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Around Slik : To learn more1- The spinning :
The spinning of raw silk
In order for the cocoons to be unravelled, they must be intact. They are harvested before the chrysalis becomes a moth. The cocoons are placed in drying machines in which the chrysalis is suffocated by the heat. It takes around 6 kilos of cocoons to make a kilo of raw silk. In the past, the external sericin covering was removed from the cocoon by plunging the cocoon into basins of water heated to 85-90 degrees Celsius. Each basin had 6 or 8 nozzles through which the silk was reeled. The charge-hand watched over the silken thread, feeding through thread from 4, 5 or 6 nozzles depending on the required thickness of the spun silk. Her job was to supply a new feed thread when the thread of one of the existing cocoons being spun either broke or run out. The consistency of the spun thread was down to the watchfulness and adeptness of the charge-hand.
The Japanese resolved the entailed labour intensiveness of the spinning process by inventing a machine which automatically controlled the supply of thread. A special sensor attached to the end of each machine enables the automatic detection of thread when it runs out.
The operations following the boiling of the cocoons are beating - to loosen the cocoon, remove loose external matter and locate the end of the thread. The threads from 4, 5, 6 or 7 cocoons are then brought together depending on the thickness of the desired yarn. The yarn when formed is given a slight twist to facilitate the aggregation of the threads and is then wound and separated into large hanks.
Spinning the waste
Waste silk consists of broken cocoons, cocoons damaged during the main silk processing so that a full-length, continuous strand cannot be obtained. These shorter pieces are spun together like combed cotton to provide a useful thread. In the past, waste silk was spun by hand using a spinning wheel. Later another method of spinning called ‘Fleuret' was used, which was superceded by the cotton spinning machine, the design of which had largely been perfected in 1790. The process for spinning waste silk is fairly long and complicated but does not differ significantly from hand spinning.
The operations involved are:
Soaking destroys the gummy sericin which envelops the thread. The waste silk is put into colanders and then placed in vats heated by water and steam. After 2 to 6 days, the stuff is sufficiently broken down and, still at a temperature of 45 degrees Celsius to 50 degrees Celsius, it is moved through a tank of hot water and a tank of cold water before being thoroughly washed. After this operation, the silk is dried, then plunged into s dilute solution of Marseilles soap, then dried again.
The soaking process has largely been replaced today by another operation called ‘degumming'. The treated material is next passed through a machine which opens the cocoons and distributes them into layers. These are then carded to eliminate impurities and fibres which are too short. The object is to retain only the longest threads.
Dressing enables the alignment of threads and drawing creates a fine, long thread. This yarn is composed of fibres which, having no natural adhesion, has to be twisted slightly to make them cohere. Then it is spun to give the yarn the required thickness, strength and elasticity. The yarn is spun onto cones before being wound into skeins and is then ready for its final destination, whether it is weaving, milling or dyeing.
The twisting mill
This operation consists of bringing together several strands and giving them the torsion (twist), thickness, specific feel and functionality required by their future use. The ‘S' twist is a counter-clockwise twist as opposed to the ‘Z' twist which is twisted in a clockwise direction. In this way we can differentiate between :
Mouline made up of several raw silk or silk waste threads twisted together with a medium torsion.
2- Dyeing
Until the beginning of the 20th century silk was only dyed in hanks. Thanks to inventions made in the 19th and 20th centuries, it became possible to dye pieces once they had been woven.
Today, our silk threads for sewing, embroidery, canvas work and knitting are still dyed in hanks.
Silk thread, owing to its chemical properties has a great affinity for dyes. Nevertheless, it is particularly sensitive to water containing carbonates and magnesium salts. Water is one of the greatest problems for dyers in our current world, since it is not as uncontaminated as it was in the past.
Traditionally silk dyeing was carried out in copper vats heated by a brazier. The problem was to keep the vat at a constant temperature. The hanks of silk supported by wooden rods were plunged into the vat of dye by the dyer who turned them regularly so that they took the dye uniformly.
This method of dyeing in an open copper or stainless steel vat using wooden rods exists even today. Only the method of heating the vat has changed with the arrival of coal, oil or gas boilers.
However, the development of equipment means that now dyeing can take place in closed vats where the hanks are steeped in a constant heat.
Some threads, such as warping threads, poil d'Alais, organdie are dyed in an autoclave.
ISO standards correspond to domestic washing methods. ISO 1 corresponds to washing at 40 degrees Celsius with 5 grams per litre of Marseille soap for 30 minutes. ISO 3 corresponds to a 60 degree wash with 5 grams per litre of soda powder for 30 minutes.
For many years Au Ver A Soie has opted for very deep and vibrant colours for the second standard. Even though dyestuffs have made a great deal of progress and according to dyers no problem cannot be overcome, the fast dye does not exist. Considering the delicate nature of silk, the Commission for Technology and Research of the International Silk Secretariat in Lyon specifies that the washing temperature should not be more than 35 degrees Celsius.
3- Our threads today :
A- Luxe and Haute Couture
Since its creation, Au Ver à Soie has always had prestigious customers: the famous « Maisons de Haute Couture » and Firms well-known in the luxury goods industry. These customers are especially using the following products of our range: Soie Surfine, Soie 1003 an also Soie Perlée for quilting and buttonholes.
Among these customers, we can Dior, Lanvin, Christian Lacroix, Yves Saint-Laurent, Chanel or also Jean-Paul Gaultier.
For Haute Couture Embroidery, all our products can be used. Our customers are confident in the quality, the solidity of our products and above all like the large range of colours. Lesage, Hurel and Martex are often working with us.
The luxury ready-to-wear is also a regular user of our products, overall of Soie d'Alger and Soie Perlée. Among them, we can name Paule Ka and Marie-Clemence who are emphasizing our products through their creations.
Within the luxury sector, you have also leather working and accessorizes. Our Soie Perlée ("Cordonnet de soie") is used for quilting of bags, belts and small leather working. Silk is the best answer to high quality and luxury. Hermès has chosen Au Ver à Soie for all the threads for Leather working and we work all together to improve our threads solidity and answer all the technical constraints.
Silk is also in jewellery creations: silk for pearls, silk braids and silk laces, Soie Perlée for bracelets. Among our customers, we can name Jean-Christophe, Satellite, Les Néréides or Hermès.
French Designers European designers South African designers American Designers Austalian Designers B) Creative Leisure activities
This sector has developed a lot in the past few years and Au Ver à Soie has imposed itself in this domain through creators and passionate people: Kits creators and designers like Annie Cicatelli, Aziliz créations, Nimue, Alphabets, Muriel Brunet, Reflets de Soie or Just Nan abroad. They are the ambassadors of our products close to the public.
In this sector, you have also the practice of « Dentelle au fuseau » for which our products are very solid and high quality. Magali Deboudard, le Conservatoire de la dentelle of Brioude, Bayeux and Puy en Velay are using our threads.
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