Crêpe de Chine, georgette, silk satin: which weave for which garment?

The thread is the same: a long, even, lustrous mulberry silk. What makes all the difference is how it is crossed on the loom. Satin, crêpe de Chine, georgette, twill: four weaves, four characters, and not the same finished piece. Here is how I tell them apart, and which one I choose depending on whether it is for a dress, a pillowcase, or a scarf.

The essentials in 30 seconds. Silk satin (charmeuse) reflects light and drapes smoothly: it is the weave used for bedding and slips. Crêpe de Chine is matte, grainy, and holds its shape: it is used for dresses worn during the day. Georgette is a veil that moves in the slightest breeze; woven in a double layer, it becomes opaque without losing its lightness. Twill has a fine diagonal pattern and a firmer hand: it is the weave used for squares and scarves. Momme, meanwhile, applies to each of them—but can only be compared for the same weave.

The same thread, four fabrics: how weaving makes a difference

There is a lot of talk about momme, grades, and certifications—and we often forget that two silks with the same weight can feel completely different to the touch. Weaving is the architecture: the way warp threads (stretched on the loom) cross weft threads (passed through the shuttle). There are three main weaves—the plain weave, twill, and satin—and within each, the thread’s twist, fineness, and density do the rest.

Keep one simple idea in mind: the more the thread floats on the surface, the more the fabric shines; the more tightly twisted the thread, the more matte and textured the fabric. All silk terminology stems from this.

Silk satin (charmeuse): the light

In a satin weave, each warp thread passes over four or more weft threads before dipping back down. These long “floats” align the fibers on the surface, and it is this continuous surface that reflects light. Charmeuse is a lightweight silk satin, with a shiny face and a matte, slightly crêped reverse.

What it feels like under the hand: an immediate glide, coolness on first contact, and a fluid drape that follows the body without clinging. This is precisely what you want from a silk pillowcase—skin and hair glide instead of rubbing—and from a chemise. On a day dress, however, silk satin reveals everything: every fold, every seam, every reflection. It requires impeccable tailoring, typically the bias cut, which lets the fabric fall along the diagonal of the weave and eliminates creases. If you are still hesitating between satin and silk, the article that untangles the two terms is a useful starting point: satin is a weave, while silk is a fiber.

Silk crêpe de Chine: structure

Silk crêpe de Chine is a plain weave—the simplest interlacing, one thread over, one thread under—but woven with highly twisted weft yarns, alternating between S and Z twist. This twist creates a fine, almost sandy grain on the surface that diffuses light instead of reflecting it. The result: a discreet sheen, a dry yet supple hand, and above all a structure that satin does not have.

This is the most versatile weave in a wardrobe. It wrinkles very little, does not sag throughout the day, and works just as well at the office as at dinner. On a plain silk crêpe de Chine mini dress, it creates a clean, almost graphic look, where satin would be too shiny. Its usual density is around 12 to 16 momme: light against the skin, opaque in medium and dark shades.

Georgette: movement

Georgette takes the logic of crêpe one step further: both the warp and weft yarns are twisted, the weave is looser, and the density lower—often 8 to 12 momme. The result is a slightly grainy, highly airy fabric that lifts in the slightest breeze and lets light through.

This transparency is both its beauty and its limitation. A single georgette is worn over a slip; double georgette solves the issue differently—two layers mounted together, becoming opaque while retaining their floaty quality. It is the fabric for long summer and occasion dresses: covering where needed, flowing everywhere else. For a late-September wedding or a late garden party, this is the weave I recommend first.

Twill: the structure

Twill is a diagonal weave: the thread passes over two or three weft threads, shifting with each row to create a fine diagonal visible when held against the light. This weave produces a firmer, denser fabric that holds a crease and makes colors slightly more matte than satin, with a distinctive depth in printed designs.

This is the traditional weave of the silk square—the kind you tie, roll, and wear as a headband without it creasing—and you’ll find it in our mulberry silk scarves. It is also used for bedding by some manufacturers, but it is less smooth there: for a pillowcase, silk satin remains the benchmark.

Comparison table

How to choose: dress, pillowcase, or scarf

• For a dress you’ll wear often: crêpe de Chine. It handles a day of sitting, can be hand-washed without fuss, and doesn’t require a slip in medium and dark shades.
• For an occasion dress: double georgette if you want movement, bias-cut silk satin if you want shine. Both can be worn without a lining—the silk glides directly over the skin, without static electricity.
• For sleeping: silk satin, no question. It’s the smoothness that matters, measured afterward in momme—19 to start, 22 for density and durability, 25 and above for exceptional quality.
• For a scarf: twill for the classic square that you tie; satin or crepe for a long scarf that needs to drape.

Three guidelines for reading a product description

1. Is the weave named? “100% silk” does not tell you everything. A serious product description specifies crepe de Chine, satin, georgette, or twill: this is the first indication that the material was chosen for the piece, rather than the other way around.

2. Is the momme consistent with the weave? 22 momme is an excellent value for a pillowcase and a strange one for georgette. Always compare like with like—that is the purpose of the momme guide.

3. What is the opacity strategy? Polyester lining, silk lining, double layer, or naturally opaque fabric: for a dress, this line matters just as much as the cut. At Studio, we prefer double georgette or a sufficiently dense crepe to a synthetic lining that would compromise silk’s breathability.

Frequently asked questions

Is crepe de Chine real silk?

Yes, when it is woven from 100% mulberry silk. “Crepe de Chine” refers to a weave, not a fiber: polyester crepes also exist, which is why it is important to check the composition on the label.

What is the difference between charmeuse and silk satin?

Charmeuse is a lightweight silk satin, shiny on the front and matte on the back. In everyday usage, the two terms refer to the same family of satin weaves.

Is silk georgette transparent?

In a single layer, yes, slightly. Double georgette—two layers joined together—is opaque while remaining airy, eliminating the need for a lining.

Which silk weave wrinkles the least?

Crepe de Chine and georgette, thanks to the twist of their threads, show wrinkles less than satin. Twill holds a crease well but retains unwanted wrinkles if left rolled into a ball.

Can you compare the momme of crepe with that of satin?

Not directly. Momme measures thread density, but the appearance depends on the weave: 14-momme crepe can look more opaque than 16-momme satin. Compare like with like.

See the weaves in person

The new dresses for the season bring together the four families: plain crepe de Chine in seven colors, off-the-shoulder double georgette, and bias-cut silk satin. The surest way to understand a weave is still to wear it.

Discover mulberry silk dresses →

— Colette, for the StudioSoie Journal