For faux leather options including PVC and PU with high Martindale rub counts, see our faux leather types compared guide. For the specific environments and uses where velvet is not the right choice, see our when not to use velvet guide. For velvet types and how they compare, see our velvet types compared guide.

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Fabric Colour Trends 2009-10

We are doing some work for a medium sized architectural practice. One of the partners asked me what the ‘in-vogue’ colours were for fabrics. This got me thinking.

There’s the usual stock answer where a fabric company would quote something which sounded like we were dress makers. “The in-vogue colours are the colours on the cat-walk”. Luckily I didn’t answer that way, partly because I haven’t been to a Paris catwalk for a while and partly because what colours we wear are not the colours we design our interior spaces with. I have a few reds and ochres in my wardrobe but none on my walls. Similarly I probably have proportionately very much more taupe around the house than around my body. So clearly the cat-walk comparison is wrong.

The time delay as well. There must be 2-6 months delays in getting the very latest fashions from the catwalk to the mass market retail outlets. It’s pretty hard to turn out new fabric collections regularly in that timeframe.

And then I thought some more. The job was for a Mediterranean villa. Are the colour trends in this country and in this climate the same as in such warmer climbs? Probably not. Hotter climates favour colours that are physically cooler. Picture the white houses of a stereotyped Greek village.

And then I thought about personalities. The villa owner is a wealthy and aesthetically discerning business leader. Will that sort of person have the same tastes and influences as the middle classes of a London suburb? Or will their Chelsea architect/designer reflect the aesthetic views of their personal domain? Some well-known designers push the same colour schemes again and again – because they look great and they work. Is that a trend?

So I came to the conclusion that what defines a colour trend will vary. It will vary by geography, by social aspirations & standing and many other factors. I’m not sure they vary by time that rapidly how we furnish, organise and decorate our houses does change but that change is more on the scale of a decade than the fadish seasonal change for clothing.

That seemed a bit of a cop out answer though. Let’s be analytical about it. What colours do we sell the most of? Well, to be honest, it is still the classic-contemporary feel. So plenty of taupes, white, muted neutrals and the delightfully named beiges. Even with the acidic greens, purples and violent colours of the early 2000s that were blasted in our faces on ‘Changing Rooms’; I have to say that the upper end of the market very, very rarely asked for or bought these colours. So surely the colours we sell are the ones that are on-trend? Maybe, but maybe also we self select the markets we target, the products we stock and hence the type of customer we attract.

And really I would probably question the original question as well. Fabric is much more than colour; texture and design are also key.

So where did that leave me? I probably should have thought of a sophisticated way of saying “just buy what you like” or “get to know what your client likes and sell them that” and said that, but I didn’t.

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Suitability of Linen Velvet For Upholstery

KOTHEA was asked if linen velvet fabric can be used for upholstery.

A. Yes

Our 100% linen velvet has a Martindale of 20,000 ‘rubs’.  So this is certainly suitable for domestic upholstery and also for light contract. As with all velvets a proper care regime should be in place to prolong the life of the fabric. Also check the Martindale figures of the specific fabric you intend to use as that test result is the most useful indication of suitability for upholstery.

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Wider Fabrics For Curtains

Fabrics are typically woven in 130/140cm widths.

KOTHEA was recently asked if we have wider fabrics available that are suitable for window treatments ie sheers and curtain material.

We have handwoven linens that can be up to 180cm wide in 15 designs and many colours as well as the ability to produce custom colours for specific schemes. (Minimum orders apply of between 5-10m). We also have standard handwoven linen ranges in 150cm widths.

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Damasks & Silk Damask

The term DAMASK is generally used to refer to ornamental silk fabrics, typically elaborately woven, perhaps incorporating; several colours, gold or other metallic threads. They are usually found today made from linen, silk or linen-based fabric with woven patterns that emphasise flowers, fruit, forms of animal life, and other types of ‘ornament’.

Usually it is made from one satin warp and one sateen weft interchanged and sometimes with a twill or other binding incorporated.

The name ‘Damask’ is derived from Damascus where, in the 12th century, it became the city famous for its production. Prior to that it was produced throughout Asia and known in the West as ‘diaspron’ or ‘diaper’.

Damask weaves in linen and cotton are currently most commonly found in table linens. Damask cloths for table or bedding purposes are most commonly made of flax but sometimes made partly of cotton or synthetic fibers. The finer damask textiles for these purposes are made of the best linen yarn. This yarn is a brown/ecru colour during weaving but the finished product it typically ivory/white. Highlights in the cloth are obtained by long floats of warp and weft,  set at right angles, to differently reflect the light depending on the position of the observer. Subdued effects are produced by shorter floats of yarn. The finest results are obtained when double damask weaves are used.