Types of Silk
Quick answer
Silk is woven into at least eight structures that we produce in, and the weave changes the cloth more than the fibre does. Twill gives body, drape and a subtle sheen and is the standard for printed scarves. Charmeuse is a satin weave, glossy on the face and matte on the back. Crepe de chine is matte and looks the same on both sides. Habotai, chiffon, georgette and organza are the light, sheer end of the range. Jacquard weaves the pattern into the cloth instead of printing it.
Choosing between them is a decision about what the scarf has to do — hold a knot, drape, catch light, or carry a full-bleed print — not about which one is better.
The eight weaves, and the momme each is normally woven at
| Weave | Momme | Character | Usually chosen for |
|---|---|---|---|
| Silk twill | 14–19 | A fine diagonal rib. Body, drape, subtle sheen. Takes print with depth. | Printed scarves worn at the neck. The standard. |
| Charmeuse | 16–22 | Satin weave, glossy face and matte back. Soft and fluid. | Scarves that should catch light; linings. |
| Crepe de chine | 12–16 | Plain weave from alternately twisted yarns. Fine pebbled surface, matte, identical on both faces. | Scarves and blouses where a quiet finish is wanted. |
| Habotai | 5–12 | Light, sheer, plain-woven. The most accessible silk. | Lightweight printed scarves and linings. |
| Chiffon | 5–8 | The lightest and most translucent of the silks. | Flowing, featherweight scarves. |
| Georgette | 8–12 | Sheer, dull-finished crepe. Springier than chiffon. | Scarves needing a touch more body than chiffon. |
| Organza | 6–8 | Thin, sheer, with a crisp and structured hand. | Bridal, evening wear, and gift packaging. |
| Jacquard | 14–19 | The pattern is woven into the cloth on a jacquard loom. | Scarves where the motif is part of the weave, not printed on it. |
The momme ranges are where each cloth behaves the way people expect it to. They are not hard limits.
Twill, in more detail
Twill is a weave in which the weft passes over one or more warp threads and then under two or more, with a step between rows. That step is what produces the diagonal rib, and the rib is what gives twill its character: a cloth with more body than a plain weave of the same weight, a drape that falls rather than collapses, and a sheen that reflects light across the whole surface.
It prints colour with unusual richness for the same reason. The diagonal grain scatters light rather than bouncing it back flatly, so a printed shade reads with depth and gradation rather than as a solid patch. It is why the signature printed scarves of the silk houses are, almost without exception, woven in twill.
In use, twill holds a knot where you tie it. That sounds trivial and is not: a scarf woven at too light a momme slides out of its own knot, and the wearer notices within a minute.
The satin family: charmeuse
Charmeuse is a satin weave — the warp floats over the weft, so one face is glossy and the reverse is a flattened matte. It is softer and more fluid than twill, with more lustre and less structure. Where twill holds a fold, charmeuse pools.
That makes it the right choice when the scarf is meant to be seen catching light, and the wrong choice when it needs to hold a shape. Because the two faces differ, a printed design looks different depending on how the scarf is tied, which is either the point or a problem depending on the artwork.
The crepe family: crepe de chine and georgette
Crepe is not a weave so much as a treatment of the yarn. Some fibres are twisted clockwise and others counterclockwise, and when they are woven in a plain weave the opposing twists make the cloth contract unevenly. The result is a fine pebbled surface.
Crepe de chine is the lighter of the two, matte rather than glossy, with identical faces — which makes it useful when a scarf will be seen from both sides. Georgette is sheerer, springier and less lustrous, with a little more body. Both are chosen when the scarf should not shine.
The light and sheer end: habotai, chiffon, organza
Habotai — also called habutai or pongee — is a lightweight, sheer, plain-weave silk and the most widely available of the silks. It ranges from 5 to 12 momme; we usually weave it at around 8 for scarves and linings. It is the accessible choice: light, fluid, and much less expensive than twill at the same size.
Chiffon is lighter still and the most see-through of the silks. Under magnification it resembles a fine net, which is where its airiness comes from. Georgette sits just above it. Organza is also sheer but behaves in the opposite way: a crisp, structured hand that holds a shape, traditionally used for bridal and evening wear and useful for packaging where a sculptural quality is wanted.
Jacquard: when the pattern is the cloth
Jacquard is woven on a loom controlled by a chain of punched cards, which allows a pattern to be built into the structure of the cloth rather than printed onto its surface. The motif is part of the fabric, so it cannot wear off the face of the scarf, and it catches light differently depending on the angle.
It is the right answer when the design should be felt as well as seen — a tonal motif, a woven monogram, a border that is structural rather than printed. It is the wrong answer when the artwork is photographic or has many colours, because a jacquard loom builds a pattern from a limited number of structural combinations.
How to choose, by what the scarf has to do
| If the scarf has to… | Choose | At about |
|---|---|---|
| Carry a full-bleed printed design and be worn at the neck | Silk twill | 16 momme |
| Be light and decorative without any weight | Chiffon or habotai | 6–8 momme |
| Look the same from both sides | Crepe de chine | 12–14 momme |
| Catch and reflect light | Charmeuse | 16–19 momme |
| Hold a structured shape | Organza | 6–8 momme |
| Have the motif woven in rather than printed | Jacquard | 14–19 momme |
| Line a garment or a box | Habotai | 8 momme |
| Be the smallest possible unit — a pocket square | Silk twill, lighter | 14 momme |
Questions we are asked about silk types
Which silk is best for a printed scarf?
Silk twill. Its diagonal structure gives the cloth enough body to hold a knot and enough surface variation to make a printed colour read with depth. It is the weave the silk houses use for their signature printed scarves, and it is what we would quote for a printed square unless the artwork argues otherwise.
What is the difference between silk twill and silk satin?
Twill is woven with a diagonal rib and has more body and a subtler sheen; satin, of which charmeuse is the silk version, floats the warp over the weft to give one glossy face and one matte face. Twill holds a shape; satin drapes and shines.
Is habotai real silk?
Yes. Habotai is a plain-weave mulberry silk, usually between 5 and 12 momme. It is lighter and less expensive than twill because there is less silk in it, not because it is a lesser fibre.
Can you weave a pattern instead of printing it?
Yes — jacquard. The motif is built into the cloth on a jacquard loom, so it cannot wear off. It suits tonal motifs, woven monograms and structural borders rather than photographic artwork.
Does a higher momme always mean a better scarf?
No. Momme is weight, and weight is only right or wrong relative to what the scarf has to do. A 19 momme scarf is a poor choice for something meant to be airy; an 8 momme scarf is a poor choice for something meant to hold a knot.
Where to go next
For the fibre behind all of these, read what silk is. For the practical case for silk over a synthetic, why silk. To see each weave on its own page, the fabric pages cover all eight. And if you are ready to specify, the custom programme and the MOQ and lead time page set out how a first run works.
Sourcing a silk scarf programme? Send the artwork, the format and the quantity, and we will come back with a specification and a price.
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