Helpful Guide to the Best Threads for Hand Embroidery

Hand embroidery is a tactile art. It begs to be touched! Why? Usually because texture and dimension are a noticeable part of embroidery.

Sometimes, texture and dimension happen accidentally, but often, designers purposely add dimension and texture to their embroidery projects in order to increase their beauty and interest.

In the first part of this series on dimension and texture in hand embroidery, we’re going to look at common embroidery threads and how their fiber, weight and twist help add dimension and texture to embroidery.

Different Embroidery Threads
Hand embroidery threads: cotton, wool and silk

While there are many types of threads on the market that can be used in hand embroidery, we’re going to concentrate first on the most common fibers used for surface embroidery: cotton, silk and wool.

Cotton embroidery thread

Stranded cotton

The most popular cotton thread used in hand embroidery is undoubtedly stranded cotton, which is also called “embroidery floss” in the United States.

Stranded cotton embroidery floss
Stranded cotton comes in skeins, and the whole thread that comes off the skein is divisible into six separate, fine threads. Each of these threads is made up of two smaller plies that are softly twisted together.

Because of its soft twist, texture and dimension depend more on the weight (thickness) of the floss and the type of stitch, rather than on the twist of the thread.

Sample stitches in green cotton embroidery thread
Stem stitch in stranded cotton with one to six strands of floss; photo via Needle ‘n Thread

When embroidering with stranded cotton, you can choose to use any number of strands, from one to six. If you use one strand of cotton, the resulting embroidery will be quite fine. As you add strands, the resulting embroidery becomes heavier. If you stitch with all six strands, the stitches become chunky.

The number of strands you choose depends on the look you’re trying to achieve. If you want to add more texture and dimension to your stitching, you can do so simply by using more strands in the needle at one time.

Close-up shot of green perle cotton thread
Perle cotton

Perle cotton is a non-divisible embroidery thread that is popularly used for needlepoint and surface embroidery. It is a non-divisible thread, which means you use it right off the skein without separating it.

Embroidery stitch samples in red perle thread
Made up of two plies, perle cotton is tightly twisted, so, overall, the thread achieves a much more textured effect in stitching than regular cotton floss does. Just by virtue of the twist of perle cotton, the thread already adds a certain texture to needlework. Because it is normally heavier than floss, line stitches like stem stitch and chain stitch usually sit higher up on the fabric, compared to the same stitches worked with floss.

Perle cotton comes in four sizes normally used in needlework: #3, #5, #8 and #12, with #3 being the heaviest and #12 being the finest.

Cotton floche thread
Other cotton threads for hand embroidery

Besides floss and perle cotton, there are other cottons created specifically for hand embroidery. These include floche and coton a broder, both of which are excellent hand embroidery threads. They’re both softly twisted threads, and they create a relatively smooth finish when stitched.

Cotton floche and perle cotton #3 in one project
In the photo above, the green hills, tree and sun are stitched in floche, while the sheep is embroidered with large, chunky French knots in perle cotton.

Silk threads

Silk is the Cadillac of embroidery threads. Of all natural embroidery fibers, silk is not only the strongest, but it also has the highest sheen.

Silk Embroidery Threads
Two types of silk are used in embroidery: spun silk, which is made from broken and leftover cocoons, and filament silk, which is made from single silk filaments as they are pulled from the whole cocoon.

Stranded silk, which behaves much like stranded cotton, is made from spun silk, while other silks (flat silks, buttonhole silks and other tightly twisted silks) are made from filament silk.

Consider silks almost the same way you consider cottons. The heavier the thread and the more tightly twisted it is, the more texture you can achieve with very little effort.

Wool embroidery threads

Wool embroidery threads (called crewel wool or tapestry wool) are perhaps the most tactile of the threads discussed so far.

Crewel embroidery with wool thread
Wool is hairy, after all!

Wool is a great choice of thread to use anywhere you wish to achieve a fuzzier effect on your embroidery.

Bunny embroidered in wool, with fluffy tail in velvet stitch.
In the photo above, the tiny bunny is stitched in wool, while the grass and flowers are stitched in cotton. Wool works well for animal coats!

 12 strands of wool, couched with perle cotton
When stitching with wool, you can use one strand or more in the needle at once.

Just as with cotton and silk, the number of strands you use will determine the thickness of the embroidery. Wool by nature is already thick and it covers quickly, but if you want chunky, wooly embroidery, just use more than one strand in the needle at once.

Putting it all together

Besides working with different weights of specific kinds of embroidery threads, combining various fibers together in one project creates contrast, which adds to the textural nature of the embroidery.

Crewel wool and Trebizond silk in woven stitch
In the photo above, silk and wool work together to create a woven filling that’s textured and dimensional. The thickness of the threads and a little felt padding underneath lift the embroidery off the ground fabric, and the different textures in the silk and the wool provide contrast and interest to the filling.

Wool, silk, cotton, synthetic and metal threads in one project
Above, I’ve combined wool, silk, cotton and some specialty threads in a variety of stitches to create a whole conglomeration of texture and dimension on the fabric surface

What is clothing design?

Clothing design is a very detailed process beginning from choosing a design and ending with the development of a perfect end product. A design process comprises of selection of the following “Right” elements :

1) Fabric : Must fit the look , fall and feel you need. Their are hundreds of fabric varities available.

2) Print : The colors and theme must fit the season. Ideally You cant wear a bright yellow in Winters and a black in Summers.

3) Pattern; This is the construction of the garment , basically the map or the pieces which will be sewn together to create a garment. For example in a shirt you got two front plackets,a collar,collar stand,Cuffs,Button placket,Back Yoke, Back Piece , sleeves,pocket etc.

4) Surface ornamentations if any , like embroidery,panel print,beading etc.

5) Measurements : These goes with the pattern though.

6) Trend Research; A through study of upcoming trends in the next season.

Top Ten Worst Screen Printing Mistakes

And How to Fix Them

1. Art problems
A. Start with good artwork, properly prepared. Don’t use a low resolution jpeg and think you will get a good screen print out of it. The art should be a minimum of 300 ppi at print size.
B. Make sure you can print the design correctly and match it with the correct screen mesh for the artwork.
C. If you have a customer, make sure they sign an approval of the final design. You’d hate to reprint a design at your own expense because a word was misspelled!

Here’s a nice design made to look distressed. (a new design we are testing) Because of the small details we burned this art on 156 mesh screens to print on t-shirts.

2. Screen Exposure problems –
A detailed list of screen problems here: Troubleshooting Screen Problems
3. Bad registration –
A. Screens can become loose in the bracket on the press if not tightened enough.
B. The platen might be moving if the screw is not tightened enough. Turn it as tight as you can being careful not to strip it.
C. The shirt might be moving if you don’t have enough adhesive on the platen.

4. Screen break down –
A. If the screen was under exposed, the emulsion can loosen and come off. We always “post-expose” the screen. Which means we either place it in the sun after it’s been washed out and dried or we expose it again in the exposure unit to set the emulsion.
B. The squeegee can wear through the emulsion on a long print run or on a screen that has been used a lot. If the worn spots are outside of the design area you can clean the screen, spread a thin coat of emulsion over the worn areas and expose it to repair the bare spots.

5. Bad ink curing, ink under cured or over cured –
A. Check the curing temperature with a temperature gun. And know what temperature the ink is supposed to cure at, of course. I usually print out a sheet of instructions that go with the ink and stick it to the lid of the ink container.

My instructions unfolded. They are stuck to the lid with double-sided tape.

6. Incorrect squeegee angle –
A. Try for a consistent 45 degree angle when applying ink to the screen. Ink goes on pretty smooth at this angle. At an angle of 60-degrees or more, the ink may not get through the mesh correctly and evenly. An angle of 30-degrees or less can make the ink print too heavily onto the fabric.
B. You may need to experiment with the squeegee angle and practice to get it right, see what works for you and keep it consistent. You can also experiment with a “push” print stroke as opposed to the usual “pull” print stroke. There are cases when a push stroke can be useful. But always do one or the other, don’t switch between strokes.

Freddy usually screens a bit closer to a 60 degree angle, but that’s what seems to work for him.

7. Ink spots or smudges on garment or product –
A. Keep the work area and your hands clean.
B. Check the screen carefully for pinholes and fill them with a screen touch-up pen or cover them with a piece of tape.
C. Wash out small spots with a wet shop towel or a spot cleaning gun. If you can’t clean it, keep the shirt and use it for test prints.

8. Design placed incorrectly –
A. Line up you screen carefully. We usually use a t-square to make sure the design is straight.
B. Not all shirts or other garments are sewn correctly or consistently. So you may not be able to use the collar or center crease to position a shirt. The most reliable way I’ve found to center a shirt is this: How to Center a Shirt for Silk Screening

9. Too much ink is getting printed onto the shirt –
A. You may be using too much pressure. Don’t press down too hard on the squeegee and use even pressure all the way across the print.
B. You may have gotten too much ink into the mesh on the back flood. Be careful as you back flood and don’t press down too hard or go over it too many times. If your ink does get too heavy, pull a few prints on test sheets without back flooding to clear out the screen.
C. The ink may be too thinned out
D. You may have an old squeegee with edges that are rounded and need to be sharpened.

10. Too little ink is getting printed onto the shirt –
A. Use a coarser mesh.
B. Make more than one squeegee pass to print. We sometimes do as many as 3, but that is usually the most we need.
C. The screen may be getting clogged. We will rub the underside of the screen with a wet shop towel and then screen a test print or two to try to clear it out. We print on test print squares or misprinted t-shirts and use blank newsprint when test printing for posters and art prints. (Note: We have been told that spraying water mixed with a little bit of dish soap on the underside of the screen before you put any ink on it helps when you print. We mean to try this next time we print.)
D. Try printing on a soft base. We sometimes use a platen covered in neoprene fabric. Especially when we want to print over collars or seams (more on this topic later).

Here’s Freddy adding more ink to a screen. You can see that there wasn’t enough ink to back flood properly and it’s spotty behind the cake spreader he uses for the ink.

Mistakes will happen, but my best general advice is to work carefully to head off problems before they happen

What are the best methods for duplicating / screen printing / digitizing a hand-painted silk garment?

There are a variety of ways to print on printed silk fabric. Celeste is right that screen printing would likely just affect one side of the garment. But you could certainly screen print both sides.

She’s also correct that some screen printing ink (especially the kind used on the majority of mass-produced tees, plastisol) would not have the soft feel of a dye. But screen printing is not limited to plastisol. You can screen print water-based ink or dye to achieve a soft hand.

The biggest issue I see is getting the image of what you want printed. You do need to get a high-res scan of the artwork. So you would paint a “model scarf” by hand which would be used to create the future iterations. Once the art is scanned it is possible to separate colors and create screens. Based on the specific picture you sent, you could use just two screens (gold and purple) to achieve the print. You could even mimic the dark areas where the dye overlaps. That would require testing and using ink or dye with an appropriate amount of transparency. You would also have the option to use different ink/dye colors to create different colorways based off the same art/screens.

Celeste also brings up a good point about print size. Most t-shirt printers are not set-up for larger-format printing. That being said, larger print sizes are not prohibitive. Windshields, snowboards, and wall paper get screen printed daily. In my studio large table napkins, table runners, and pillow-cases are screen printed.

Unfortunately dye sublimation is not an option because it only works on polyester fabric. The only other viable option is to digitally print on printed silk fabric. Spoonflower (Products & Pricing – Spoonflower) is a consumer-facing business that does just that. Without running the numbers, my guess is that the cost is going to be higher than screen printing at volume and the colors will not be as vibrant. But it’s certainly an option to consider, especially if you’re testing designs or a concept.

printing on printed silk fabric is one-sided, but one printed silk fabric which is printed on both sides is printed silk fabric chiffon (which I often hand-paint for printed silk fabric scarves and clothing).

The printed silk fabric chiffon is much finer than the other types of printed silk fabric, and companies who do printed silk fabric printing can generally print printed silk fabric chiffon with the design visible on both sides (as the printed silk fabric as almost see-through).

I highly recommend you search an online marketplace like alibaba dot com and search for printed silk fabric printing — you’ll find a whole host of companies who do mass production of printed printed silk fabric by the metre, some who will print AND turn the printed silk fabric into scarves etc. The companies might be in China, India etc — make plenty of enquiries and ask about the types of printed silk fabric where the design will be seen on both sides, and ask for small quantities or a sample first before agreeing to any quantities.

What is Digital Fabric Printing?

A reactive digital fabric printing bureau, printing on a range of cotton, linen, silk and bamboo – specialising in small, bespoke orders.

What is Digital Fabric Printing?

To put it simply, digital fabric printing is the act of printing digital files on to fabric, with the printing part of the process working much like your desktop inkjet printer. Only, think bigger and where the printinprinted silk fabricg element is only one part of a larger process.

BeFab Be Creative Ltd, Edinburgh

There are a number of different types of Digital Fabric Printing Ink Technologies. Each works on specific fabric types and being best suited to particular purposes and offering varying qualities of print. The type of fabric printing will also dictate both the price and longevity of your printed design.

A simple demonstration of this is the difference between a T-shirt that has a waxy quality to the print design, where the print effectively sits on top of the fabric compared to those where you can feel no difference in the fabric whether it’s printed on or not, and variations in between these.

This diagram demonstrates the 4 basic ink technologies/chemistry’s and the fabrics that they are able to print on. For the purposes of this post we are going to discuss Reactive Dye Digital Fabric Printing as this is what we work with at BeFab Be Creative.

In technologies for digital fabric printing

 

Reactive Dye Digital Printing is the most versatile of the high end digital printing technologies, with its ability to print onto both silks and plant based materials (eg cotton, linen and bamboo) and where the print has no effect on the handle of the fabric as the dye bonds directly with the fabric fibres. This also means that reactive printing has a greater light and rub fastness than other print technologies making it perfect for apparel and home ware.

 

BeFab Be Creative Ltd, Edinburgh

 

What do you need to know before you’re ready to print?

Colour:  Have fun with your design, you can print as many colours as you like when using digital printing. It’s designed so that you can achieve photo quality detail so there should be no restriction on the colours you use, just have fun!

Fabrics: We will rarely recommend a fabric to use, when it comes to most projects the selection of fabric is largely a matter of taste. We recommend you order a fabric sample book so that you can see and feel the handle of the fabric and also get an idea of how a comparable print looks on each material. For instance, we have designers who are printed silk fabric scarves on every one of our printed silk fabric options; similarly all of our cottons and linens have been used for garments or curtains, and the thicker options for home ware so it really is entirely up to you and the end result you want to achieve, as well as considering your cost and margins.

 

BeFab Be Creative Ltd, Edinburgh

Cost: At BeFab we like to keep things simple so we have a simple price per meter with no added extras. Though bear in mind, many printers work on a Print + Fabric + Admin/file set up/additional print length etc = Total cost per meter, so the end cost it is not always obvious at first or as transparent.

File standards: as a rule these should be RGB, between 150 – 300 DPI , and saved as Jpegs at the correct scale and orientation you wish it to be printed.

File orientation: the fabric runs down the height of your file so the cut edges are top and bottom and the fabric salvage runs down the sides.

Repeat patterns: we recommend you only upload the minimum repeat tile if the design/repeat is seamless at your end, it will be at ours!

 

Shirts by Risotto Studio and Emily Millichip printed at BeFab Be Creative

Placement prints: When the design is either made up of different elements or needs to be printed in a particular layout, lay your files as you want them printed, and keep seam allowances in mind. If you require white space at either end make sure you mark the boundaries at the start and end point of your file so we know where to cut the fabric where this may not otherwise be obvious.

File layout: If you are printing a number of squares of different designs, although digital printing is designed with multiple colours in mind, think logically where possible, if you have 3 light designs and 6 black ones lay these out so that lights are all together in a row and the blacks are together rather than mixing them all up. You wouldn’t put a red top in with your whites and the same logic is true where possible in the digital possessing and will potentially speed up production, if not possible then that’s fine.

Sample: We cannot stress to you enough the importance of sampling. It is important for many reasons, every printer is calibrated differently, we have calibrated our printer so that it matches the Uncoated Pantones as closely as possible, so this is always a good place to start. However your design will look different on your screen as it is backlit as opposed to being on a matte or sheer fabric. We offer a sample service that is 20cm by ½ the width of the fabric which we then print twice, side by side, which means we both keep a reference for any future prints for accuracy. You can get a lot into this size of print, so play with different saturations and always work to the same scale and design that your print will be rather than isolating colour chips or scaling down a design as this can affect your perception of colour.

 And if after that you have questions just ask, we’ll always be happy to help you.

 

How does the print process work?

 

Unlike with traditional screen printing where the thick ink ‘fixer’ is incorporated into the ink itself, with digitally printing this fixer would clog up a printers ink heads, so the fixer must be applied to the fabric before it is printed. This is referred to as the ‘padding’ or pre-treatment.  This is done by an external fabric finisher (which sounds confusing when in digital print terms this is the first part of the process!)

Each new pre-treated fabric is then print tested and the printer is calibrated to the amount of ink that fabric can hold to achieve a crisp, bright print. Too much ink and a print will not be crisp, too little and the colour accuracy/brightness may be lost. The average shrinkage is calculated and then the fabric is given a ‘profile’ which the printer uses each time it prints this particular fabric.

Now for printing your design! Your fabric is placed on the printer, the ink head is set to the correct height for the fabric, there is only a few millimetre clearance over the fabric so the height for a printed silk fabric will be quite different to that of a upholstery weight linen. This head height is important not least to protect the ink heads but it also affects the crispness of the printing.

This is the bit where we look a like a cat watching the tennis, as we watch your print emerge as the print head passes right to left and back again across the fabric, laying the ink on the fabric in layers over a number of passes.

 

BeFab Be Creative Ltd, Edinburgh

This is the most vulnerable time for the fabric as the print has not yet been ‘fixed’. In order to fix the fabric it must be steamed so that the printed ink can bond to the fibres of the fabric. Each fabric requires a different length and quantity of steam depending on a number of variables including fabric type and length of print.

Once out of the steamer the fabric needs to be washed in order to remove any excess ink, further fix the print and wash out the excess fixer which has now done its job. The fabric is then dried and ironed along with our final quality control check.

Only at this stage do we know your fabric is ready to go, at which point it is packaged up and on its way to you.

Floral printed silk fabric

Floral printed silk fabric

1. What is Floral printed silk fabric

Floral printed silk fabric, actually pronounced as moe-me, is a unit of measurement for silk fabric. It is a measure of the weight of silk fabric and the weight is determined by the factors listed below.

2. Types of silk

Generally silk is divided into two categories — cultivated and wild.

a. CULTIVATED SILK is a smooth, continuous filament of silk and appears almost glassy and translucent. It also shows a prismatic, rainbow effect. This silk is a reeled/thrown silk and is done by hand. The silkworms are fed mulberry leaves and the silk filaments are anywhere from 500 to 1000 meters long in one cocoon. Several of these are grouped together in the unraveling of the cocoons to make 1 continuous silk yarn.

b. WILD SILK is difficult to reel and after being processed is worked up as spun silk. The diet of these worms can be oak, plum and a couple of other kinds of plants. The silk’s colors have a wide range from light beige to a deep tan due to the tannin in the leaves. It is also known as tussah silk. It comes predominantly from China and India (India has the most lustrous tussah) but the quality covers a broad range. It is a very inexpensive silk and for the most part, does not wear well over time. Doupponi immediately comes to mind — hand-woven because of the slubbing effect and therefore ravels very easily. Makes beautiful drapery and dresses that are only going to be worn once. Wild silk filaments are resistant to acids and bleaches which make dyeing the filaments difficult. Generally most tussahs available are in their natural colors such as in shantungs and pongees. Wild silk is a spun/cut silk; this is silk that essentially is woven with broken or short threads. This silk is found in the inside of the cocoon and wears very quickly. This silk is for the most part, rough to the touch, flatter and less elastic with a low luster.

3. Weight of

Floral printed silk fabric is measured by weight either by grams or by momme (mm). 28 grams = 1 ounce. 8 momme = 1 oz. In determining the right silk for your purposes, silk under 20 momme is considered lightweight, 20 to 28 is considered mediumweight and anything above that is considered heavyweight. You can calculate that if a 20mm silk charmeuse sells for $18.00 it would stand to reason that a 30mm would be more expensive and so on. The more body (weight) that a silk has, the longer the shelf-life. Generally, all silks can be washed (except for maybe bridal silk satins) and the heavier ones can be washed repeatedly and still maintain their hand and original beauty. Silk is inherently a drapey, supple fabric. When you see stiff silks it is because a finish has been applied to give it an artificial hand. When you wash that silk, it will lose the finish/crispness that has been added to the silk. There are other considerations as well in making a decision as to which silk you should purchase. 4 ply silk crepe as an example, has a lot of stretch to it. The 4 ply crepe that is finished in China is not as fine a quality as the one that comes out of Korea. The fabric itself is made in China but it is finished in Korea and has a better hand and a lot less stretch. It is also more expensive because of the necessary additional work done to it.

4. Origin of silk Floral printed silk fabric

The origin of Floral printed silk fabric a part in the value of the silk. The largest supplier of silk yarn is of course, China. India comes in second and Japan third. There are a few other sources but negligible in what they supply to the world market . . . but the FINEST SILK FABRIC comes from Italy and France. China has come a long way from its earlier silk fabric manufacturing to become a supplier of better quality silk fabric for the most part. But not every supplier out of China produces silk of equal value in beauty and durability. As the weight of the silk goes up, so does the price and the durability. A duchesse silk satin from China does not have the same value/beauty as a duchesse silk satin from Italy for instance. Although it is a nice silk, it is not comparable to the silk fabric of Italy and France. But of course, it is less expensive.

5. Cost of Floral printed silk fabric

Almost everyone who sells silk, carries the lightweight selections — they are fairly inexpensive to produce and have a wide range of uses such as painting, linings, lingerie etc. These silks though, over time, will become limp and unattractive. If you want to have a garment that will last, a heavier momme weight is a better choice whenever possible. The cost will be higher but you will get better value for your money. Price is not always a good indication of a poor purchase or a better purchase but couple the cost with a higher weight and you will have a better chance of being able to still wear the garment years down the line.

Silk Momme is similar to other units of textile measurement such as denier and tex (density of fibers), super S (fineness for wool), worst count, and yield. Momme is defined as the weight in pounds of a 45 inches by 100 yard piece of silk. Of course, you may have to do some math to figure the momme for a silk you have, since most people don’t have a 100 yard length of silk. Here is a good table of silk momme measurements on Wikipedia.

We hope this helps to show the different qualities of silk and how to pick out the best qualities for your creation. And of course, to know your momme!

About Majestic textile

Majestic Textile is a China base textile manufacture and wholesale textile company.

We have our own digital print design studio that we can come up with new prints every week.

We run our own printer so that we can commit to our customers good quality with fast delivery and low minimum. And we carry a wide range of base fabric for digital print to meet different customers’ need.

We are running a wholesale silk fabrics shop in the biggest textile market in China.

We covered almost all kind of China silk fabrics in our shops and we carry lot of stock, including printed silks and plain dye silks in many colors and different weight and width.

To meet the growth of our African customers need we developed a line of Africa wax print. We have the strongest support from the top wax print factory in China to provide our customers good quality wax print with the best

Which fabric is the best for nightwear?

Sleep wear is a dress where your fantasy can reign upto any extend. Not forgetting the comfort, luxury and flexibility it offers, the way it makes you feel sexy and aphrodiasc is unparallel.

Sleep wear is a wardrobe staple. No wardrobe is complete without it. When we talk of comfort wear, sleepwear is the first to strike our minds. A woman always wants to look good and feel good, even while she is asleep. And this is what accounts for the modern day versions of night wears. Comfort, fashion and style makes for the popularity of sleep wears. The sleepwear caters to the varied needs of women who have varied and diverse personalities, tastes and choices.

Your night wear may also reflect your mood. You may wear a sexy, sleek and haute nightie for a romantic expedition where as, on a casual stressed out day you may prefer wearing some relaxing and easy to do styles of sleep wears, like a sleep shirt. The selection of your nightie also depends on the fact as to where you have to wear the sleepwear. Perhaps, on your honeymoon or on your romatic weekeends you may like to sport a erotic sleepwear like a negligee done in some chic fabric, like silks, satins etc. Whereas, while on some official tours or visit to some relatives or friends place you may prefer wearing some comfortable yet modest sleepwear.

Season also has an important role to play in almost all the garments you wear, sleep wear being no exception to it. You may prefer wearing a softknit cotton nightie that offers greater coverage as well as warmth. A hot summer night may be followed by a cotton sleep shirt or a loose fitting cotton nightie.

You have a wide range of garments to chose from. You can select from the pyjamas, some sexy nightie, flannel granny nightgown, a sleep shirt, chemise as well as camisoles.

What makes for a good sleepwear

Comfort matters: Comfort is why you wear a nightwear for. So keep away all the show-bizz when it comes to sleep. Afterall, we all need a good and sound sleep for a healthy and good living.

Fabric matters: Floral printed silk fabric, is the best fabric for your sleepwear. Cotton may help your skin breathe and let you relax.custom digital print fabricHowever, you have a wide variety to choose from, like silk, rayon, satin, polyester etc. But keep these reserved for some romantic expeditions. However, silk being a natural fabric may permit breatheability.

Size matters: Wear a size that allows free and unrestricted movement to your body parts. A loose fitting sleepwear promises more comfort and ease. Afterall, it’s your bedroom where you can wear something that ensures your comfort first.

Design matters:
Wear simple. Wear a design that has no extras to it. Avoid all embellishments, unless you are on a date. See to it that your nightwear doesnot feature too much of pockets, flaps, frills etc. The extra fabric or the extra feature might be a problem. See to it that there are no seams or minimal seams.

Season matters: Wear cottons to combat the summer heat, particularly if you live in a tropical country. You can wear nylons or thermal fabrics during winters. Polysters may prove to be quite warmer. So, wear accordingly.

Types of sleep wear

Baby dolls

Baby dolls are your favorites when it come to nightwears. They are highly comfortable and flexible. You may also pair them with a number of your other garments, thanks to it’s versatility.

Baby dolls are a shorter and more popular version of negligee. They are mostly categorised as a lingerie. The design fetaures a short tank top that barely reaches upto your thighs. They are very often available paired with matching panties.

They are loose-fitting, usually sleeveless garments that may be made of sheer fabrics with laces and trimmings. Nylons, polyesters etc are also used to make babydolls. However, cottons promise more comfort and breatheability.  Bows, ribbns, laces, furs, may all be featured on babydolls to make you appear sensous and erotic.

They are usually made to feature no sleeves at all. They feature no straps at all, and it any, then they are necessarily the thinest possible ones like the spaghetti straps.

They usually fetaure an in-built bra, eliminating all needs of an extra undergarment. However, some may like to sport one with no inbulit bras for a more erotic appeal.

They most often have a front tie-up closure that make is easy to wera or undress. Most designs usually leave your abdomen exposed.

However, if comfort is your priority and the purpose that you want to wear a baby doll for, then go for plainer ones with no or very little trimmings. Remember that the trimmings may be stratchy and irritating. Make sure that you have the one done in some cotton material.

Baby dolls are often worn by small children. However, you may get your chic and sexy babydolls on the streets too by pairing one with a matching pair of leggins.

Nightgowns

Night gowns are commonly associated with two styles: the sexy negligee and the flannel granny.

A nightgown is the most wildely worn night-time garment. They are available in a number of versions, designs are styles. They are loose fitting, free draping garments that are designed so as to ensure comfortable and flexibility.

They are made of cottons, silks, satins, nylons, poylsters and flannels. The more chic and feminine versions may feature laces, trimmings, collars, frills, bows, flowers etc.

They may run upto your ankles, like a dress, or may reach somewhere an inches or two above or below your kness. A negligee is often associated with a nightie that is short in length.

Also, a Peignoir is a nightie that comes paired with an innerwear for the bottom.

Negligees

They are loose, they are sensuous, they are sexy, they are erotic, they are chic, and they are your best companions as a nightwear. They are made of sheer fabrics that are translucent enough to let your skin breathe as well as show the best of you!! They are made more feminine and  appealing with the use of lace trimmings, bows, etc.  They are revealing and may not cover your body completely but may offer little but modest coverage. Rest depends on you, how your wear and pose them!!

Negligees are usually made of chic fabrics like silk. However, some cheaper and inexpensive varities are made in nylon and polyster. No doubts, these fabrics may not provide you the comfort and breathebility that you may desire out of your nightwear.

The length of a negligee may vary. You may wear one running upto your ankles, or one reaching upto your knees or above.