How to Write a Fabric Specification: A Contract Guide

A fabric specification is the document that tells everyone downstream, upholsterer, contractor, client, fire officer, exactly what fabric is being used and what it must achieve. A vague specification is where contract projects go wrong. This guide sets out what a complete fabric specification contains and what certificates to require. For where each decision falls in the project timeline, see our RIBA Plan of Work fabric guide.

What a Complete Specification Contains

A specification that prevents disputes states every performance requirement explicitly rather than assuming it. The core fields are the fabric name and range, the fibre composition, the abrasion requirement as a Martindale figure, the fire standard in full (for example BS 7176 Medium Hazard, not just Crib 5), the cleaning code required for the environment, the light fastness grade, and the colourway with a dye-lot reservation instruction for larger orders. For patterned fabric, add the pattern type and repeat. For each requirement, state the standard and the figure, not a general word like durable or fire-safe.

State the Standard in Full

The most common specification weakness is naming a standard loosely. Crib 5 alone is weaker than BS 5852 Ignition Source 5 (Crib 5). Fire-rated is meaningless without the standard. A Martindale requirement should give the figure, 100,000 rubs, not high abrasion. The fuller the reference, the less room for a substitution or a dispute later. State the standard, the part, and the figure for every performance field.

What Certificates to Require

For any contract project, require the independent test certificate before the fabric is installed, not a supplier’s claim of compliance. For fire, that means the certificate from a UKAS-accredited laboratory naming the fabric, the filling used in the test, the standard, and the result. A verbal assurance or a product description is not a certificate. For a composite standard such as BS 7176, confirm the certificate names the specific foam, because the certificate is valid only for the fabric and filling combination tested. For marine work, require the IMO certificate for the relevant part. For how FR certification works and who can issue it, see our how FR treatment works guide.

Confirm the Composite and the Cleaning Regime

Two checks prevent most late-stage failures. First, confirm the foam or filling matches the fire certificate, since substituting a different foam invalidates it. Second, confirm the fabric’s cleaning code suits the environment’s actual cleaning regime, an S-coded fabric fails in a setting that uses water-based cleaning. Present the environment’s cleaning products to the supplier and get written confirmation of compatibility. For the cleaning implications in demanding settings, see our healthcare fabric guide and hotel fabric specification guide.

Request Cuttings Before Committing

A cutting confirms colour, handle, and quality before the fabric is committed to a scheme, and provides the reference sample for matching later deliveries against. Request cuttings early, and for a phased order retain the first-delivery sample to check subsequent dye lots. For cuttings, dye lots, and lead-time planning, see our lead times and colour matching guide. For the full specification library organised by environment, application, and performance need, see our fabric buying guide by purpose.

Quick answers

What should a fabric specification include?
A complete fabric specification states the fabric name and range, the fibre composition, the Martindale abrasion figure, the fire standard in full (for example BS 7176 Medium Hazard), the cleaning code, the light fastness grade, and the colourway with a dye-lot reservation instruction for larger orders. For patterned fabric it adds the pattern type and repeat. Every performance requirement should give the standard and the figure, not a general word such as durable or fire-safe.

What certificates should I require before installing a contract fabric?
Require the independent test certificate before installation, not a supplier’s claim of compliance. For fire, that is the certificate from a UKAS-accredited laboratory naming the fabric, the filling used in the test, the standard, and the result. For a composite standard such as BS 7176, confirm the certificate names the specific foam, because it is valid only for the fabric and filling combination tested. For marine work, require the IMO certificate for the relevant part.

Why does the foam matter for a fire certificate?
Contract fire standards such as BS 5852 Crib 5 and BS 7176 test the fabric and filling together as a composite, not the fabric alone. A certificate is valid only for the specific fabric and foam combination tested. If the project uses a different foam from the one named in the certificate, the certificate does not cover the installation, and new testing is required. Always confirm the foam matches the certificate before ordering.

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14 August 202618 August 2026

Fabric Specification Glossary for Interior Designers

This glossary defines the fabric specification terms interior designers and architects meet across the trade, grouped by subject. Where KOTHEA publishes a full guide on a term, the entry links to it. For the complete specification library, see our fabric buying guide by purpose.

Fibres, natural

Cotton (CO). A cellulose fibre spun from the cotton boll. Soft, breathable, takes dye well, and lower in cost than the luxury fibres, but weaker when wet and prone to creasing.

Linen (LI). A cellulose fibre from the flax plant. Strong, cool, and lustrous with a characteristic slub, but creases readily and has low elasticity.

Wool (WO). A protein fibre from sheep. Resilient, naturally flame-resistant, and good at recovering from crushing, which suits it to contract upholstery.

Virgin wool (WV). New wool that has not been previously spun, woven, or felted, as distinct from recycled or reprocessed wool.

Mohair (WM). A protein fibre from the Angora goat, long, smooth, and lustrous with high tensile strength. Prized for velvet pile and carries an inherent fire rating in correctly certified ranges. See our mohair thermal properties guide.

Cashmere (WS). The fine, soft undercoat of the cashmere goat. Exceptionally soft and warm, used for throws and the softest velvets. The composition code WS is unrelated to the WS cleaning code.

Alpaca. A protein fibre from the alpaca, similar to fine wool, soft and warm with good drape.

Angora (WA). The fine, soft fibre of the Angora rabbit, distinct from mohair. Rarely used in upholstery.

Silk (SE). A protein filament produced by the silkworm. Strong for its weight, lustrous, and takes deep colour, but sensitive to water, abrasion, and light.

Fibres, synthetic and man-made

Polyester (PES). A synthetic fibre valued for strength, abrasion resistance, and colour retention. The base for most contract-durable fabrics and for Trevira CS. An older code, PL, is also seen.

Trevira CS. A brand of inherently flame-retardant polyester in which the fire resistance is built into the fibre, so it meets contract fire standards without topical treatment.

Acrylic (PC, PAN). A synthetic fibre with a wool-like handle and strong resistance to light and weathering, which suits it to outdoor and solution-dyed fabrics.

Solution-dyed acrylic. Acrylic coloured by adding pigment to the fibre before extrusion rather than dyeing the finished yarn, giving very high light and weather fastness for outdoor use. See our outdoor terrace fabric specification guide.

Polyamide, nylon (PA). A strong, abrasion-resistant synthetic fibre, often blended for durability.

Viscose (VI, CV). A regenerated cellulose fibre with a silk-like lustre and good drape, but weak when wet and prone to creasing.

Modal (CMD). A regenerated cellulose fibre related to viscose, with higher wet strength and a soft handle.

Lyocell (CLY). A regenerated cellulose fibre, marketed as Tencel, produced in a closed-loop solvent process. Strong, soft, and more environmentally efficient than standard viscose.

Acetate (CA). A cellulose acetate fibre with lustre and drape, used for linings and decorative fabrics. Heat-sensitive and usually dry clean only.

Elastane (EA). An elastic fibre, also known as spandex, blended in small proportions to add stretch and recovery.

Polyurethane (PU). A polymer used as the coating on PU faux leather and as the base of some elastane. See our PVC vs PU leather guide.

Fibre composition abbreviations. Fabric labels state fibre content in standard ISO 2076 codes rather than full names, so a reading such as 70% CV 30% CA is unreadable without them. The full table is in our fabric care symbols and cleaning codes guide.

Weave and construction

Warp. The set of yarns running the length of a fabric, held under tension on the loom.

Weft. The yarns running across the fabric, woven over and under the warp. Also called the pick or filling.

Plain weave. The simplest weave, each weft passing alternately over and under each warp. Firm, flat, and hard-wearing.

Twill. A weave with a diagonal rib, produced by offsetting the interlacing on each row. Denim and herringbone are twills.

Satin weave. A weave with long floating yarns on the surface, giving a smooth, lustrous face and a duller back.

Jacquard. A weave produced on a Jacquard loom that controls each warp yarn individually, allowing complex woven patterns such as damask and brocade rather than printed ones.

Dobby. A weave producing small, repeating geometric figures, made on a dobby loom, simpler than Jacquard.

Damask. A reversible Jacquard-woven figured fabric where the pattern is formed by contrasting satin and matt areas.

Boucle. A fabric woven or knitted from looped, curled yarn, giving a textured, knotted surface.

Chenille. A fabric woven with a fuzzy, caterpillar-like pile yarn, soft with a slight sheen.

Tapestry. A heavy, figured fabric, traditionally hand-woven, now machine-woven for upholstery, with a woven pictorial or ornamental design.

Velvet. A construction, not a fibre: a pile fabric that can be woven from mohair, cotton, silk, linen, cashmere, or synthetic. Fibre determines performance. See our velvet types guide.

Pile. The raised surface of a fabric, formed by yarn ends or loops standing up from the base. It can be cut, as in velvet, or looped.

Cut pile. A pile whose loops are sheared to leave upright tufts, as in velvet.

Looped pile. A pile whose loops are left uncut.

Face. The right side of a fabric, intended to be seen in use.

Backing. A secondary layer bonded to the reverse of a fabric to add stability, as in knit-backed or foam-backed fabrics. See our knit back fabric backing guide.

Selvedge. The finished, non-fraying edge running the length of a fabric on both sides.

GSM. Grams per square metre, the standard measure of fabric weight. A higher GSM usually indicates a heavier, more substantial fabric.

Weight per linear metre. The weight of a one-metre length at full width, distinct from GSM, sometimes quoted on upholstery data sheets.

Durability, abrasion, and physical testing

Martindale. The UK and European abrasion test, expressed as a rub count. The higher the count, the more abrasion the fabric withstands. Contract grade begins at 40,000 rubs. See our Martindale rub test guide.

Martindale classification. The banding of rub counts into use classes: general domestic from 10,000 to 15,000, heavy domestic from 15,000 to 25,000, general contract from 25,000 to 40,000, and heavy contract at 40,000 and above.

Wyzenbeek. The US abrasion test, expressed in double rubs. Not comparable to Martindale and not interchangeable with it on a UK specification. See our Wyzenbeek vs Martindale guide.

Pilling. The formation of small fibre balls on a fabric surface through rubbing. Graded by ISO 12945-2. Distinct from abrasion failure. See our pilling resistance guide.

Seam slippage. The tendency of yarns to pull apart at a stitched seam under load. A key upholstery failure mode tested separately from abrasion.

Tensile strength. The force a fabric withstands when pulled before it breaks.

Tear strength. The force needed to propagate a tear once started, distinct from tensile strength.

Dimensional stability. A fabric’s resistance to shrinking or stretching in use and cleaning.

Shrinkage. The reduction in fabric dimensions after washing or exposure to moisture, usually quoted as a percentage.

Backing. A layer applied to the reverse of a fabric to stabilise it for upholstery. See our knit back fabric backing guide.

Fire and flame retardancy

BS 5852. The UK fire test for upholstered seating, using ignition sources from a cigarette and match up to timber cribs. Source 5, the timber crib, is the contract benchmark. See our BS 5852 Crib 5 guide.

Crib 5. The common name for BS 5852 Ignition Source 5, the wooden-crib ignition test for contract upholstery. Tests fabric and filling as a composite.

Ignition source. The standardised flame or smouldering source used in a fire test, numbered 0 to 7 in BS 5852, with higher numbers representing more severe ignition.

BS 7176. The specification standard for non-domestic seating that references BS 5852 and adds hazard categories and a water-soak durability stage. Medium Hazard is standard for hotels.

BS 5867. The fire standard for contract curtains and drapes, separate from and not interchangeable with the upholstery standards. Type B is general contract, Type C adds a launderability stage. See our contract curtain guide.

BS 476. The UK standard for fire behaviour of building materials. Part 7 measures surface spread of flame, relevant to fabric wall panels. See our BS 476 Part 7 guide.

BS EN 13501-1. The European reaction-to-fire classification for construction products, used for fabric-covered wall and ceiling systems, with Euroclasses from A1 to F.

BS EN 1021. The European cigarette and match ignition test for upholstered furniture. Part 1 covers the smouldering cigarette, Part 2 the match flame.

NFPA 260. A US test method classifying the cigarette ignition resistance of upholstery furnishings.

CAL 117. The California upholstered furniture flammability standard, revised in 2013 to a smoulder-based test.

IMO FTP Code. The marine fire-test framework for commercial vessels. Part 8 covers upholstery, Part 7 curtains, Part 9 bedding. Crib 5 does not substitute for it. See our marine fabric specification guide.

Inherent FR. Fire resistance that is a permanent property of the fibre, as in Trevira CS or correctly certified mohair, and is not removed by cleaning. See our how FR treatment works guide.

Topical FR. Fire resistance applied as a treatment after weaving, which can degrade with cleaning and may need re-treatment. See our FR treatment and fibres guide.

Back-coating. A flame-retardant or stabilising coating applied to the reverse of a fabric. Solvent cleaning can strip it.

Building Safety Act 2022. The UK legislation tightening documentation and accountability for construction products in higher-risk buildings, including fabric specification records. See our Building Safety Act guide.

Colour, light, and fading

Light fastness. A fabric’s resistance to fading under light, graded 1 to 8 on the Blue Wool Scale (ISO 105-B02). Grade 6 or above is needed for sun-exposed positions. See our light fastness guide.

Blue Wool Scale. The reference scale for light fastness, based on eight blue-dyed wool standards that fade at known rates.

Colour fastness. The resistance of a fabric’s colour to fading or transfer under a defined agency such as light, rubbing, water, or cleaning. See our colour fastness and crocking guide.

Crocking. Colour transfer from a fabric surface through rubbing, tested by ISO 105-X12, assessed dry and wet.

Dye lot. A record of a specific dyeing batch. Colour varies between dye lots, so a large or phased order should be secured from one lot. See our lead times and colour matching guide.

Metamerism. When two colours match under one light source but differ under another. See our colour naming and specification guide.

Piece dyeing. Dyeing fabric after weaving, in the piece, as opposed to dyeing the yarn or fibre first.

Yarn dyeing. Dyeing yarn before weaving, which allows woven colour patterns and generally better fastness than piece dyeing.

Solution dyeing. Adding colour pigment to a synthetic fibre before it is extruded, giving the highest light and weather fastness.

Finishes and treatments

Stain-resist finish. A treatment that makes a fabric resist the absorption of liquid and soil, giving time to blot spills before they set.

Fluorocarbon finish. A common stain and water-repellent chemistry applied as a surface treatment. Subject to increasing environmental scrutiny under REACH.

Water-repellent finish. A treatment causing water to bead and run off rather than soak in, distinct from waterproofing.

Antimicrobial finish. A treatment inhibiting the growth of bacteria and fungi on the fabric, relevant to healthcare specification. See our healthcare fabric guide.

Anti-static finish. A treatment reducing the build-up of static charge, relevant to synthetic curtains. See our curtain fabric static guide.

Moth-proofing. A treatment protecting protein fibres such as wool and mohair from moth larvae damage.

Mercerising. A caustic treatment of cotton that increases lustre, strength, and dye uptake.

Calendering. A finishing process passing fabric through heated rollers to produce a smooth, glazed, or embossed surface.

Coated fabrics and faux leather

Faux leather. A coated fabric imitating leather, in three types: PVC, PU, and silicone. See our faux leather types guide.

PVC leather. Faux leather built on a plasticised polyvinyl chloride layer, robust and chemically resistant, readily certified to Crib 5.

PU leather. Faux leather built on a polyurethane coating, softer and more breathable than PVC but generally less durable. See our PVC vs PU leather guide.

Silicone leather. A newer coated fabric using a silicone surface, valued for durability and a cleaner environmental profile than PVC.

Cold crack. The temperature at which a coated fabric stiffens and cracks. Relevant to exterior and marine use. See our cold crack testing guide.

Plasticiser migration. The gradual loss of plasticisers from PVC over time, causing the coating to stiffen and crack.

Delamination. The separation of a coating or backing from the fabric it is bonded to, a common failure mode in PU leather.

Pattern and cutting

Pattern repeat. The distance before a pattern returns to the same position, measured horizontally and vertically. Drives fabric wastage in cutting. See our pattern matching guide.

Straight match. A pattern that aligns across the width at the same point on each panel.

Half-drop match. A pattern offset vertically by half a repeat on each successive width, needing extra fabric to align.

Railroading. Running fabric horizontally along a piece rather than up the roll, to cover wide seating without seams. Only possible where the fabric has no directional pile or pattern.

Up-the-roll. The standard orientation, with the fabric running vertically on the piece as it comes off the roll.

Directional fabric. A fabric with a pile or pattern that must run the same way on every panel, restricting the cutting plan and raising the quantity needed.

Fabric quantity. The metreage a piece needs, driven by size, fabric width, pile direction, and repeat. See our how much fabric to upholster furniture guide.

Cleaning codes

W. Water-based cleaning is suitable. S. Solvent-based dry cleaning only; water can damage the fabric. WS. Either water or solvent cleaning is suitable. X. Vacuum or brush only; no wet or solvent cleaning. See our fabric care symbols and cleaning codes guide.

ISO 3758. The international care-labelling system of pictograms for washing, bleaching, drying, ironing, and dry cleaning, applied to the fabric as a material and distinct from the upholstery cleaning codes.

Sustainability and compliance

REACH. The UK and EU regulation controlling chemicals in products, including textile finishes and dyes. See our REACH compliance guide.

Oeko-Tex Standard 100. A certification confirming a textile has been tested for harmful substances against defined limits.

GOTS. The Global Organic Textile Standard, certifying organic fibre content and environmental and social criteria through processing.

GRS. The Global Recycled Standard, certifying recycled content and chain of custody.

Responsible Wool Standard. A certification covering animal welfare and land management in wool production. See our cashmere and mohair welfare certifications guide.

Mulesing-free. Wool from sheep not subjected to mulesing, a welfare consideration in merino production.

Sustainability certifications. The range of environmental and welfare marks a specifier may require, compared in our fabric sustainability certifications guide.

Commercial and trade

To-the-trade. Sold only to interior designers, architects, and the trade, not to the retail public. KOTHEA is a to-the-trade supplier.

Cutting. A small sample of a fabric supplied to confirm colour, handle, and quality before ordering. Request cuttings at KOTHEA.com/cuttings.

Memo sample. A larger reference sample lent for presentation, returnable to the supplier.

Show length. A longer length supplied to assess a fabric at scale, such as for draping or a large upholstered piece.

Lead time. The interval between order and delivery, longer for handwoven, made-to-order, and bespoke fabrics. See our lead times and colour matching guide.

Minimum order. The smallest quantity a supplier will sell of a given fabric, often higher for bespoke or treated fabrics.

Bespoke colourway. A fabric woven or dyed to a colour specified for a project, subject to a minimum order and a longer lead time.

Dye lot reservation. Securing a single dye lot to cover a full or phased order, preventing visible colour variation between deliveries.

Contract grade. A fabric meeting the performance thresholds for non-domestic use, defined by test results rather than by building type. See our contract versus residential guide.

Quick answers

What does the Martindale rub count mean?
The Martindale rub count is the number of abrasion cycles a fabric withstands in the UK and European abrasion test before showing wear. The higher the number, the more durable the fabric. Contract-grade upholstery begins at 40,000 rubs, and heavy contract use calls for 100,000 or above. It is not comparable to the US Wyzenbeek double-rub figure.

What do the fabric cleaning codes W, S, WS, and X mean?
W means water-based cleaning is suitable. S means solvent-based dry cleaning only, and water can damage the fabric. WS means either water or solvent cleaning is suitable. X means vacuum or brush only, with no wet or solvent cleaning. The code is set for each fabric and should be matched to the cleaning regime of the environment before specifying.

Is velvet a type of fibre?
No. Velvet is a construction, a pile fabric, not a fibre. It can be woven from mohair, cotton, silk, linen, cashmere, or synthetic fibres, and the fibre determines the durability, fire rating, cleaning, and cost. Choosing velvet on appearance alone, without regard to fibre, is a common specification error.

What is the difference between inherent and topical flame retardancy?
Inherent flame retardancy is a permanent property of the fibre, as in Trevira CS polyester or correctly certified mohair, and is not removed by cleaning. Topical flame retardancy is a treatment applied after weaving, which can degrade with cleaning and may need re-treatment. For contract specification, confirm which applies and require the test certificate for the specific fabric and filling combination.

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Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

14 August 202614 August 2026

Contract Curtain Fabric Specification: A Designer’s Guide

Contract curtains are governed by a different fire standard from upholstery, and by a set of practical decisions, fullness, lining, drop, and light control, that determine both cost and performance. This guide covers what a designer needs to specify contract curtains correctly. For the upholstery fire standard, which is separate, see our BS 5852 Crib 5 guide.

The Curtain Fire Standard: BS 5867

Contract curtains are governed by BS 5867 Part 2, not by BS 5852 Crib 5, which applies to upholstery. The two are not interchangeable: a Crib 5 upholstery certificate does not qualify a fabric for contract curtain use, and a curtain certificate does not qualify a fabric for seating. BS 5867 Part 2 has two relevant types. Type B is the standard requirement for most contract environments, hotels, offices, public buildings. Type C adds a launderability pre-conditioning stage and applies where curtains are laundered repeatedly, principally healthcare cubicle curtains washed at 71 degrees Celsius. Specify the type by environment: Type B for general contract, Type C for healthcare and anywhere curtains are regularly laundered.

Most decorative curtain fabrics need topical FR treatment to meet BS 5867. Some inherently fire-resistant fabrics, notably Trevira CS, meet it without treatment. For which fibres can be treated and how, see our FR treatment and fibre compatibility guide and how FR treatment works guide. For the BS 5867 test method and the Type B and Type C wash-cycle detail, see our BS 5867 standard explained.

Light Control: Blackout, Dimout, and Sheer

Light control is specified separately from the face fabric and is usually delivered by the lining. Blackout blocks effectively all light, either through a face fabric with a blackout coating or, more commonly, a separate blackout lining. It is the standard for hotel bedrooms. Dimout reduces light substantially without eliminating it, suitable where full blackout is not required. A sheer or voile controls privacy and glare while admitting daylight, and is often layered with a heavier curtain or a separate blackout blind. Specify the light-control requirement by room: blackout for bedrooms, dimout or sheer-plus-blind for living and meeting spaces.

Fullness and Fabric Quantity

Curtain quantity is driven by fullness, the ratio of flat fabric width to finished curtain width, and by drop. A typical contract fullness is between 2 and 2.5 times the track width for a gathered or pencil-pleat heading, meaning a 3-metre track needs 6 to 7.5 metres of fabric width across the required drops. Wave and wave-style headings often use around 2.2 times. Sheers are frequently fuller, up to 3 times, to read well against the light. Drop is the finished length plus hem and heading allowances. For patterned fabric, add the pattern-repeat allowance on top: see our pattern matching guide for the method, and our fabric quantity guide for upholstery estimates.

Light Fastness for Curtains

Curtains at a window take direct and sustained sunlight, so light fastness matters as much as it does for upholstery in a bright room. A south or west-facing window fades a curtain at the fold lines before the body of the fabric shows change, producing an irregular striped effect that only full replacement corrects. For curtains in sun-exposed positions specify ISO 105-B02 grade 6 or above. For the full grading detail, see our light fastness and Blue Wool Scale guide. For the full specification library organised by environment, application, and performance need, see our fabric buying guide by purpose.

Quick answers

What fire standard applies to contract curtains?
Contract curtains are governed by BS 5867 Part 2, not BS 5852 Crib 5, which applies to upholstery. Type B is the standard requirement for most contract environments such as hotels and offices. Type C adds a launderability pre-conditioning stage and applies to curtains that are regularly laundered, principally healthcare cubicle curtains. A Crib 5 upholstery certificate does not qualify a fabric for curtain use. Most decorative curtain fabrics need topical FR treatment to meet BS 5867, though inherently fire-resistant fabrics such as Trevira CS meet it without treatment.

What is the difference between blackout and dimout curtains?
Blackout blocks effectively all light, delivered either by a face fabric with a blackout coating or, more commonly, a separate blackout lining, and is the standard for hotel bedrooms. Dimout reduces light substantially without eliminating it, suitable where full blackout is not required. Both are usually specified through the lining rather than the face fabric, so the decorative fabric can be chosen independently of the light-control requirement.

How much fabric do I need for contract curtains?
Curtain quantity depends on fullness and drop. A typical contract fullness is 2 to 2.5 times the track width for a gathered or pencil-pleat heading, so a 3-metre track needs 6 to 7.5 metres of fabric width across the required drops. Sheers are often fuller, up to 3 times. Add hem and heading allowances to the finished drop, and add the pattern-repeat allowance on top for patterned fabric.

To request cuttings for a curtain project, visit KOTHEA.com/cuttings.

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Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

14 August 202614 August 2026

How Much Fabric to Upholster Furniture: Estimates by Type

Estimating how much fabric a piece of furniture needs is one of the most common calculations in a specification, and one of the easiest to get wrong. This guide gives working estimates by furniture type in metres, explains the variables that change them, and shows how to add the pattern-repeat allowance. For pattern matching and repeat calculation, see our pattern matching guide.

Estimates by Furniture Type

These are working estimates for plain fabric on a standard piece, based on a 140 cm wide fabric. They are starting points for budgeting and initial ordering, not a substitute for the upholsterer’s measured calculation on the specific frame.

Piece	Plain fabric estimate (140 cm wide)
Dining chair, seat only	0.5 to 0.75 m
Dining chair, seat and back	1.5 to 2 m
Occasional or accent chair	2.5 to 4 m
Armchair	5 to 7 m
Wing chair	6 to 8 m
Two-seat sofa	10 to 14 m
Three-seat sofa	14 to 18 m
Large or corner sofa	18 to 25 m
Headboard, single	2 to 3 m
Headboard, king	3 to 4.5 m
Ottoman or footstool	1.5 to 3 m

What Changes the Estimate

Several variables move the figure up from the base estimate, sometimes substantially. Fabric width is the first: the estimates above assume 140 cm. A narrower fabric, such as 130 cm, needs proportionally more length, and a very narrow fabric changes the cutting plan entirely. Pattern repeat is the second and largest: a patterned fabric needs extra length to align the repeat across panels, added on top of the plain estimate. A directional fabric or one with a pile that must run the same way on every panel, such as velvet, restricts how pieces can be cut and raises the quantity. Deep buttoning, pleating, valances, and contrast piping all add fabric. Loose covers need more than tight upholstery because of tuck-ins and hems.

Adding the Pattern Repeat

The estimates above are for plain fabric. For a patterned fabric, add the repeat allowance on top: one full vertical repeat per cut length for a straight match, one and a half vertical repeats per cut length for a half drop. On a large-scale repeat this can add a significant proportion to the plain figure. The full method, with worked examples, is in our pattern matching guide.

The Rule That Prevents Shortfalls

Always have the upholsterer confirm the measured quantity against the specific frame before the fabric is ordered, and order the full quantity in one dye lot. A job that runs short mid-way needs a fresh order from a potentially different dye lot, which risks a visible colour difference and a programme delay. For dye lot management on larger orders, see our lead times and custom colour matching guide. For the full specification library organised by environment, application, and performance need, see our fabric buying guide by purpose.

Quick answers

How much fabric do I need to reupholster a sofa?
As a working estimate on 140 cm wide plain fabric, allow 10 to 14 metres for a two-seat sofa, 14 to 18 metres for a three-seat sofa, and 18 to 25 metres for a large or corner sofa. These are starting points for budgeting. A patterned fabric needs more to align the repeat, and a directional or pile fabric such as velvet needs more because of cutting restrictions. Always have the upholsterer confirm the measured quantity against the specific frame before ordering.

How much fabric to upholster a dining chair?
For a drop-in or fixed seat only, allow 0.5 to 0.75 metres of 140 cm wide plain fabric per chair. For a chair with an upholstered seat and back, allow 1.5 to 2 metres. Add a pattern-repeat allowance for patterned fabric, and order all chairs in a set from a single dye lot to avoid colour variation between them.

Why does a patterned fabric need more than a plain one?
A patterned fabric must be cut so the repeat aligns across every panel and seam, which means each cut length starts at the same point in the repeat and the fabric between those points is waste. Add one full vertical repeat per cut length for a straight match and one and a half for a half drop. On a large-scale repeat this can add a substantial proportion to the plain estimate.

To request cuttings before committing an order, visit KOTHEA.com/cuttings.

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Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

29 July 202614 August 2026

Fabric Buying Guide by Purpose: Specification Guides for Interior Designers

This guide indexes the KOTHEA fabric specification library by purpose. It is organised three ways: by the environment a fabric is specified for, by the application it is used in, and by the performance requirement that governs the selection. Each entry links to a full guide covering the standards, test methods, and specification detail for that subject. Use it to move from a project requirement to the relevant specification guidance without reading the library in sequence.

By environment

The environment a fabric is specified for determines the combination of fire standard, durability, cleaning compatibility, and light fastness that applies. The guides below cover the principal contract and residential environments.

Hotel and hospitality

Martindale thresholds by room type, BS 7176 Medium Hazard fire certification, cleaning regime compatibility, and dye lot consistency across phased projects are covered in the hotel fabric specification guide. For the thermal and moisture behaviour of mohair in hospitality use, see the mohair thermal properties guide.

Healthcare

Disinfectant cleaning compatibility, BS 7176 fire certification, 100,000 Martindale durability, and infection control are covered in the healthcare fabric specification guide.

Marine and yacht

The IMO FTP Code, MCA MGN 580, and why BS 5852 Crib 5 is not interchangeable with IMO Part 8 are covered in the IMO marine fire standards guide.

Outdoor terraces and semi-outdoor spaces

Exposure mapping, solution-dyed acrylic, outdoor-rated faux leather, and light fastness by location are covered in the outdoor terrace fabric specification guide.

Poolside, spa, and chlorine-exposed areas

Why chlorine degrades fabric by a different mechanism than salt and UV, and what to specify for pool and spa surrounds, are covered in the poolside and chlorine-exposed fabric guide.

Acoustic and home cinema

How heavy velvet absorbs mid and high frequency sound and functions as an acoustic treatment is covered in the velvet sound absorption guide.

Contract versus residential

Why contract grade is defined by performance rather than by building type, and when a residential project needs a contract specification, are covered in the contract versus residential guide.

By application

The application a fabric is used in sets the abrasion, drape, and construction requirements independently of the environment.

Upholstery

The Martindale rub test, its classifications, and how it compares to the Wyzenbeek standard are covered in the Martindale rub test guide and the Wyzenbeek versus Martindale guide. Pilling resistance is covered in the pilling resistance guide, and the tactile character of the principal upholstery fibres in the fabric hand and tactile properties guide.

Curtains

Pattern repeat calculation and matching for curtains and upholstery are covered in the pattern matching guide. The applications where velvet is unsuitable, including several curtain and window conditions, are covered in the when not to use velvet guide.

Wall panels and headboards

BS EN 13501-1, BS 476 Part 7, the composite testing requirement for wall fabric, and the headboard fire standard ambiguity are covered in the wall panels and headboards guide and the BS 476 Part 7 guide.

By performance need

Where a single performance requirement governs the selection, the guides below address it directly.

Fire certification

BS 5852 Crib 5 is covered in the Crib 5 guide. How FR treatment works and which fibres can be treated are covered in the how FR treatment works guide and the FR treatment and fibres guide. Dye and FR treatment compatibility is covered in the dye types and FR treatment guide. The Building Safety Act 2022 documentation requirements are covered in the Building Safety Act guide.

Chlorine, UV, and salt resistance

Chlorine exposure is covered in the poolside and chlorine-exposed fabric guide. Light fastness and UV fading are covered in the light fastness and Blue Wool Scale guide. Cold crack temperature performance for coated fabrics in exterior and marine use is covered in the cold crack temperature testing guide.

Colour fastness and matching

Colour fastness and crocking are covered in the colour fastness and crocking guide. Colour naming, systems, and metamerism are covered in the colour naming and specification guide.

Chemical compliance and sustainability

UK REACH compliance is covered in the REACH compliance guide. Sustainability certifications are covered in the fabric sustainability certifications guide. Cashmere and mohair welfare certification is covered in the cashmere and mohair welfare certifications guide. Faux leather sustainability is covered in the faux leather sustainability guide.

Material selection

Velvet types compared across every specification dimension are covered in the velvet types guide, with mohair and cotton velvet compared directly in our mohair velvet vs cotton velvet guide. Faux leather types are compared in the faux leather types guide, with PVC and PU compared directly in our PVC vs PU leather guide.

Procurement and project planning

How much fabric a chair, sofa, or headboard needs is estimated in the how much fabric to upholster furniture guide. Contract curtains, covering the BS 5867 fire standard, light control, and fullness, are specified in the contract curtain fabric specification guide. How to write a complete fabric specification and what certificates to require is set out in the how to write a fabric specification guide. Definitions of the terms used across these guides are collected in the fabric specification glossary. Which fabric decision belongs at each project stage is covered in the RIBA Plan of Work fabric guide. Lead times, cuttings, dye lot reservation, and custom colour matching are covered in the lead times, cuttings and custom colour matching guide.

Quick answers

How do I choose the right fabric for a contract project?
Start from the governing requirement. Where a single environment sets the specification, such as a hotel, healthcare, marine, or poolside setting, the environment guide covers the full combination of fire, durability, cleaning, and light fastness standards that apply. Where a single performance requirement governs, such as fire certification or chlorine resistance, the relevant performance guide addresses it directly. Confirm the fire standard, Martindale threshold, cleaning code, and light fastness grade for the specific application before selecting a fabric.

What fire standard does my project need?
For most UK contract upholstery the standard is BS 7176 Medium Hazard, which incorporates BS 5852 Crib 5. Marine interiors follow the IMO FTP Code under MCA MGN 580, which is not interchangeable with Crib 5. Wall panels and headboards may fall under BS 476 Part 7 or BS EN 13501-1 depending on construction. The fire certification guides linked above cover each standard and when it applies.

How do I request samples of KOTHEA fabric?
Request cuttings of any KOTHEA fabric at KOTHEA.com/cuttings. Request cuttings early in the selection process, and where a scheme depends on several fabrics together, request cuttings of all of them so the combination can be assessed under the project’s lighting conditions before specification is finalised.

To request cuttings from the KOTHEA range, visit KOTHEA.com/cuttings.

Request Samples

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

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Our Collections

Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

6 April 202614 August 2026

Pattern Matching in Upholstery and Curtains: A Practical Guide for Interior Designers

Mohair, Cotton and Silk Velvet Textured Upholstery Patterned

Pattern Matching in Upholstery and Curtains: A Practical Guide for Interior Designers

The two pattern types: Straight match — each row of pattern repeats horizontally across the width at the same height. Half drop — each alternate width drops by half the vertical repeat before the pattern continues.
Extra fabric required: For a straight match, add one full vertical repeat per cut length. For a half drop, add one and a half vertical repeats per cut length.
The most expensive mistake: Ordering without accounting for pattern repeat on a large-scale repeat fabric. On a 64 cm vertical repeat, the wastage per cut length can exceed 50% of the usable fabric.
The practical rule: Always calculate yardage with the pattern repeat confirmed before ordering. Never estimate.

Pattern matching is one of the most practically consequential fabric skills in interior design and one of the most frequently handled incorrectly at the ordering stage. The error is almost always the same: the quantity of fabric ordered does not account for the waste inherent in aligning a patterned fabric across multiple widths and cut lengths. The result is fabric that runs short before the job is complete, requires a new order from a potentially different dye lot, and causes programme delay and additional cost. This guide explains how pattern repeats work, how to calculate the correct quantity, and how to specify pattern matching requirements clearly to upholsterers and curtain makers.

Understanding Pattern Repeats

A pattern repeat is the smallest unit of the pattern that, when tiled continuously, produces the complete fabric design. It is defined by two dimensions: the horizontal repeat (also called the width repeat or across repeat) and the vertical repeat (also called the length repeat or drop repeat).

The horizontal repeat determines how many times the pattern occurs across the width of the fabric. For a fabric 140 cm wide with a 35 cm horizontal repeat, the pattern repeats four times across the width. This is important for matching patterns across seams in upholstery and across drops in curtaining.

The vertical repeat determines the distance along the length of the fabric before the pattern returns to the same position. For a fabric with a 64 cm vertical repeat, a mark at a given point in the pattern will appear again 64 cm further along the length. This is the dimension that drives fabric wastage in cutting, because cut lengths must begin at the same point in the repeat to allow the pattern to match across widths.

Straight Match vs Half Drop

A straight match (also called a set match) is the simpler of the two main pattern arrangements. Every width of the fabric begins at the same point in the vertical repeat. When two widths are laid side by side, the pattern runs horizontally straight across the join without any vertical offset. Calculating the cut lengths for a straight match requires only one additional vertical repeat per cut length to account for the cutting waste.

A half drop match offsets each alternate width by half the vertical repeat. Width one begins at the top of the repeat. Width two begins at the halfway point. Width three returns to the top. When the widths are laid side by side, the pattern appears to step diagonally across the fabric. The half drop creates a more dynamic, less rigid pattern arrangement and is used for many large-scale geometric and floral repeats.

Calculating yardage for a half drop is more complex than for a straight match. In practice the effective usable repeat per cut length is the full vertical repeat plus half a repeat, not simply the full repeat — giving one and a half repeats per cut length as the minimum allowance.

Calculating Extra Fabric for Pattern Repeats

The standard industry method adds one full vertical repeat per cut length for a straight match, and one and a half vertical repeats per cut length for a half drop. These figures are the minimum safety allowances. For complex upholstery pieces with many separate panels, the wastage per panel compounds and may require a larger safety allowance.

A worked example for curtaining. The window requires four widths of fabric each 280 cm in length. The fabric has a 64 cm vertical repeat and a straight match. The base fabric required is four widths at 280 cm each, totalling 1,120 cm (11.2 metres). The pattern repeat allowance is one full repeat per cut length: four widths at 64 cm each, totalling 256 cm (2.56 metres). Total fabric required: 13.76 metres, rounded up to 14 metres. Ordering 11.2 metres would result in the job running approximately 3 metres short.

The same example with a half drop. The repeat allowance becomes one and a half repeats per cut length: four widths at 96 cm each, totalling 384 cm (3.84 metres). Total fabric required: 15.04 metres, rounded up to 16 metres. On a large scheme — a hotel with 40 windows of this specification — the difference between correct and incorrect pattern repeat calculation is significant in both cost and fabric quantity.

Pattern Matching in Upholstery

Pattern matching in upholstery is more complex than in curtaining because the pattern must be centred and aligned on each visible panel of the piece — seat, back, arms, and cushions — while the joins between panels must match. An upholsterer working with a patterned fabric must plan every cut from the fabric before cutting anything, to confirm that the pattern will align correctly across all panel joins and will be centred on each visible face.

Centring is the starting point. The dominant element of the pattern should be centred on the seat and on the back panel. This centring determines where the first cut of the pattern must be taken from on the fabric width. If the horizontal repeat does not divide equally into the seat width, some pattern will be lost at the sides. This is expected and acceptable. What is not acceptable is an unchecked centring that places a partial motif — half a flower head, half a diamond — at the centre of the seat.

Panel joining must be planned simultaneously with centring. If the seat panel requires the pattern to begin at a certain height, the back panel must begin at the same height in the repeat to allow the join to match at the seat-back junction. Planning all of these alignments together before cutting is the mark of an experienced upholsterer working with pattern fabric. The designer should confirm this planning process will be followed before the upholsterer cuts the fabric.

Large-Scale Repeats: Special Considerations

Large-scale pattern repeats — vertical repeats of 60 cm or above — require the most careful yardage calculation and pre-cut planning. At these scales the wastage per cut length can represent a significant proportion of the usable fabric. For a fabric with a 90 cm vertical repeat used on a chesterfield sofa requiring twenty separate panels, the pattern repeat allowance per panel may be the full 90 cm vertical repeat regardless of the panel height.

Large-scale repeats also demand that the upholsterer confirms the cut plan with the designer before cutting. Once the fabric is cut the pattern alignment is fixed. If a cut is wrong, the pattern in subsequent panels will be permanently misaligned and there may not be enough remaining fabric to recut.

Specifying Pattern Matching Requirements

When handing fabric to an upholsterer or curtain maker with a pattern repeat, specify the following in writing. The pattern type — straight match or half drop. The vertical repeat in centimetres. The horizontal repeat in centimetres. The centring requirement. The join requirement. And the instruction that a cut plan must be presented for approval before any cutting begins on pattern-critical pieces.

On complex pieces, consider requesting a paper pattern plan — a diagram showing which part of the pattern repeat each cut begins and ends at, with all panel joins annotated — before the fabric is handed over. This adds no significant time to the job while preventing the most common pattern matching failures.

Quick answers

How much extra fabric should I order for a patterned fabric?
Add one full vertical repeat per cut length for a straight match pattern. Add one and a half vertical repeats per cut length for a half drop pattern. For upholstery with multiple panels, apply the same allowance per panel rather than per complete piece. Always confirm the exact repeat dimensions from the fabric data sheet, not from the physical sample, before calculating.

What is the difference between a straight match and a half drop?
In a straight match, every width of the fabric begins at the same height in the pattern repeat. The pattern runs horizontally straight across joins. In a half drop, alternate widths are offset by half the vertical repeat. The pattern appears to step diagonally across the fabric. Half drops typically require more fabric and more complex cutting planning than straight matches of the same repeat size.

How do I centre a pattern on an upholstered piece?
Identify the dominant or focal element of the pattern. This element should be centred on the seat panel and the back panel. Lay the fabric across the seat frame or the cut panel template before cutting to confirm the centring visually. Once confirmed, use this as the reference point for all subsequent panel cuts to ensure joins align correctly.

Should I ask my upholsterer to produce a cut plan?
Yes, for any pattern-critical piece — a sofa or armchair with a large-scale repeat, a headboard with a central medallion, multiple matching pieces in a scheme. A cut plan shows which part of the repeat each panel is cut from and confirms that the pattern will align correctly across all joins before any fabric is cut. Make it a standard requirement for any patterned upholstery job.

For how much plain fabric a chair, sofa, or headboard needs before the pattern-repeat allowance is added, see our how much fabric to upholster furniture guide.

For fabric hand and handling properties, see our fabric hand and tactile properties guide. For fabric specification within project stages, see our RIBA Plan of Work fabric specification guide.

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

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Our Collections

Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

6 April 202628 July 2026

When Not to Use Velvet — and What to Specify Instead

Black mohair velvet upholstery on a regal chair

When Not to Use Velvet — and What to Specify Instead

Velvet fails fastest in: High-UV environments, wet or humid conditions, applications requiring water-based cleaning, tight upholstery with sharp frame edges.
The most common misspecification: Cotton or synthetic velvet in a contract environment without Crib 5 certification, or any velvet in an outdoor or semi-outdoor setting.
What this guide covers: The specific applications and conditions where velvet is the wrong choice and what to specify instead for each scenario.

Velvet is one of the most commercially significant upholstery fabrics in the UK interior design market. It also generates more specification failures than almost any other fabric type. The failures are not caused by velvet being an inferior product — at its best, contract mohair velvet is among the most technically capable upholstery fabrics available. They are caused by velvet being specified in conditions for which it is structurally unsuitable. This guide is a frank account of when not to use velvet and what to choose instead.

For comparative performance data of different velvet types, see our velvet types compared guide.

Outdoor and Semi-Outdoor Environments

No natural-fibre velvet — mohair, cotton, linen, silk, cashmere — is suitable for outdoor or semi-outdoor use. The pile structure of velvet traps and retains moisture, which in outdoor conditions accelerates mould and mildew growth within the pile. UV exposure degrades natural fibre dyes at a much faster rate on outdoor velvet because the pile structure increases the surface area exposed to UV radiation relative to the fabric weight.

Semi-outdoor applications — covered terraces, glazed atriums with opening panels, poolside seating under a canopy — are equally problematic. The combination of occasional direct moisture exposure and sustained UV transmission produces conditions that natural-fibre velvet cannot tolerate.

Specify instead: Solution-dyed acrylic, high-specification outdoor polyester, or marine-grade PVC faux leather with UV stabilisers. See our IMO marine standards guide for marine and outdoor fabric guidance.

High-Humidity Environments

Velvet in sustained high-humidity conditions — spa changing rooms, pool surrounds, steam room lobbies — absorbs atmospheric moisture and does not dry quickly due to the density of the pile. Retained moisture in the pile base creates conditions for mould growth and accelerates deterioration of the backing structure.

Specify instead: PVC or silicone faux leather, both of which are non-absorbent and can be wiped dry. See our faux leather types compared guide.

Applications Requiring Regular Water-Based Cleaning

Most velvet carries a cleaning code of S — solvent-based dry cleaning only. Water applied to S-coded velvet causes watermarks and pile distortion that may be permanent. In any environment where the cleaning team applies water-based products to upholstered surfaces as standard — hotel bedrooms on standard cleaning schedules, restaurant seating cleaned between services with damp cloths, healthcare environments requiring wet disinfection — S-coded velvet is incompatible with the operational reality.

This is the most common operational failure with velvet in hospitality environments. The fabric is specified, installed, and cleaned incorrectly within the first week.

Specify instead: Confirm whether the specific velvet range carries a WS code rather than S. If water-based cleaning is unavoidable throughout the scheme, specify PVC faux leather for those positions and use velvet in areas — headboards, decorative cushions, low-use occasional seating — where the cleaning regime can be controlled.

South-Facing Rooms and High-Light Environments

Velvet in pale colourways in south-facing rooms will show fading faster than an equivalent flat-woven fabric. The pile structure presents a larger surface area to light than a flat weave of the same fibre and weight, accelerating photodegradation of the dye. For guidance on light fastness ratings and room orientation, see our light fastness and Blue Wool Scale guide.

Specify instead: Confirm the ISO 105-B02 grade for the specific colourway before ordering. For very high-light conditions, specify dark mohair velvet colourways or move to a flat-woven fabric in a light-fast colourway for the most exposed positions.

Tight Upholstery Over Sharp Frame Edges

Velvet pile is vulnerable at points where the fabric is pulled tightly over sharp frame edges — the corners of seat pads, the edges of dining chair backs. At these points the pile is subjected to sustained localised tension that gradually pulls fibres from the pile base, causing thinning and eventually pile loss. When specifying velvet for an upholstery project, ensure the furniture specification calls for appropriately softened frame edges at all contact points.

Specify instead: For furniture with unavoidably sharp frame edges, specify a flat-woven fabric in a comparable colour and weight. The absence of pile eliminates the pile-loss risk at edges entirely.

Healthcare Environments Requiring Disinfectant Cleaning

Healthcare environments use cleaning products — hypochlorite bleach solutions, quaternary ammonium compounds, alcohol-based disinfectants — that are incompatible with the cleaning codes of most velvet fabrics. The pile structure traps contaminants and cannot be cleaned to clinical standards.

Specify instead: Silicone leather for patient-contact seating in clinical environments. For full guidance, see our fabric for healthcare environments guide.

Budget-Constrained Projects Where Velvet Requires FR Treatment

Cotton, linen, and synthetic velvets that do not carry an inherent Crib 5 certification require FR treatment for contract use. The treatment adds cost, programme time, and introduces dye interaction risks in certain colourways. For a budget-constrained project, the total cost including treatment may exceed the cost of an alternative with inherent certification. See our dye types and FR treatment guide for the specific risks.

Specify instead: Mohair velvet with independently certified Crib 5 achieved without topical treatment eliminates the treatment cost, programme time, and dye risk entirely.

Quick answers

Can velvet be used outdoors?
No natural-fibre velvet is suitable for outdoor or semi-outdoor use. The pile structure retains moisture and the fibres degrade rapidly under UV exposure. For outdoor or covered terrace seating, specify solution-dyed acrylic or marine-grade PVC faux leather engineered for outdoor conditions.

Why does velvet watermark?
Water applied to velvet causes individual pile fibres to mat together in the wetted area as surface tension pulls fibres toward the water droplet. When the water evaporates, the fibres dry in this distorted position. The resulting mark is permanent in most natural-fibre velvets once dried. This is why most velvet carries a cleaning code of S.

Is any velvet suitable for areas that need water-based cleaning?
Some synthetic velvets carry a W or WS cleaning code and can be spot-cleaned with water-based products. Confirm the cleaning code on the specific range data sheet before specifying and test compatibility with the specific cleaning product before installation. No natural-fibre velvet should be specified where water-based cleaning will be applied routinely.

When is velvet the right choice despite its limitations?
Velvet is the right choice when its specific combination of properties — tactile quality, depth of colour, inherent Crib 5 for mohair, high Martindale count, and visual character — aligns with the project requirements and the operational environment is compatible with its care requirements. Hotel lobby seating, restaurant banquettes in dry controlled environments, residential sofas, headboards, cushions, and curtains in appropriate light conditions are all applications where correctly specified velvet performs excellently.

For velvet types and comparative performance, see our velvet types compared guide. For hotel velvet specification, see our hotel fabric specification guide. For alternatives in high-cleaning environments, see our faux leather types compared guide.

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Our Collections

Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

6 April 202628 July 2026

Mohair Thermal Properties: Why It Works in Hotels Year-Round

Mohair Thermal Properties: Why It Works in Hotels Year-Round

The key property: Mohair fibre is hollow at the microscopic level, trapping air and providing insulation without the bulk associated with wool.
The practical result: Mohair feels warm to the touch but does not cause overheating in sustained use — it regulates temperature rather than simply retaining heat.
Moisture management: Mohair absorbs up to 30% of its weight in moisture vapour before feeling damp, making it comfortable across a wide range of humidity conditions.
Why it works in hospitality: The combination of thermal regulation and moisture management makes mohair velvet comfortable across seasons and climates without the seasonal specification limitations of most upholstery fabrics.

Most upholstery fabric discussions focus on durability, fire rating, and cleaning compatibility. The thermal and moisture management properties of mohair velvet are less frequently discussed but are commercially significant in hospitality environments where guests sit for extended periods across a wide range of ambient temperatures and humidity levels. This guide explains the physical mechanism behind mohair’s thermal performance, how it compares to other upholstery fibres, and why these properties support specification in hotel and hospitality environments year-round.

The Hollow Fibre Structure

Mohair fibre — the hair of the Angora goat — has a medullated structure. The fibre contains a medulla, a cellular core that runs through the centre of the fibre and creates air-filled spaces within the fibre itself. This hollow structure traps air within the fibre rather than just between fibres as in a conventional yarn. Trapped air is an excellent insulator: it reduces the rate at which heat is conducted away from the body.

The result is a fibre that provides warmth without the density and bulk required by other fibres to achieve the same insulating effect. A mohair velvet achieves its thermal character at a lower pile weight than a wool velvet of equivalent warmth performance. This is commercially relevant in upholstery because it means a warmer fabric without the added weight that can make a piece feel heavy or overbuilt.

Temperature Regulation Rather Than Heat Retention

The distinction between a fabric that retains heat and one that regulates temperature matters for extended seating use. A fabric that simply retains heat will feel warm initially but cause discomfort in sustained contact as body heat accumulates at the fabric surface and cannot dissipate. This is the mechanism behind the stickiness associated with non-breathable synthetic upholstery in warm environments.

Mohair velvet regulates rather than simply retains. The hollow fibre structure and the natural protein composition of mohair allow the fibre to respond to changes in body temperature and humidity. When the body produces more heat and moisture, the fabric absorbs moisture vapour from the skin and the warmer air near the body surface can circulate through the pile structure. When conditions cool, the absorbed moisture is released and the fibre’s insulating properties provide warmth.

This active thermal behaviour is described in textile science as hygroscopic regulation — the fibre’s ability to absorb and release moisture in response to environmental conditions moderates the microclimate between the body and the fabric surface. It is the same mechanism that makes wool and cashmere comfortable across a wider temperature range than synthetic fibres of equivalent weight.

Moisture Management

Mohair can absorb up to approximately 30% of its own dry weight in moisture vapour before the surface of the fibre begins to feel damp to the touch. This high moisture absorption capacity means that perspiration from guests sitting for extended periods is absorbed by the fibre and held within the fibre structure rather than remaining at the fabric surface. The fabric surface continues to feel dry even as the fibre absorbs moisture.

The absorbed moisture is subsequently released as the ambient conditions change — when the guest leaves and the seat is unoccupied, or when the ambient temperature drops — restoring the fabric to its dry state without the need for active drying or cleaning. This self-refreshing behaviour is a practical advantage in hospitality environments where upholstery is in continuous use throughout the day and cannot be dried between seatings.

The moisture absorption also generates a small amount of heat — a property known as heat of sorption — which contributes to the warm sensation associated with wool and mohair in cooler conditions.

Comparison with Other Upholstery Fibres

Cotton and linen are cellulosic fibres with good moisture absorption but no hollow fibre structure. They absorb moisture well but do not provide the same insulating warmth as mohair. A cotton velvet feels cooler to first touch than mohair of equivalent pile weight.

Polyester and other synthetic fibres have very low moisture absorption — typically below 1% of their dry weight. Synthetic upholstery fabrics do not absorb perspiration; it remains at the fabric surface and evaporates slowly, producing the clammy sensation associated with synthetic seating in warm environments. In cool conditions, synthetic fabrics feel cold to first touch because they conduct heat away from the body rapidly.

Faux leather — PVC and PU — has negligible breathability or moisture absorption. It is comfortable for short contact periods but in extended seating in warm conditions the lack of moisture management becomes uncomfortable, a practical consideration where guests may sit for two to three hours.

Why This Supports Year-Round Hospitality Specification

A hotel lobby, bar, or restaurant operates across a wide range of seasonal temperatures. In winter, guests arrive from cold outdoor conditions and the ambient temperature is maintained at 20 to 22 degrees Celsius. In summer, the ambient temperature may be similar but guests arrive warm. The thermal and moisture management demands on the upholstery fabric are very different across these conditions.

Mohair velvet performs well in both conditions because its thermal regulation is active rather than passive. The hollow fibre provides insulation in cool conditions. The moisture absorption capacity prevents surface dampness in warm conditions. The pile structure allows some air circulation through the fabric in warm conditions while maintaining pile density and pile recovery in cool conditions. The result is a fabric that does not need to be specified differently for summer and winter.

Quick answers

Why does mohair feel warm?
Mohair fibre has a medullated hollow core that traps air within the fibre itself, providing insulation without requiring the bulk of denser fibres. The protein structure of mohair also generates a small amount of heat when it absorbs moisture — a property called heat of sorption — which contributes to the warm sensation on first contact. Unlike synthetic fibres, which conduct heat away from the body rapidly and feel cold to first touch, mohair conducts heat more slowly and feels immediately warm.

Does mohair velvet become uncomfortable in warm weather?
No. Mohair can absorb up to approximately 30% of its weight in moisture vapour before the surface feels damp. In warm conditions, perspiration from guests is absorbed into the fibre and held away from the skin surface, keeping the fabric surface dry. In sustained warm-weather use, mohair remains more comfortable than non-breathable synthetic alternatives.

Is mohair velvet suitable for restaurant seating where guests sit for long periods?
Yes, provided the Martindale rub count and fire certification meet the requirements of the specific environment. The thermal and moisture management properties of mohair are well-suited to extended seating use. For restaurant seating Martindale thresholds, see our hotel fabric specification guide.

For mohair velvet specification data including Martindale rub counts, fire ratings, and colourways, see the mohair velvet upholstery page. For velvet type comparisons, see our velvet types compared guide. For fabric hand and tactile properties, see our fabric hand guide.

Request Samples

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

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Our Collections

Mohair Velvet Faux Leather Cashmere Throws Silks Linen Textured Upholstery

Specification Guides

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

6 April 202628 July 2026

Pilling Resistance in Upholstery Fabric: A Guide for Interior Designers

Pilling Resistance in Upholstery Fabric: A Guide for Interior Designers

What pilling is: Small balls of tangled fibre that form on the fabric surface through friction and use, altering appearance even when the fabric remains structurally intact.
The test: ISO 12945-2 Martindale pilling test, graded 1 to 5. Grade 5 is no change. Grade 4 is slight surface fuzzing. Grade 3 is moderate pilling. Contract minimum is grade 4.
Highest pilling risk: Short-staple fibre blends, loosely twisted yarns, natural-synthetic blends.
Lowest pilling risk: Long-staple natural fibres, tightly twisted yarns, high-density weaves, mohair velvet.

A fabric can achieve 80,000 Martindale rubs and still pill badly. Abrasion resistance and pilling resistance are distinct properties measured by different tests. A fabric that resists structural wear may nevertheless develop an unsightly surface of small fibre balls within months of use, fundamentally altering its appearance without any yarn breaking. For pile fabrics in particular, pilling can destroy the visual quality of a fabric long before its structural integrity is compromised. This guide explains what causes pilling, how it is tested, which fabrics carry the highest and lowest risk, and what to specify to avoid problems in contract use.

For abrasion resistance and Martindale rub counts, see our Martindale rub test guide. For velvet types and their performance characteristics, see our velvet types compared guide.

What Causes Pilling

Pilling begins when individual fibres work free from the yarn structure through friction and mechanical stress. Loose fibre ends at the surface of the fabric are caught by adjacent surfaces and tangled together into small balls. These balls remain attached to the fabric by the fibres still anchored within the yarn, which is why they do not simply fall off. The ball continues to grow as more loose fibres are captured and incorporated into it.

The size and tenacity of pills varies by fibre type. Natural fibres produce pills that are relatively fragile and may eventually detach from the fabric surface through continued friction. Synthetic fibres produce pills that are anchored by stronger fibres that do not break under continued use. The pills grow, persist, and resist removal. This is why fabrics containing synthetic fibres often pill more visibly and permanently than pure natural-fibre fabrics.

Blended fabrics often pill worst of all. The short, weak natural fibres break loose from the yarn easily, producing the loose ends that form pill nuclei. The stronger synthetic fibres then anchor the pills to the fabric surface, preventing them from detaching. The result is persistent, anchored pills formed from natural fibre content but held in place by synthetic fibre anchors.

The Pilling Test: ISO 12945-2

Pilling resistance is tested to ISO 12945-2 using the Martindale machine with a different abradant. For pilling assessment, the fabric sample is rubbed against itself rather than against a worsted wool abradant. The machine runs for a defined number of cycles and the sample is then assessed visually against reference photographs and graded on a scale of 1 to 5.

Grade 5 indicates no change. Grade 4 indicates slight surface fuzzing or early-stage pilling, barely visible in normal viewing conditions. Grade 3 indicates moderate pilling, noticeable in normal use. Grade 2 indicates distinct pilling. Grade 1 indicates severe, dense pilling across the whole surface.

The test is typically run at 125, 500, 1000, and 2000 cycles. A fabric assessed at 2000 cycles with a grade of 4 or above is considered acceptable for contract upholstery use. The contract minimum is grade 4. A fabric achieving grade 3 at 2000 cycles will show noticeable pilling in use and is not appropriate for contract seating applications regardless of its Martindale abrasion count.

Fibre Types and Pilling Risk

Mohair. Lowest pilling risk of all natural-fibre velvets. The long-staple mohair fibre has fewer free ends per unit length of yarn than short-staple fibres. Fewer free ends means fewer pill nuclei. The smooth surface of the mohair fibre also means that free ends slide rather than tangle, reducing the rate of pill formation. Mohair velvet in contract grades typically achieves grade 4 to 5 at 2000 cycles.

Wool. Low to moderate pilling risk depending on fibre length and yarn construction. Merino wool pills less than coarser short-staple wool. Tightly spun wool yarns pill less than loosely spun yarns of the same fibre.

Cotton. Moderate pilling risk. Short-staple cotton varieties pill more than long-staple varieties such as Egyptian or Pima cotton. Cotton velvet is more susceptible to pilling than mohair velvet because cotton fibres are shorter and the pile construction exposes more free ends per unit area.

Linen. Low pilling risk. Linen is a long-staple bast fibre. The fibre length and relatively smooth surface reduce pill formation compared to cotton.

Polyester. High pilling persistence if it pills at all. Synthetic fibres anchor pills rather than allowing them to detach. When pills do form they are tenacious.

Natural-synthetic blends. Highest pilling risk in practice. Specifying blends for contract upholstery requires specific pilling grade confirmation, not just Martindale abrasion data.

Construction Factors That Affect Pilling

Yarn twist affects pilling directly. A high-twist yarn locks fibres into the yarn structure more firmly, reducing the number of free ends exposed at the surface. A low-twist yarn allows fibres to work free more easily. Two fabrics of the same fibre and weight can have very different pilling grades depending on the yarn construction.

Weave density affects pilling by controlling the movement of yarns at the fabric surface. A tight, dense weave restricts yarn movement and reduces the abrasion between adjacent yarns that generates free fibre ends.

Pile construction in velvet affects pilling through pile height and density. A short, dense pile has fewer exposed free ends per unit area than a long, open pile of the same fibre. Contract-grade velvet is typically specified with a denser, shorter pile than residential velvet partly for this reason.

Pilling in Use: What Clients Experience

Pilling in upholstery is most visible in areas of sustained friction — seat cushions where clothing rubs against the fabric, and armrests. In a hotel or restaurant environment, denim in particular is highly abrasive and accelerates pilling. Pilling is not repairable in the way that surface staining can sometimes be treated. A pilled fabric requires either mechanical depilling — a temporary intervention — or replacement. Brief clients on pilling risk at the point of specification, particularly for natural-fibre pile fabrics in contract environments.

Quick answers

What is the difference between pilling and abrasion?
Abrasion is the physical wearing away of yarn structure through friction, measured by Martindale rub count. Pilling is the formation of surface fibre balls through the tangling of loose fibre ends, measured separately by ISO 12945-2. A fabric can have a very high Martindale abrasion count and still pill badly. Both should be confirmed before specifying a fabric for contract use.

What pilling grade should I specify for contract upholstery?
Grade 4 minimum to ISO 12945-2 at 2000 cycles. For high-traffic environments, grade 4 to 5 is a more defensible specification. Always confirm the grade for the specific colourway being ordered, as pilling grades can vary between colourways in the same range.

Does mohair velvet pill?
Mohair velvet has the lowest pilling risk of any natural-fibre velvet due to the long staple length and smooth surface of the mohair fibre. Contract-grade mohair velvet typically achieves grade 4 to 5 at 2000 cycles. It is the most pill-resistant natural-fibre velvet available for contract upholstery.

Why do natural-synthetic blend fabrics pill so badly?
Natural-synthetic blends combine the pill-forming tendency of short natural fibres with the pill-anchoring strength of synthetic fibres. The result is persistent, anchored pills that grow with continued use. Blended fabrics for contract use require specific pilling grade confirmation before specifying.

For abrasion test method differences between Martindale and Wyzenbeek, see our Wyzenbeek vs Martindale guide.

For abrasion resistance, see our Martindale rub test guide. For velvet types and contract suitability, see our velvet types compared guide.

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6 April 202614 August 2026

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

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

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