Tag: cashmere throw

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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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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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Cotton Velvet Rub Test

Cotton Velvet Rub Test: Martindale Count and Contract Suitability

The Martindale rub count of cotton velvet depends on the specific fabric construction — the pile density, pile height, yarn twist, and backing construction all affect the result. As a guide, a contract-grade cotton velvet achieves approximately 30,000 to 50,000 Martindale rubs, placing it in the general contract category suitable for hotel bedrooms, light restaurant use, and office seating. Kothea’s cotton velvet achieves approximately 50,000 Martindale rubs.

Cotton velvet is less abrasion-resistant than mohair velvet of equivalent pile weight. Mohair velvet typically achieves 60,000 to 100,000 or more rubs depending on the specific range. For environments requiring above 60,000 rubs — hotel lobbies, restaurant banquettes, bar seating — mohair velvet is the more appropriate specification. For a full comparison of velvet types and their Martindale counts, see our velvet types compared guide. For the Martindale rub test explained in full, see our Martindale rub test guide.

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Lighten Faux Fur With Hydrogen Peroxide

We were asked: “Can you lighten a faux fur with hydrogen peroxide”.

You can guess the answer: try it out on a sample first or on  piece you won’t see. However to be honest I don’t think it would work on most faux furs.

Hydrogen peroxide is a relatively weak bleach. Typically it is used on natural materials like human hair or linen. Faux furs or fake furs are normally synthetic.

It depends on what exactly the faux fur is made out of, this could be a variety of compounds. It might work on one or two compunds but I doubt it will have much of an effect on most.

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Knit Backing Fabric For Contract Wall Covering

Knit Backing Fabric for Contract Wall Covering

Knit-backed fabric for wall covering applications consists of a face fabric — typically a woven or knitted textile — bonded to a lightweight knitted backing that stabilises the fabric for direct application to walls. The knit backing provides dimensional stability during installation, preventing the fabric from stretching or distorting when adhesive is applied, and allows the face fabric to conform smoothly to the wall surface without wrinkling.

For contract wall covering applications in non-domestic buildings, the fabric assembly — face fabric and backing together — must meet the applicable surface spread of flame standard. In the UK this is typically BS 476 Part 7 Class 1 for commercial interiors. The face fabric alone may meet Class 1 but the composite assembly with the backing must be tested and certified as a unit. For guidance on wall covering fire standards, see our BS 476 Part 7 guide and our wall panels and headboards guide.

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The UK’s Top-Market Fabric Suppliers To Interior Designers

Click the fabric company name for their web site (top Interior Designers updated for 2026 here):

Abbot and Boyd 020 7351 9985
Altfield 020 7351 5893
Alton Brooke 020 7376 7008
Borderline 020 7823 3567
Brian Yates 01524 35035
Brunswig 020 7351 5797
Bruno Triplet 020 7823 9990
Chase Erwin 020 8875 7441
Colefax 020 7244 7427
Colony Fabrics 020 7351 3232
Donghia 020 7823 3456
Gainsborough Silk 01787 372081
Henry Bertrand 020 7349 1477
Jab 020 7349 9323
Jane Churchill 020 7244 7427
Jrobertscott 020 7376 4705
KOTHEA 0870 285 4768
Kravet 020 7795 0110
Lee Jofa 020 7823 3455
Lelievre 020 7352 4798
Manuel Canovas 020 8877 6400
Nobilis 020 7351 7878
Pierre Frey 0207 376 55 99
Robert Allen 01494 474741
Sacho Hesslein 020 7352 6168
Silk Gallery 020 7351 1790
Turnell and Gigon 020 7259 7280
Watts Westminster 020 7376 4486
Zimmer and Rhode 020 7351 7115
Zoffany 08708 300 350

Many of these fabric companies sell a wide range of products including: chenille, contract fabric, faux / fake leather, mohair velvet, linen velvet, cotton velvet, wool,  hand woven products, natural silk, cashmere and damask for upholstery, curtains and cushions.

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Dye Lot Variation in Fabrics

Fabrics are often woven in lengths of 50m, 100m or more. Manufacturers and distributors then hold these lengths and at some point a designer buys a smaller cut-length. If subsequently the fabric is damaged when being made up or if the end-client has requirements for additional fabric, then more is ordered. So far so good? But exactly which roll is the additional fabric going to be cut from?

It is important to realise that there can be variation in the dyes used. Normally manufacturers keep a record of the exact dye(s) used in the manufacturing process(es). This is a dye lot. The dye could have been added to make a coloured yarn early in the process or it could have been added to the fibre later if it is a printed fabric.

So when more fabric is ordered for the same client it is important to ensure the same dye lot was used as for the original order.

Variations do occur in almost all fabrics. So if the same dye lot cannot be re-ordered it is prudent for the designer to order a sample for matching. It is wise for designers, upholsterers, curtain- and cushion-makers to always request a sample to avoid costly mistakes.

Typically man-made/synthetic dyes are more easily chemically replicated and so are inherently less prone to dye lot variation. For natural products there is a much greater chance of variation. But again there is no hard and fast rule.

Colour also plays a part as some farbic colours are more prone to change because of the chemical structure of the dye and/or the fabric being used.

What if all the stock has been used and there is a variation? Do we have to start again?

Hopefully not and common sense has to prevail from time to time. For example, a dye lot variation can be negated by conditions in the final installation. So in the case where there are fabrics from different dye lots with one dye lot only used in each room only rarely will the be any noticeable difference from room to room. Even in the case where, say, curtains on different walls are made from different but similar dye lots then any dye lot variation can be made unnoticeable by the effect of varying amounts of sunlight through windows. Although bear in mind there are variations in the strength and type of light throughout the day and between sunlight and artificial light at night. Similarly in low light (cellar) conditions dye lot variation will be much less noticeable.

Finally bear in mind the age of the fabric/curtains and the degree to which they have been exposed to sunlight. Some fabrics naturally fade over time, depending on their colour fastness. In this case it is unlikely ever to be able to get a perfect match.