Versatility of slipcovers

One of the nice things about slipcovers is their versatility as a decorating aid. They can be use in both traditional and trendy settings. You can create many different impressions and keep changing from season to season, just by giving the same couch or armchair a completely different cover each time. You can change the character not only of furniture but also of the whole room by changing the fabric, color and pattern o the covers.


The original purpose of slipcovers was to protect costly find fabrics on upholstered furniture from wear and tear and to keep them clean. Today we make a decisive point of coupling the practical purpose with a decorative one. If protection to the upholstered furniture is the main concern, dirt and dust must never be allowed to work their way through to ruin the upholstery under the covers. Then you must choose a fabric that is closely woven and easily laundered or dry-cleaned, because the covers will receive all the soiling that would otherwise attack the upholstery. Fabrics that are crease-resistant, fade-proof and pre-shrunk are also ideal for slipcovers.


Trends and changes in slipcover fashions continue to govern the design of slipcovers. Unpiped seams can help to bring an uncluttered and simplicity to a setting, whereas, piped seams make traditional furniture look better and correct.


If you plan to use prints and pattern fabric, choose them wisely. The density of color and pattern can alter the apparent size of the chair or couch quite considerably. Large patterns, bright, intensive colors and rough textures tend to make the covered item appear larger. The opposite is true if the pattern is small or the color is light and the texture is smooth.


Large patterned fabrics require more thought and care than do small all-over patterns or solid one-color fabrics. Large motifs must be well centered on every section of the cover. Seams too, must be matched exactly, and this means you have to buy extra fabric and there will be a certain amount of wastage. Small all-over designs and plain fabrics are the easiest and most economical to use as they don’t have to be matched at the seams and there is no wastage.


If in some cases that the print you want to use seems a bit too overpowering by itself, then tone it down by using a solid color with it. For example, make the main cover in the print but cover the loose seat cushion with plain, solid color that matches one in the print. If the unit has a separate back cushion as well, then cover it in a solid color too. The final effect will be more relaxed. Another way of using a print and plain combination would be to cover the whole unit in the print and the skirt in plain. The skirt could be left either quite plain or trimmed at the hem edge with the print. Usually the nature of the print will inspire you the best method of trimming or mix and match with loose cushions.

Finding the right cushion filling

If you are thinking of making your own cushions, you will concert about finding the right cushion fillings. There are all kinds of materials available to stuff into your cushions. They all have different features and feel. We will see some of them about their characteristic, quality and comfort.

Down

This is a filling to use if you are thinking in superlatives. It is soft and fluffy and very light in weight; it keeps its buoyancy better than any other filling, therefore a little goes a very long way and it lasts almost a lifetime. It is also very expensive and not easy to get from shops. If you have an old down quilt that you no longer need, then lucky you, because you can make a super exclusive cushions that would cost a fortune to buy.

Feather and down mixture

This is less expensive but still in the luxury class. It is only a little heavier than Down. The more feathers there are in the mixture, the heavier the cushion will be. Also expensive to buy and not always available, but if you have an old feather pillow to spare you can make a fairly sizeable luxury type of cushion.KapokThis is a vegetable down and reasonably priced compared to the first two. It is soft, lightweight, resilient and highly moisture-proof. Although it tends to lose its body and turns to powder eventually, and sometimes goes lumpy, it is still considered as a very good filling material because of all its other good qualities. In spite of its eventual loss of body, it will probably outlast the life of the cushion cover.

Man-made fiber filling

This category includes Terylene, Nylon or Dacron and is much cheaper then Kapok and quite inexpensive. These fillings are non-absorbent, therefore are practical to use because you can wash the whole cushion without removing the cover if you wished.

Poly-form filling

This is a 50/50 mixture of latex and plastic foam crumbs. It is fairly lightweight, resilient, and inexpensive and goes a long way. It makes a firm, light and comfortable cushion but not a smooth one because the crumbs show up occasionally in little lumps under the cover. The best way to stop this happening is to make an inner case of fine plastic sheeting, and then fills it with the poly-foam filling.

Polystyrene beads

They are great for floor cushions. They are light, resilient and firm in use. The more you use in the cushion the firmer it becomes but the less you use the more comfortable it is to sit on. Don’t tempt to use too little or you will defeat the purpose of a floor cushion.

Shaped foam forms

They come in many shapes and sizes, or they can be cut to any size and shape that you wish. These forms come in a variety of thick nesses. You can choose from Latex or plastic foam. Although an inner case for foam forms is optional, it is better to have one, because the outer cover slips on more easily and once on will not slip out of place

About the lengths and fullness of curtain

How to decide the best length of curtain is never an easy task.

About lengthsThere are four acceptable lengths for hanging curtains. Evan so, full length curtains are more frequently use because they improve the size and shape of most windows and rooms. Curtains that hang from the top of the window always look better floor length than any other. Café curtain are the exception here, but then they are really half curtains, which mainly hang from well below the top of the window anyways.

Sill lengthThese are made to hang from the top of the track t just clear the sill by about 1/2 inch, curtains should not touch the sill or they will soil and need laundering too often. Sill length is the inevitable length for curtains that have to be hung from inside the reveal such as dormer window styles and some café curtain styles.

Apron lengthThe usual length for these is from 2 inches to 6 inches below the sill, depending on the depth of the apron, the wooden board that runs across and under the sill. This length excludes draughts more effectively than sill length. It is correct only for curtains hung from the top of the window and quite wrong fro those hung inside the reveal.Skirting board lengthThis hangs to the top of the skirting board and its probably the ugliest length ever thought of. Its only reason for existing is that it is practical because the curtains hang free of brooms and cleaners, and are less likely to soil very easily. In spite of this, from an aesthetic point of view, it is not worth considering. It looks so indecisive.Floor lengthThese curtains hang to within 1 inch of the floor or carpet. If carpet is to be laid at a later date, take measurement to within 1-1/2 inches of the floor.Curtain which end somewhere between the apron and the skirting board are the most common mark of the amateur. It looks mean and is neither one thing nor the other, and should be avoid like the plague by anyone who is particular about effect.

About fullnessFor curtains to look good, as well as correct, they should have plenty of fullness. The curtains should undulate in well-controlled folds across the window, not just wide enough to cover the window in flat sheets. So don’t skimp on fabric. It is wiser to buy meters and meters of a reasonably priced fabric rather than not enough of a high priced one.How much fullness depends on the type of fabric you use and the style of heading you choose for the top of the curtains. The lighter and finer the fabric, the more fabric you will need. For sheer and lightweight fabrics you will need three times the width measurement of the track for adequate fullness. For medium weight and heavier weaves, twice the track length will be enough, but for very heavy fabrics such as velvet and corduroys, perhaps half the track length again will be all you need.You will find it easier still to gauge adequate fullness by deciding to use one of the fantastic ranges of heading tapes, which will give you the heading style you want. These tapes are designed and worked out with precision to produce perfectly spaced pleats. Beautifully presented pamphlets regarding these tapes can be had free from ship counter dealing with curtain fittings. These pamphlets give recommended allowances for particular styles and have detailed charts with measurements worked out exactly, so that all you have to do is to look up your track width on the chart to find out how much tape you will need and also the number of fabric widths required for that window. This is also a great help in working out the amount of fabric to buy.

Get the right length and fullness of curtain for your windows make them another focus point of your rooms.

History and facts of cushions

Cushions have a very noble history. The earliest records of this ancient piece of furniture can be found in old inventories of great palaces and manor houses of the early Middle Ages. At that time, the covering was usually of leather, they were mostly of immense sizes, firmly padded and used as seats. Their use as such was retained even after chairs became commonplace. Chairs prior to this period were of noble importance, lesser mortals than feudal lords sat on cushions, which also designated rank in the courts. Later, cushions were used to make hard wooden chairs, benches and stools more comfortable. Even as late as the 17th and 18th centuries in France and Spain, we glean from historical memoirs that they were still used as seats. In fact in the Spanish court, you were an honored person indeed, if you were allowed to sit on a cushion, while France, the prerogative to kneel on a cushion behind the king in church was a mark of status, firmly held by the privileged and rigidly controlled by those in authority.

The cushion even today has not lost much of its noble heritage, because no substitute has yet been invented to take its place at Royal weddings, coronations and other regal functions. Today, cushions should be expected to play two roles simultaneously, they should fit into your room scheme as a decorative accessory as well as give comfort in use. A comfortable cushion, which is ugly, may be physically acceptable, but it is of no use whatever if it causes you aesthetic discomfort.Cushions, like all soft furnishings, can be classic and stylish or frivolous and just plain fun. Almost any fabrics can be used for cushions, from rich brocades to humble Hessian. Closely woven and crease-resisting fabrics are best. Consider also their laundering and washing qualities.

Cushion covers must stand up to much handling, therefore sturdy, good quality fabrics will ensure durability. This is a realistic attitude to take and it is wise economy to use the best fabric you can afford because if you are going to spend valuable time making them yourself, you don’t want them to fall apart sooner than expected from normal use. Cushions can be of any size and shape and trimmed in a variety of ways. You could use bought trimmings like braids, fringes and tassels or you could trim and hand made trimmings such as frills and self fringes and piping. English and Italian quilting ( Trapunto), patchwork and appliqué are other interesting ways by which to make attractive and exclusive looking cushions.

If no special edge finish is planned for the cushion, they should nevertheless be finished with a self-piping in a fabric of similar weight and thickness. Piped seams are considered very professional; cushions do certainly look much better with piping than without.

Although cushions are made in a variety of shapes, there are only 2 basic types of cushions: the Plain edged cushion, which is sometimes referred as Knife edges, and has a back and front only; and the Boxed cushion, also known as a Walled cushion, which has a wall or boxing striped between the front ( top ) and back ( bottom ) pieces. A boxed cushion always looks larger than a plain edged one of exactly the same size; so keep this in mind when you are planning specific size.

Important points on using patterned curtain fabrics

When choosing patterned curtain fabrics always consider the size of the design in relation to the length of the curtains. Full-length curtains take to large-scale patterns more happily than would sill length curtains. There is however, a simple rule regarding large designs that can be relied upon to be aesthetically correct in almost every case. There should be no less than four designs repeats and not more than seven in each length of curtain, Keep to this rule and you won't go wrong. With small scale design repeats this rule does not apply. It is also good planning to have a complete design repeat at the bottom of the curtain. This may result in having cropped-off motifs at the top, but this does not matter very much because the design is usually lost in a pleated heading or hidden by a pelmet and won't be so noticeable here.



About Stripes and Checks


Evenly spaced stripes and checks pose no problems, but if the design consists of varying widths and colors, more care is needed to see that they join up correctly. Such patterns have "direction" and are described as "one-way" or "two-way" designs. The direction of "one-way" stripes can be "read" by following the sequence of their different width and color graduations, both vertically from left to right and horizontally from top to bottom. With a "two-way" stripe the direction has a central starting point. With horizontal "two-way" stripes the sequence runs from the center to the top and bottom of each repeat and vertical ones it runs outwards to the left and right selvedges. In both cases there is often a break between repeats. When joining "one-way" panels see that they are all running the same way up, as this maintains continuity of design. It only takes one panel placed upside down to ruin the sequence of the stripes or checks. However with some one-way stripes or it is often more interesting to make one set of a pair of curtain upside down so that when they are hung as a pair, the stripes will converge to the center in a matched sequence, thus creating a central focal point.



About "set" and "drop" patterns, striped floral and matching patterns

A Set Pattern has main motifs that recur at set intervals across the width and along the length of the fabric. Cut each succeeding panel by placing the first cut length over the fabric to match exactly the design underneath.


A Drop Pattern has main motifs recurring at regular intervals along the length of the fabric but at staggered levels throughout its width. When cutting several panels for a pair of curtains, the first two cuts will differ from each other, then each succeeding panel will be cut alternately to match each of the first two panels. If six panels are to be cut, three of them will be cut from one point and the other three from a second. When each panel is joined alternately to another the design will flow continuously with the motifs running diagonally across the fabric, as they are meant to do.


About Striped Florals

Striped floral prints or weaves can have pattern direction as well as a "set" or "drop" pattern repeat. Treat them as outlined above.

About Matching Patterns

This must be done perfectly at all seams of patterned fabrics, so that the design will flow in a continuous line across the item you are making whether it is a bedspread or a pair of curtains. Extra fabric is always needed for pattern matching, even though this often results in unavoidable wastage. Buy sufficient material to allow one extra pattern repeat per curtain panel.

How to mix and match with patterns

Today's colorful fabrics and wall coverings offer a wealth of possibilities for introducing pattern into a room. Although one well-chosen pattern can make a significant design statement, interplay of patterns can produce an effect that is even more striking.

Pattern is always impressive and its ability to impress comes from a variety of qualities – each of value to a designer. Pattern can be spectacular in bold colors or an oversized design; it can be subtle, yet still quite impressive when repeated in various areas of room.

If you want to establish a particular mood, wallpaper patterns can make all the difference. Mini-prints, calicos, and lively little ginghams impart a country feeling; bold graphic, geometric, and large-scale stripes complement clean lined, contemporary design.

Finding a common color theme is one of the best ways to tie two or more patterns together. If you are working with several prints in the same room, start by selecting the predominant pattern, the one with largest scale or boldest color. You are practically assured of a successful scheme if you follow these simple guidelines:

1. Use the dominant color in the fabric chosen for the largest areas in the room – the wall or ceiling – and underscore that color in the floor treatment.

2. The second-brightest shade can be used for large, upholstered pieces, as well as for the window treatment, without overwhelming the eye. It is also a good idea to repeat a bit of this color in the floor covering.

3. The sharpest color in the fabric becomes an accent color in the room. Use it sparingly in art and accessories.

4. Never give two or more colors equal importance in a room; give one dominance, and let the other play counterpoint.

5. Never use a color just once; if your bring in a yellow throw pillow, add corresponding yellow touches elsewhere in the room.


Besides colors, you should also consider the scale of your pattern. In general, strong patterns work best when given top billing. A large-scale floral will work well with a medium-scale geometric pattern and a mini-print. Small-scale patterns can add punch to a room without vying for attention from the dominant patterns because they often appear to be solid colors when viewed from a distance.

If you are still in a quandary over how to mix and match patterns, a convenient solution is to use pattern collections from the same supplier. You can select from as many as five or six patterns, all designed to blend compatibly. These products are usually categorized by color. You simply decide on the primary color, then choose from a selection of patterns that share those hues, you will find that these collections include a broad range of color-coordinated products; wall coverings, fabrics, bed linens, bath accessories, paint, paper ware, ceramic tile, lampshades, comforters and window shades. These collections not only take the guesswork out of mixing and matching patterns, they also can offer inspiration for a fresh new color scheme.

Today's collections range from contemporary to traditional in style and are available in a variety of price range. You may be familiar with brand name collections; the full access of internet search for international flavor has become evident. If you are looking for mix and match from different suppliers on the internet, you should give allowance to actual color to screen color of the actual item. Monitor setting can vary greatly. Same color name from different merchants can differ a great deal in real. Download product pictures from web pages to compare and play around the patterns and colors.

Finding the best bedspreads

An attractive bedspread can be the magic ingredient used to give character to a bedroom. The whole mood of the room can be enhanced or ruined by your choice of bedspread. Both the fabric choice and the bedspread style should suit the décor of the room. There are many different types of beds; all demand their own special style of spread.

Choose fabrics with some weight and body. Spreads should not be so light that they slip off the bed or are troublesome to handle. A bedspread should be thick and heavy enough to hold its place on the bed without wrinkles or slipping about. If the fabric is light such as lace, gingham or chintz, it should be lined to give it more body. Choose a fabric that can be cleaned easily; if you intend to have a washable spread make sure that the fabric and lining are pre-shrunk.

Bedspreads look best when made full length to the floor. A spread that hangs mid way between mattress and floor, showing empty space under the bed is never attractive and will always annoy the onlooker by its air of untidiness. It looks as mournful and depressing as a flag at half-mast. A short coverlet should be teamed with a separate skirt such as that in a two-piece style. This skirt is known as the dust ruffle. Full length spreads and dust ruffles should fall to within 1 cm of the floor; corners on simple throwovers should be curved. These last two points saver wear and tear and keep spreads clean for a longer time than if they are allowed to come in contact with the floor.
Some beds demand more in the designing and construction of spreads than others. Beds with open footboards and corner posts need covers with splits in the corners to accommodate these features; beds without these features have covers which hang simply to the floor. Bed with paneled footboards, which reach almost to the floor need covers that reach to the floor from the sides only, and just long enough at the foot to tuck under the mattress.

The many variations of bedspread styles, whether tailored or frivolous, all stem from the same three basic styles:

The Simple Throwover

This is unfitted and made to cover all three sides of the bed. It can reach to the floor as a complete over or be the top part of a Two-piece Style.

The Fitted Spread

This is a more tailored style. It has a center section that fits the flat expanse of the bed exactly, with side and foot overhangs attached to it, falling to the floor. This skirt or overhang is joined or pleated at the corners giving it is a tailored fitted look. A shorter version of this style used with a dust ruffle becomes a Fitted Two-piece Style.

The Two-piece spread

This style has a top cover, which can be made as a Simple Throwover or as a Fitted Spread teamed with a dust ruffle. The dust ruffle is a skirt attached to a piece of calico or some other strong inexpensive fabric, which fits over the base of the bed under the mattress concealing the base completely. This is a most practical way of dressing a bed; when the top is removed the bed still looks neat and attractive. The dust ruffle may be a gathered or pleated flounce or perfectly plain and simple falling straight to the floor. The top cover should long enough to just cover the top of the dust ruffle.

Measurements needed for buying the right size bedspread

Measurements should be taken over a full made-up bed with all its usual bedclothes on, including pillow if the spread as intended to cover them. Pillows are left off if you intend to have a bolster at the head of the bed.

- Length from head to foot
- Width from side to side
- Side overhanging, from top edge to floor
- Foot overhanging, from foot edge to floor
- Depth of mattress
- Depth of base, from top edge of base floor