Professional Results: Soft Furnishings E-Book

Wendy Shorter

• Herausgeber: IMM Lifestyle Books
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Seitenzahl: 210

Beschreibung

Master an important new aspect of interior design: soft furnishings. Whether you hope to develop your passion into a rewarding career or simply want to add finishing touches to your own home, this book will show you how to produce schemes and specify effectively for them. Learn the techniques the pros use to create beautifully finished makes. The section at the front of the book takes you through all the essential techniques, which are clearly explained and illustrated with step-by-step photography. Featuring 9 detailed projects, this book shows you how to make curtains, blinds, scatter cushions, bed valances, and more. Packed with practical information on every aspect of soft furnishings, you'll have the know-how to make elaborate pieces for every room in the house.

Leseprobe

PROFESSIONAL

SOFT FURNISHINGS

Whether you hope to develop your passion into a rewarding career or simply want to add finishing touches to your own home, this book will show you how to produce schemes and specify effectively for them. Learn the techniques the pros use to create beautifully finished makes. The section at the front of the book takes you through all the essential techniques, which are clearly explained and illustrated with step-by-step photography.

Featuring nine detailed projects, this book shows you how to make curtains, blinds, scatter cushions, bed valances and everything in between. Packed with practical information on every aspect of soft furnishings, you’ll have the know-how to make elaborate pieces for every room in the home.

After gaining her professional qualifications, Wendy Shorter worked on a number of private commissions before going into teaching. She now runs her own upholstery and soft furnishings training centre in Hertfordshire, England. She is a Fellow and Director of Training for the Association of Master Upholsterers and Soft Furnishers. She is also a Liveryman of the Worshipful Company of Upholders charged with improving skills within the crafts.

Also by New Holland

Professional Upholstery

Malcolm Hopkins

A must-have guide for anyone interested in the art of upholstery. Features a comprehensive techniques section followed by seven projects showing the intricacies of this beautiful craft.

ISBN 978 1 84773 057 2

160 pages, £14.99

New Holland Publishers (UK) LtdGarfield House86–88 Edgware RoadLondon W2 2EAwww.newhollandpublishers.com

PROFESSIONAL

SOFTFURNISHINGS

WENDY SHORTER

DedicationThis book is dedicated to my daughter, Louise,in the hope that one day she will also enjoy mylove of working with fabulous textiles.

First published in 2010 by New Holland Publishers (UK) LtdLondon · Cape Town · Sydney · Auckland

Garfield House86–88 Edgware RoadLondon W2 2EAUnited Kingdomwww.newhollandpublishers.com

80 McKenzie StreetCape Town 8001South Africa

Unit 166 Gibbes StreetChatswoodNSW 2067Australia

218 Lake RoadNorthcoteAucklandNew Zealand

Copyright © 2010 text: Wendy ShorterCopyright © 2010 photographs: New Holland Publishers (UK) LtdCopyright © 2010 New Holland Publishers (UK) Ltd

All rights reserved. No part of this publication may bereproduced, stored in a retrieval system, or transmitted in any formor by any means, electronic, mechanical, photocopying,recording or otherwise, without the prior written permission ofthe publishers and copyright holders.

ISBN 978 1 84773 511 9

Senior Editor: Corinne MasciocchiPhotographer: Edward AllwrightProduction: Marion StorzEditorial Direction: Rosemary Wilkinson

4 6 8 10 9 7 5 3

Reproduction by PDQ Digital Media Solutions Ltd, UKPrinted and bound by Craft Print International Ltd, Singapore

Contents

Introduction

GETTING STARTED

Equipment

Sundry equipment

Sundry materials

Curtain and blind sundries

Suspension systems

Fabrics

Measuring and estimating fabrics

Sewing techniques

Closures

Fastenings

Passementerie

Decorative techniques

BASICS

Window treatments

Standard roman blinds

Cascade pleated roman blind

Roll-up/reef blinds

Curtains

Machine-made lined curtains

Hand-stitched unlined curtains

Hand-stitched lined curtains

Interlined curtains

Headings

Narrow heading tape with a top frill

Pencil pleat tape

Puffed heading with tape

Encased gathered heading

Hand-stitched headings

Pleat calculations

Pleating patterned fabrics

Pleat formations

Tab top curtains

Eyelet curtains

Sheer curtains

Tie-backs

Piped tie-backs

Plaited tie-backs

Ruched tie-backs

Valances and skirts

Yoked valance with spaced box pleats

Pelmets

Cushions

PROJECTS

Lined curtains with a commercial heading tape

Tie-backs with contrast piped edge

Interlined curtains

Roman blind with a contrast panel and beaded trim

Bed valance

Bed throw

Window seat box and bolster cushions

Scatter cushions

Loose cover for an upright chair

Glossary

Resources and organizations

Acknowledgments and bibliography

Index

Introduction

Ientered the world of professional upholstery and soft furnishings in 1995 after many years working in the film industry as PA to the film director, Stanley Kubrick, and as a freelance Production Co-ordinator.

Having sewn since school, I decided to return to my roots studying at the London Guildhall University, now known as London Metropolitan University and at West Herts College in Hemel Hempstead. I achieved my professional qualifications gaining distinctions for my work, and in 1998 was awarded the Association of Master Upholsterers and Soft Furnishers Student of the Year Award.

Since then I have worked on individual commissions in both upholstery and soft furnishings and was approved for membership of the Association of Master Upholsterers and Soft Furnishers (AMUSF) in 1999. My work has been demonstrated and exhibited at the NEC in Birmingham and the Living Crafts Show at Hatfield House. I am also a visiting lecturer at KLC School of Design at the Chelsea Harbour Design Centre in London. My association with the AMUSF has since lead me to become an active board member and I am currently their Director of Training. I am a Fellow of the AMUSF and in 2009 had the honour of being made a Liveryman of the Worshipful Company of Upholders (the archaic word for upholsterers). I started my teaching career in 1999 at West Herts College and then back at London Metropolitan University. In July 2006, with the support of some fantastic students, I decided to start my own Training Centre in Hertfordshire. I now run a full range of upholstery and soft furnishings courses for both accredited and leisure courses. The Training Centre has gone from strength to strength, with many of my students achieving credits and distinctions for their work and many have since gone on to start their own very successful businesses.

This book is aimed at those with experience of sewing and soft furnishings who are looking to move onto the next level, or looking to break into the industry. But most importantly, they should have a keen interest in producing good quality decorative furnishings.

I have tried to include as much detail as possible in this book, but nothing can ever take the place of good quality ‘hands-on’ practical training with a good tutor or practitioner. The projects are based around the training offered at my training centre and will take you through the basics to more complex projects: hand-stitched curtains, decorative detailing, fitted and tailored bedding and loose covers, which I hope will inspire you to create beautiful, professional looking furnishings of your own.

EQUIPMENT

Life as a soft furnisher will be made so much easier with two main pieces of equipment: a cutting table and a sewing machine. There is a large choice of machines available, but don’t be dazzled by all the fancy stitches and computerization as you may never need them. Think carefully about your specific needs and choose one that best suits your budget.

WORK BENCH

Like many of my students, my love of soft furnishings started at home with my sewing machine on the dining room table. However, when working on large projects I found it difficult working on my knees on the floor. A bespoke cutting table is very useful but if you can’t afford one or don’t have the room for one, invest in a 15 mm thick 240 × 120 cm (1/2 × 8 × 4 in) sheet of MDF (Medium-Density Fibreboard) which can be placed over an existing dining or kitchen table. Cover it in a plastic-coated fabric to protect it. It can then be stored against the wall when not in use and brought out when needed, providing you with a large working surface. If you are fortunate enough to have a designated workroom, then this MDF top can easily be transformed into a workbench with storage underneath for your fabrics and linings.

DOMESTIC SEWING MACHINE

Please do not rush out to buy the ‘all-singing, all-dancing’ expensive sewing machine. As a soft furnisher you won’t need one that has hundreds of fancy stitches. What you will need is one that has a good stitch quality, that can take the thickness of fabrics that you may be required to use, and that has a selection of feet you’ll find useful.

I recommend a machine that will enable you to lift the presser foot that extra bit higher, in order to take a curtain heading containing lining, interlining and heading buckram, doubled up as it would be for a hand-stitched curtain heading. Always try out the machine before you purchase it, and take along your own samples, as the samples provided tend to be dress-weight fabrics that are too thin and won’t give you a realistic idea of the machine’s capabilities.

Sewing machine feet

Sewing machines often come with a range of feet and accessories. I prefer a machine that will allow you to use the larger thread spools and that has a good ‘walking foot’ attachment. A walking foot allows equal pressure on the fabric as it moves under the presser foot and will help alleviate the problem of the fabric slipping, which is particularly important when using silky, shiny fabrics or when you are trying to pattern-match long lengths of fabrics. A walking foot attachment is essential when doing large areas of quilting.

Other useful machine feet are:

Zip foot that will allow you to stitch close to piping, if the machine does not have a designated piping foot.

Designated piping foot, if available.

Concealed zip foot for inserting concealed zips.

Darning or embroidery foot for free-hand quilting.

Pin tuck foot.

Edge foot.

Sewing machine needles

The purpose of the sewing machine needle is to penetrate the fabric, by moving the yarns apart without damaging the fabric. The needle has a long groove on one side, which aids the thread through the yarns, and a small notch, called the scarf, just above the eye of the needle on the other side. This aids the passage of the rotary hook when forming the bottom thread stitch.

Always check that you are using the correct size needle and thread for the fabric you are sewing. The finer the needle, the less damage to the fabric, but if too fine it will blunt and break. Check and change your needle regularly; a blunt needle often causes missed stitching.

Use sharp needles for all woven fabrics and ballpoints for knitted fabrics:

Lightweight fabrics:70–80 (10–12)

Medium weights: 80–90 (12–14)

Heavy weights: 90–100 (14–16)

MACHINING TIPS

Never push or pull the fabrics through the machine. Instead just guide the fabric, allowing the feed mechanism to take the fabrics through at its own rate. On standard machines, the fabric in contact with the feed mechanism will be taken through faster than the top fabric. This can be a problem when sewing different weights of fabric together. In this case, place the lighter weight fabric underneath and gently apply pressure to this fabric so that both go through at the same rate.

OVERLOCK MACHINE

An overlock machine neatens the raw edges of fabrics, using either a three-or four-thread stitch. This machine is particularly useful when raw edges may be seen or for neatening raw edges on cushion covers. Although not essential – as a good zigzag stitch will suffice – it is a very useful and efficient machine.

INDUSTRIAL MACHINES

Once you start to produce work on a professional basis, you may wish to invest in an industrial sewing machine that is built for continuous use. If you go down this route, take your time and do your research to find a machine that fits your requirements as well as your budget. Although more expensive, I always recommend an alternating compound feed walking foot machine.

SEWING FAULTS

Here are a number of common faults that can occur when using a sewing machine and their possible causes.

Thread breaks

Incorrect threading of the machine.Thread waste fouling the looper.Worn or damaged hole in the throat plate.Thread too fine or contains knots.Worn or damaged needle.

Needle breaks

Thread too thick for the needle.Operator pulling or pushing the fabric.Bobbin case incorrectly fitted.Needle is bent.Inadequate needle quality.

Irregular seam

Needle incorrectly fitted.Bobbin spool badly wound.Bent needle.Poor fabric feed.

Poor fabric feed

Presser foot pressure too low.Worn or damaged feed dog.Feed dog set too low.Inappropriate feeder mechanism.

Missed stitches (the looper does not catch the needle thread):

Incorrect threading of the machine.Incorrect needle or thread.Bent needle.Incorrect looper settings.

SUNDRY EQUIPMENT

There is a huge array of sundry equipment available to the soft furnisher. Some items are a must-have, whereas others look great but are of little use. The following are those I find most useful:

PINS AND NEEDLES

I recommend glass-headed pins about 45 mm (1 3/4 in) long that are thicker than normal dressmaking pins and can be seen easily, so as not to be left in the fabric by mistake. When pinning fabrics together, pin at right angles to the edge, this way the fabrics are held firmly, avoiding the problem of the fabric slipping or moving.

You will also need a range of sewing needles. I recommend:

Long darners No.7 (extra long with a large eye).

Darners No.3 (thicker).

2 1/2 in fine curved needles.

TIP  Always take pins out as you machine up to them. Although it is possible to machine over them when they are placed at right angles to the edge, you will damage the machine’s needle, or even break it, if it hits apin. This causes damage to the pins and will blunt or break the needle. A blunt needle may cause the sewing machine to miss stitches and may also cause damage to fine fabrics.

SCISSORS

Again, there is a huge array of scissors available, but I recommend:

Good pair of shears that aren’t too heavy and that will only be used for cutting fabrics.

Short, pointed embroidery scissors.

Pinking shears.

Stitch ripper.

Rotary cutter.

TAPES AND MEASURES

5 m (16 ft) or 8 m (26 ft) metal tape measure, preferably with a hook end to aid measuring from the curtain track or pole’s suspension point. If you cannot get one with a hook, cut a small piece from each side of the metal end to form a hook that will go through the suspension eye.

Soft tape measure.

15 cm (6 in) and 30 cm (12 in) plastic rulers. These are very useful when measuring and turning in seam allowances as they allow you to crease in the fabric without damaging it.

Metre stick, preferably 4 cm (1 1/2 in) wide to aid cutting fabrics for piping.

T-square, preferably 1.5 m (5 ft) long.

Set square.

Sewing gauge.

CHALKS AND MARKERS

Always mark fabrics on the wrong side, as markers never really erase well. I prefer to use pencils and a fabric eraser:

3H pencil.

Quilter’s pencils.

Tailor’s chalk – always keep a sharp edge on the chalk.

Chaco liner (in various colours) – very useful as the width of the mark is controlled.

Water-soluble/vanishing marker pens (be aware, some may vanish too fast!)

THIMBLES

Thimbles are always useful, but I prefer to use soft patchwork thimbles as you have more control in your movements.

Also useful to have in your sewing kit...

Fabric weights and clamps.

Calculator.

Safety pins.

Tag gun.

Quilter’s ruler.

SUNDRY MATERIALS

Lining, interlining and waddings come in a range of qualities, each designed for a particular purpose. Their aim is to aid the drape and fall of fabrics, particularly fine fabrics and to protect more expensive fabrics from damage by UV light.

LININGS

It is false economy to buy cheap or coloured lining fabrics. Lining fabric protects expensive fabrics from sun damage and aids the fall and drape of the fabric, so the better the quality, the longer it will last, and the better your curtains will look. They come in a range of colours and qualities. I always use an ivory-coloured lining as any other colour will fade in streaks and will make your curtains look old and tatty before their time. The quality of the lining is determined by the number of ‘picks’, from standard 96 pick to premium 116 pick.

Cotton sateen I recommend a good quality 100% cotton sateen sanforized fabric that is crease-resistant and rolled onto a pole rather than lapped (folded in half), as you can never get the crease out.

Barrier cloth is usually a calico- or wool-based cloth that has the required degree of chemical treatment to make it a barrier cloth. When used in conjunction with a covering fabric that contains at least 75% of natural fibres, it will comply with the UK’s Furniture & Furnishings (Fire) (Safety) Regulations 1988.

Calico is an inexpensive plain-weave cotton fabric made with carded cotton, which retains small, dark spots normally taken out in more refined cotton fabrics. Available in a range of different weights, with or without fire-retardant treatments.

Cambric is a fine, closely-woven plain-weave fabric of cotton or linen finished with wax, which gives it a slight shine on the wrong side. It is used to make feather cushion cases to help stop the feathers from working through the fabric.

Canvas , sometimes called duck or sail cloth, it is a heavy, coarse, unbleached plain-woven cotton fabric produced in a wide range of weights.

Ticking is a very strong, closely-woven twill cotton fabric, usually woven in narrow black and white stripes and often used to make feather cushion cases, bolsters, pillows and mattresses.

INTERLININGS

When two layers of fabric are used, air is trapped between the layers, increasing the thermal and sound insulation properties, and will create a more pleasing visual effect with more rounded and fuller folds.

Originally, interlinings in curtains were used to help stop the drafts. These days, we use interlinings for their draping qualities and to make thinner fabrics look more sumptuous.

There are various thicknesses and qualities of interlinings. Again, do not buy cheap interlinings as they can be thin and uneven in places, which will not help the hang of your curtains:

Stitchbond is a synthetic (polyester/viscose) interlining that does not shrink and comes in different weights (160–210 grm2).

Pre-shrunk cotton interlining is a luxurious soft cotton interlining that is pre-shrunk to help avoid future shrinking. Available in a range of weights (260–270 grm2).

Domette (100% cotton twill) is a thinner, soft cotton interlining ideal for roman blinds, swags and tails, and light-weight curtains. Available in a range of weights (170–265 grm2).

Cotton bump is a traditional heavy, thick cotton interlining (285 grm2) with good insulation properties, but It is prone to shrink.

Blackout linings – 2 or 3 pass is used to eliminate light coming through the fabrics. Ideal for use in hotels, for children’s rooms or for shift workers. Care must be taken when using blackout linings as pins will leave pinhole marks.

Vilene interlining is a lightweight sew-in or iron-on synthetic stiffening that comes in various thicknesses. Heavier weights are ideal for tiebacks and pelmets.

Bondaweb is a very thin fusible interlining ideal for appliqué.

Lining fabrics can be fire-retardant treated to comply with relevant fire regulations, treated for crease resistance or Teflon®-coated against stains.

WADDINGS

Polyester wadding comes in various weights, from 2 1/2–16 oz.

Insulation pad is polyester wadding on a felted backing. Used in upholstery over serpentine springs, it is also ideal for covering firm pelmet boards.

THREADS

Threads are supplied on small reels, spools of 500 metres (546 yd), cross-wound cops and large cones of up to 8000 metres (8750 yd), in various qualities and thicknesses. The higher the number, the thinner the thread. Use a good-quality mercerized cotton thread for hand sewing. Mercerizing is a treatment that makes the thread stronger and more lustrous. Threads should not only match the fabric’s colour, but also its weight in order to avoid sewing problems. If you can’t find an exact colour match, try one shade darker as it will be less visible than a lighter shade.

Depending on the type of fabrics you are using, you will require a selection of sewing threads for hand stitching, machine sewing and decorative detailing. Some that I find useful are:

Coats Cotton is a pure mercerized cotton sewing thread.

Coats Duet is a 100% polyester sewing thread.

Tre Cerchi is a Tkt 40 thickness mercerized cotton thread that is slightly thicker than the standard dressmaking threads.

Gutermann thread is a strong polyester thread, but some sewing machines don’t work well with polyester threads.

Terking Tkt 75 is a poly/cotton sewing thread for hand stitching.

Terko Satin 36 is a good-quality non-mercerized cotton thread that is thicker than the Tre Cerchi and is ideal for sewing in headings on hand-stitched curtains when a stronger thread is required. Gutermann Buttonhole thread is a suitable substitute.

Polycore 120 is used on overlock machines.

Embroidery and decorative threads of all kinds can be used for decorative purposes.

HEADING TAPES AND BUCKRAMS

Your curtains and blinds will need to be hung from the top of the fabrics and most will need firm support to create your chosen headings. There is a wide range of heading tapes and buckrams available, but here is a list of the most useful:

Heading tapes come pre-strung ready for use in a range of depths and styles. Woven pocket tapes are better than corded pocket tapes as the pockets are less likely to stretch under the weight of the fabrics.

Transparent heading tapes and heading buckrams are also available for voiles and sheer fabrics.

Festoon tape is a transparent tape used on the backs of London, Austrian and festoon blinds.

Heading buckram comes as sew-in or fusible in a range of weights and depths from 10–15 cm (4–6 in).

Pelmet/tie-back needlefelt buckram.

Buckram is a stiff finish applied to loose woven cotton or linen used as a stiff interlining. Starched or double-starched hessian is used for larger projects like traditional pelmets, tiebacks and lambrequins.

Cotton Indian tape is a 13 mm (1/2 in) wide woven tape.

CURTAIN AND BLIND SUNDRIES

When making curtains and blinds, you will find the following sundry materials useful in aiding the fall of your fabrics and for hanging and fixing finished window treatments in place.

CURTAIN SUNDRIES

This is a list of useful curtain sundries that will aid the drape of your curtains.

Curtain weights are used to weigh down the fabric at seams and the corners of curtains.

Lead-weighted tape is a small lead chain placed in the hem of voiles and sheer curtains to help weigh them down.

Pin hooks are for use with hand-stitched heading buckrams.

Brass hooks are good and strong, but have to be sewn on individually.

Decorative tie-back hooks.

Vine eyes are used for securing the end of the curtains or valances to the wall.

BLIND SUNDRIES

Blinds will need an array of different sundries and fixings to make them look neat and professional.

China cord guides are used to guide the pull cords along the top batten. They are gentler on the cords than screw eyes.

Cord connectors are used for connecting a decorative pull cord to the main guide cords.

A wall cleat is required for tying off the pull cords when the blind is pulled up.

Cord weights: brass or wooden acorns are used as a decorative weight on the end of the cords.

Plastic rings/eyelets are attached to the blind’s rod pockets to secure and guide the cords.

Cords are used to control the rise and fall of the blind.

4 mm 1/8 in) rods are inserted into the rod pockets to support the width of the blind’s fabric.

Weight bars: fibreglass bottom weight bars 20 × 4 mm (3/4 × in) are used to weigh down and support the fall of the blind.

Brackets are used for fixing the blind’s wooden batten in place on or above the window frame.

Screw eyes are used to guide the pull cords along the blind’s wooden batten.

PIPING CORD

Piping cords come in a range of qualities and thicknesses from shoestring to 6 mm O/4 in) diameter.

Natural cotton has a twist and will shrink when washed.

Pre-shrunk cotton has a twist.

Encased: the strands are encased in a fine netting.

Smooth woven: without a twist.

Polyprop: a synthetic piping cord without a twist.

SUSPENSION SYSTEMS

There is a wide range of suspension systems used for blinds and curtains. Decorative poles are visibly displayed above the curtain or blind, whereas tracks are usually required to be less obtrusive or hidden behind pelmets or fascias.

TRACKS AND POLES

Tracks and poles come in a range of sizes, shapes and styles to suit almost every need and budget. The most important thing to bear in mind when choosing a track or pole is its suitability for the project in question.

Consideration should be made to:

Position at the window. Is it to be fitted in the recess of the window, on the frame or above the window?

Consider its fixings points: top or face fix? Is the fixing point firm enough to secure and hold it firmly?

Do you want to see the track or does it need to be covered with a pelmet or fascia?

Consider the weight of the project. Heavy-weight curtains or blinds will need a track system suitable to carry the weight of the fabrics.

Does it need to be bent to fit the shape of a bay window?

Will it need to be reverse bent around a corner? Not all tracks and poles can be reverse bent.

Is the blind to be in constant use? If so, it can be difficult to pull up on a cleat properly and you may prefer to use a chain-operated track system instead.

Remember, it is false economy to buy a cheap system if it is not going to work smoothly and efficiently.

These are just a few examples of suspension systems available:

Decorative pole.

Corded track system.

Un-corded track system.

Track fitted to a pelmet board.

Small fascia board.

Roman blind track systems.

Roman blind traditional batten.

TIP  Poles are there to be seen, but tracks often look unsightly. If you don’t want to see the track system, it can be hidden behind a small covered fascia that is just the depth of the track system, or behind a more substantial decorative pelmet. See Pelmets on pages 115-17.

TRACK AND BATTEN SYSTEMS FOR BLINDS