Wondering how to clean synthetic fabric drapes?

In reviewing my posts over the last 9 months or so, I noticed that, while I had shared information on how to clean and maintain cotton velour drapes, I haven’t posted about cleaning drapery made from a synthetic fabric, whether it be a synthetic velour or another synthetic fabric.  So, I thought it was about time that I do so!

The first thing to consider is whether the fabric is topically treated for flame retardancy (FR) or is inherently/permanently/durably flame retardant (IFR/PFR/DFR).  Generally, you can find out this information by reviewing the Certificate of Flame Retardancy issued by the drapery manufacturer.  This is important, because some synthetic fabrics must still be topically treated for flame retardancy.

If your drape has been topically treated for flame retardancy, the drape must be dry-cleaned, using the same procedures as my earlier post for cleaning cotton velour.   Do not launder or otherwise clean with liquids!

However, if your drape is from an inherently/permanently/durably flame retardant fabric (such as Avora® or Trevira® polyesters and many other polyesters), you have the option to either launder or dry clean.  Smaller drapery can be machine-washed in any home washing machine.  Larger drapery should be professionally laundered or dry-cleaned.  Be aware that there could be a small amount of shrinkage (generally not more than 1%) when laundering.

Washing

• Wash lights and darks separately
• Hand wash or machine wash (“Delicate” cycle)
• Cold water
• Mild detergent (such as Woolite®)
• No bleach
• Hang dry or tumble dry at low to medium heat
• Once drapes are dry, immediately hang or roll to prevent wrinkling

Dry Cleaning

• Request the use of fluorcarbon solvents under easy care conditions

Spot Cleaning of non-velour fabrics

• For drapes made from fabrics without a nap (such as Poly Muslin), you can also choose to spot clean if the drape is generally clean but has one or two small spots 
• Use a stick stain remover (such as Tide To Go®) to help prevent water stains (which could result through use of spray and rinse type stain removers).

Maintenance

Proper maintenance can extend the life of the drapery.  If drapery is kept hanging (such as in a theatre), dust may accumulate on the drape.  To remove the dust, first brush the back of the drape, working from the left side to the right, using a soft bristled brush.  For non-napped fabrics, next brush the face of the drape in the same manner.  For napped fabrics (such as a synthetic velour), brush the face twice – first brushing the entire face of the drape by going against the nap and then brush the entire face of the drape by going with the nap.

If your drapes do not remain hanging but are instead stored for later use, make to store them properly.  Do not store in plastic as this can cause moisture to accumulate (which could lead to mildew or mold).  Instead, store in a Sew What? drapery bag or in a canvas bag or hamper.  To minimize wrinkling, fold along the width and then roll the drape from the bottom up to the top.  If possible, hang the drape several days before needed so that wrinkles can “hang out.”

If you enjoyed this post, make sure you subscribe to our RSS feed!

Hanging option – Easy Klips

A couple of years ago, we started selling a product that I think is a really nifty little item, especially for special event projects in which drapery is only going to be used for a single short-term event or for a tour in which drapery will be used in multiple venues.

It’s called an Easy Klip, and it really is ingenious.  It is a smallish glass-fibre reinforced nylon eyelet clip (less than 3″ long and about 1 1/2″ wide) that is quick to attach, reusable, strong (each can hold up to 220 pounds) and can be repositioned in moments.  This makes it ideal for touring productions and special events companies, in which the infrastructure of the location (trusses, battens, ceiling joists, etc.) may not be as uniform or standardized as in a traditional theatre.

Here is how it works.  Rather than having grommets installed onto the drape, the customer installs the Easy Klips onsite.  The Easy Klip slides onto the cyclorama, backdrop, drape, or even raw fabric, and locks into place easily.  The user decides where on the drape or backdrop to attach the Easy Klips (the top, the bottom, and even the sides) and how close (or far apart) to place them.  The user can easily remove and reposition them as needed during the installation process.

Then, through the use of either a length of tieline or (even better) an Easy Loop (a loop of bungee cord with a hook at the end) threaded through the Easy Klip eyelet, the drape can then be hung from or attached to a truss, ceiling joist, exhibit booth, or frame.

Here is an example of a project that we worked on, in which Easy Klips were the ideal solution:

Private Function, San Diego

For this special event, the dramatic ceiling treatment would normally have taken days to manufacture and install.  Instead, the panels were quickly made up (no need to spend time punching grommets into the panel), Easy Klips were attached to the ends of the panels onsite, and the panels were then attached to motorized trusses.  The use of the Easy Klips allowed the installation crew to easily and quickly manipulate the length of each panel as needed onsite to achieve the desired effect.

Since then, a number of our clients have used the Easy Klips, and have raved about how great they are.  Yes, for a longterm installation (such as a grand drape in a traditional theatre), grommets (with ties or S-hooks), sewn ties, or other finishes applied during the drapery manufacturing process are still better options.  But for many short-term installation projects, Easy Klips are a great (and affordable) solution.

If you enjoyed this post, make sure you subscribe to our RSS feed!

Focus On: Poor Man’s Kabuki

Previously, I told you about the Single Kabuki and the Double Kabuki.  Now, as promised, here is the scoop on what is commonly called the Poor Man’s Kabuki.

Also called a Tearaway, a Poor Man’s Kabuki has two parts – the kabuki-style drape and the header.  The drape is sewn with loop velcro at the top in back.  Then, to make the header, a piece of webbing (usually 3″ wide) and a piece of hook velcro (usually 2″ wide) are cut to the same size as the width of the drape (for example, if the drape is 50 feet wide, a 50 foot piece of webbing and a 50 foot piece of velcro would be used). 

The velcro is then sewn onto the webbing, leaving room at the top of the webbing to add grommets and ties (which are usually spaced every 12″, aka 12″ on center). 

The header is attached to the top of the kabuki-style drape via the velcro and then the drape is hung on truss above the stage.  When it is time to “drop” (remove) the drape, someone from the crew pulls the drape – because the drape is attached to the header by velcro only, the drape releases from the header and falls to the ground.  The crew quickly bundles up the drape and takes it offstage.  At the end of the show, the webbing header is untied from the truss and stuck back onto the drape in preparation for the next show.

When would a Poor Man’s Kabuki be used rather than a traditional single or double kabuki?  Generally when the purpose of the drape is to hide a second band’s equipment while the first band is onstage in front of the drape.  Once the first band has left the stage and their equipment has been cleared, the crew member quickly pulls down the drape to reveal the second band behind it.

Yes, this could be done with a Single Kabuki – however, a traditional kabuki system is more expensive and more complicated to set up, since it uses a solenoid system – and so a solenoid-based kabuki system is generally overkill in a simple “hide the second band” situation.  The Poor Man’s Kabuki isn’t meant to be used for dramatic reveals, but more as a masking piece.

If you enjoyed this post, make sure you subscribe to our RSS feed!

Focus On: Double Kabuki Drapes

A couple of weeks, in my post on Single Kabuki Drapes, I promised that I would do another post on Double Kabukis.  Well, here you go!

A Single Kabuki allows a single release – the drape is hanging, the solenoids are released, and the kabuki drops to the ground.  With a Double Kabuki, through the use of either two sets of solenoids or one set in which each solenoid has two pins, a double release occurs. 

Initially, the kabuki is not seen by the audience.  It is hanging high up near the truss, enclosed in what is called a diaper.  For the first release, the first set of solenoids (or one set of pins) is released, and the bottom of the Kabuki drops toward the stage, allowing the audience to see the Kabuki.   On the second release, the second set of solenoids (or pins) releases the top of the kabuki (and in some cases the diaper) , which then drops to the ground.

A Double Kabuki is made in a very similar way to a Single Kabuki, with velcro on the top front and back, but doesn’t have velcro on the bottom.  The major difference is that a Double Kabuki also includes a diaper. A diaper is a soft good that is sewn at the same width as the Kabuki, but is only around 24″ high (this can vary depending on the fabric used on the Kabuki as well as the height of the Kabuki).   The top of the diaper is attached to the top back of the Kabuki, between the fabric and the Velcro.  The bottom of the diaper has velcro on the front and back.

To set up the Double Release of the Kabuki, the Kabuki is laid flat, front side up.  It is then rolled from the bottom to the top, until it is encased in the diaper like a sling.  Velcro D-rings are then attached to the top of the Kabuki/Diaper and to the bottom of the diaper.  The Velcro D-Rings on the top of the Kabuki are hung on one set of solenoid pins and the Velcro D-rings on the bottom of the diaper are hung on the second set of solenoid pins, leaving the Kabuki hanging unseen in a hammock high above the stage.

For the first release, the pins holding the D-Rings attached to the bottom of the diaper retract.  This causes the bottom of the diaper to drop behind and the Kabuki to unroll toward the stage.  For the second release, the pins holding the D-rings attached to the top of the Kabuki/diaper retract, and the Kabuki drops to the stage floor.

When might a Double Kabuki be used rather than a Single Kabuki?  Well, let’s say that a band has a dramatic printed backdrop, but they don’t want it to hang for the entire show.  Instead, they want it to be used only for part of the show (maybe even for just one song).  The band can start the show without the backdrop. 

When the desired time comes, the first release occurs and the printed backdrop suddenly appears as if from nowhere.  When the song or show section ends, the Kabuki then drops to the floor.

Another example of stage magic.  Pretty cool, don’t you think?

There’s one more related item, called the Poor Man’s Kabuki, but I’ll tell you about that in a future post.

If you enjoyed this post, make sure you subscribe to our RSS feed!

Can a Hand-Painted Backdrop be Certified FR?

While the majority of the scenic backdrops that we make are digitally printed, we do offer custom hand-painted backdrops as well.  In other situations, the client purchases a “plain” backdrop (typically in natural or white muslin) and then hand-paints it themselves.

Recently, a client asked us for a New York City Certification of Flame Retardancy.  We were providing the fabric and sewing the backdrop, but they were planning to paint it themselves.  In discussing the situation with the client, we realized that there are probably others out there wondering whether their painted backdrop can be certified as flame retardant.  So, here is a brief explanation.

Yes, if the fabric itself is flame retardant, the fabric can be certified as FR in NYC.  However, NYC regulations require a final FR certificate for the “completed composition,” of which the muslin is only one component.  Therefore, the certificate for the fabric alone will not suffice for a painted backdrop.

However, it is possible to get certification of a hand-painted backdrop, provided certain steps are taken:

1. Both the underlying fabric and the paint are flame retardant.  This would be accomplished by utilizing FR fabric (such as FR Muslin) and by adding an FR chemical to the paint used.  However, even with this step, the painted backdrop may not pass flame retardancy testing.  Therefore, it is recommended that the user (or a certified applicator) also spray the back of the painted backdrop with a flame retardancy chemical.

2. Contract with an registered NYC tester to have the backdrop tested for flame retardancy.

3. Prepare a sample of the painted backdrop (usually done by painting / FR treating a smaller sample piece at the same time as the main backdrop).  All treatment of the sample should be the same as that of the full-sized backdrop (i.e. the same original fabric should be used, as well as the same paints and FR chemical additive, and the back of the sample should be sprayed with FR treatment just like the full backdrop).

4. Write a statement verifying how you treated the backdrop (such as what FR chemical(s) was used and whether you added the chemical(s) to the paints and/or sprayed it to the back of the finished piece), and send the sample and statement to the NYC registered tester

5. The NYC registered tester will perform a “match test” to see if the sample meets NYC standards in regards to flame retardancy.  If so, the tester will provide you with a flame certificate, which you would show to the FDNY Fire Marshal onsite when the backdrop is in use in New York City. 

This is the process for New York City, but I am sure that a similar method would be conducted for other locations throughout the US.  If in doubt, check with the local or state fire marshal in your area.

If you enjoyed this post, make sure you subscribe to our RSS feed!

The Economic Downturn and the Textile Industry

It seems that the state of the economy is top of mind for just about everyone these days.  We hear a lot about how the economy has affected the auto industry, the housing industry, etc.  But the reality is that it is impacting just about every industry in the U.S., including the textile industry.

U.S. textile mills have been struggling against the influx of goods from textile mills in other countries, particularly India, Pakistan and China, for quite awhile now.   According to EconomyWatch, in 2007 production in U.S. textile mills fell by more than 12 percent.  ABC News reported that, from October 2007 through October 2008, about 100 textile mills in the U.S. closed, leading to the layoff of over 63,000 U.S. textile workers.  Now, with the downturn in the economy over the last six or eight months, things may be getting worse.

While the emphasis in these articles is on apparel textiles, the import of foreign textiles as well as the struggling U.S. economy has hit the U.S. textile industry as a whole, including those mills that specialized in theatrical fabrics.  We have certainly seen a trickle-down effect, but the most significant impact that I have seen over the last six to twelve months is on availability:

• Longer lead times.  In the past, it might have taken two weeks for milling, while now it may take four or six weeks.  I cannot say definitively the reason for the longer lead time, but I would guess that it is due to a smaller workforce (layoffs).
• Less In Stock.  Many of the large fabric suppliers are stocking fewer fabrics than they were a few years ago.  They just don’t want to tie up as much money in inventory, so they are waiting for firm orders before sourcing the fabric from the mill.  For suppliers with multiple stocking locations, they may stock some fabrics in one location only, rather than in several locations across the country. 

 So what does this all mean for the end-user – the school or church wanting new custom stage curtains or the rock band wanting a new custom backdrop?  In many cases, it may mean making a choice between waiting longer to get their drapery or choosing a different fabric that is readily available.  It may mean paying a higher price for a drapery due to the cost to bring the fabric in from a location out of state.  The best thing I can recommend is, be flexible and plan ahead!

If you enjoyed this post, make sure you subscribe to our RSS feed!

Is there such a thing as a “Green” ink for digital printing?

As I continue to explore the question of eco-friendly textiles, I have been thinking about digital printing. As more and more artists become interested in protecting the environment, we have begun to have more requests for “green” custom band backdrops.  We already have some eco-friendly options available for the fabric substrate, but what about the inks used in digital printing?  UV Curable, Water-based, EcoSolvent, Mild/Light Solvent, Full Solvent – which is best, ecologically speaking?

I would assume (based on the name) that a great choice for digital printing would be to use eco solvent inks.  The reality, however, is that these inks aren’t nearly as ecologically friendly as the name implies.  In researching eco solvent inks, I learned that they contain HAPs (Hazardous Air Pollutants) and VOCs (Volatile Organic Components).  Maybe eco solvent inks are better in comparison to other types of solvent inks, but that doesn’t mean they are good for us.

I’m interested in a new type of ink being touted by EFI – Bio-Solvents.  According to a white paper by EFI, bio-solvent Inks “contain no harmful VOCs and have the best health and environmental profiles available”.  EFI does make a bio-solvent ink (BioVu), so they aren’t exactly an unbiased source.  However, their literature does display the Environmental Protection Agency’s DfE logo, so I am feeling more confident (though I will continue to research this new category of inks before making a decision).

If this is all true, then bio-solvents may be the wave of the future.  Right now, EFI’s BioVu inks are only available for use with one printer type – EFI’s VUTEk 3360 product line – but they say that they have plans to roll it out to other product lines in the future.  I’ll keep my eyes out for it and let you know.

If you enjoyed this post, make sure you subscribe to our RSS feed!

Direct Print vs Dye Sublimation – What’s the difference?

One of the products we offer is custom digital backdrops – the customer supplies the artwork as a digital file, and we print the artwork onto fabric or mesh and then sew it into a fabulous backdrop.  Yes, sometimes for the tours of major recording artists like Kenny Chesney, but many other times for a school or church production or a special event or…

There are the two primary methods of digital printing – direct print and dye sublimation.  In many cases, customers ask, what is the difference between the two?  What makes one method better than another?

Well, here is a very basic primer on the topic.  With Direct Print, the inks are printed directly onto a coated fabric substrate.  Due to the coating, the backdrop tends to be slightly stiffer.  With Dye Sublimation, a paper transfer process is used to convert the ink solid into a gas, which then “etches” the image into the fabric.  As the fabric substrate is not coated, a dye sublimated backdrop tends to be a little softer and more flexible.

So, which is better?  Depends on the individual project.  Direct print can be printed onto fabric up to 16’ in width, allowing larger seamless backdrops or fewer seams on an extra large backdrop.  Dye sublimation, on the other hand, can only be printed onto fabric up 10’ wide, meaning anything bigger would require seams.  However, the image tends to have better resolution and color vibrancy.  Not sure what would work best for your project?  We can help find the right print method and substrate to meet your needs and your budget.

If you enjoyed this post, make sure you subscribe to our RSS feed!

Yes, the Show Did Go On for the Pussycat Dolls

After making a fabulous appliquéd, beaded and dye sublimated satin custom backdrop for the Pussycat Dolls’ current tour with Britney Spears, we had to do some repairs in one day and then ship the drop via Fed Ex International Priority Overnight to the show in Toronto.

Well, Fed Ex really dropped the ball, and it looked like the backdrop wasn’t going to make the show.  After hours on the phone with Fed Ex, I finally learned at 3:30 pm Toronto time that although the backdrop was ready at the Fed Ex Toronto hub, Fed Ex wouldn’t deliver it that day.

That put me in a panic.  The backdrop had to get to the Air Canada Centre by 5:00 pm to make that night’s show.  I jumped on the Internet, and after a couple of false starts, found City Centre Courier.  Mike Kovatch really came through.  With just 40 minutes notice, he was able to get a courier to the Fed Ex hub and through 20 miles of rush hour traffic to the venue.  The package arrived precisely at 5:00 pm and the show went on!  Thanks, Mike!  You really came through for Sew What? and the Pussycat Dolls!

If you enjoyed this post, make sure you subscribe to our RSS feed!