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THE ENCYCLOPAEDIA OF CURTAINS All you’ll ever need to know about making curtains REVISED EDITION
© 2017 Merrick & Day Publishing All rights reserved The rights of Catherine Merrick and Rebecca Day to be identified as the authors of this work have been asserted by them in accordance with the Copyright Designs and Patent Act 1988. A CIP record for this book is available from the British Library. The publishers have made every effort to ensure that all the instructions and measurements given in this publication are accurate and safe, but they cannot accept liability for any resulting injury, damage or loss to either person or property whether direct or consequential and howsoever arising. The measurements in this publication are approximate, as are the conversions of measurements from metric to imperial.
ISBN 978-0-9535267-6-5 Revised edition First published 1996 (ISBN 0 9516841 4 0) Reprinted 1999, 2000, 2002, 2007, 2010 Revised edition 2017 (978-0-9535267-6-5) Printed and bound in China by Leo Paper Group 2017
Editor first edition: Phoebe Phillips Editor revised edition: Liselle Barnsley, Tailored Marketing Solutions Limited Graphic design: Paul Eaton, Redback Visual Artwork: Sophie Karaer Merrick & Day photography: Liselle Barnsley, Mike Beard, Rebecca Day Thanks and photograph credits, pages 380–1 First edition diagrams: Suzanne Kettle Revised edition additional diagrams: Jessica Beard, Rebecca Day, Clare Elwes, Diane Hannaford Watercolour illustrations: Dawn Ogden White, Rebecca Day Merrick & Day Redbourne Road, Redbourne, Gainsborough, Lincolnshire DN21 4TG, UK Telephone: 01652 648814 Email: sales@merrick-day.com Website: www.merrick-day.com
4 Encyclopaedia of Curtains
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Contents INTRODUCTION CHOOSING CURTAINS
CURTAIN TIE-BACKS
History of curtains ..................................................8
Tie-backs ..............................................................284
Curtain styles and window shapes..........................20
Italian stringing ...................................................290
BEFORE YOU START SEWING
MAKING BLINDS
Measuring windows ................................................52
Blinds ...................................................................292
Planning window treatments .................................62
Roller blinds ........................................................294
Estimating fabric quantities ..................................72
Roman blinds .......................................................296
Setting up and equipping a work area ..................84
Pleated blinds ......................................................310
Cutting fabric ........................................................92
Gathered blinds ..................................................312
Sewing skills ........................................................102
Attaching blinds to headrails ..............................314
MAKING CURTAINS
BEDS, TABLECLOTHS AND CUSHIONS
Making curtains ..................................................114
Bed curtains and dressings .................................318
Unlined curtains ..................................................118
Decorative tablecloths ........................................334
Lined curtains ......................................................122
Cushions ..............................................................338
Interlined curtains ..............................................126 Overlong curtains ................................................132
INSTALLATION AND FITTING
Double-sided curtains .........................................134
Fitting and hanging ..............................................352
Decorative headings .............................................136 Headings for arched and apex windows ..............174
OTHER USEFUL INFORMATION Templates and patterns ........................................362
USING TRIMMINGS
Fabric directory ....................................................364
Contrast borders and edges .................................180
Merrick & Day curtain books ..............................372
Frills ....................................................................186
Merrick & Day curtain-making supplies ..............373
Fabric trims ........................................................194
Merrick & Day curtain-making courses ...............373
Passementerie ......................................................208
Glossary ...............................................................374 Index ....................................................................376
MAKING TOP TREATMENTS Valances ................................................................216
Photograph credits ...............................................380 Blind cord and chain safety guidance ..................382
Pelmets .................................................................240 Swags and tails ....................................................248 Swagged valances ..................................................278
Contents 5
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1400–1660
1837–1901
Small panes of thick tinted glass were held together with strips of lead in metal casement windows fitted in stone or oak mullions and transoms. Glass was extremely expensive and beyond the reach of the masses, who continued to use wooden shutters. Glass was often used as an example of one’s wealth, as demonstrated in the 1590s by Bess, Countess of Shrewsbury, when she built Hardwick Hall in Derbyshire. The saying at the time was ‘Hardwick Hall, more glass than wall’. The window panes were cut from glass, made in her own glassworks.
Advancements in glass manufacture allowed much larger, affordable panes of glass to be made. To strengthen the joints of the now larger sash window frames, small spurs of timber, known as ‘horns’, were added to support the weight of the glass. The bay window became popular. The Victorians experimented with many types of pane layout and ornamentation. The wealthy embellished their windows with colourful stained glass, leaded lights and mouldings.
Stone mullions
Iron window
Iron opening casement
Sash with ‘horns’
Bay window
Double sash window
1660–1714
1901–45
Timber casement windows were used in the majority of houses and service areas. The newly invented sash window started to be used in large houses. Early sash windows had wide wooden glazing bars. By the 1670s the design of the counterweighted sash window was able to support larger panes of glass. Most early sash windows were fitted almost flush with the outside wall. After an Act was passed in 1709, from then on sash windows had to be recessed by four inches.
The Edwardians started mixing different pane sizes in their sash windows. Bay windows continued to be popular and French and garden doors started appearing. After the First World War metal technology improved and mass-produced metal casement windows signalled the decline of the more labour-intensive wooden sash windows. In 1926 Francis Crittall started mass-producing single-glazed, steel-framed, casement windows. Double-glazed Crittall windows are available today.
Leaded glazed panes
Wooden glazing bars
Round window
Edwardia n garden door Edwardian sash window
Crittall metal window
1714–1837
1945 to the present day
As glass manufacture improved, glass became thinner and window panes continued to increase in size. The ‘classic’ Georgian fenestration of six- over-six panes with narrow wooden glazing bars became the norm. Windows became larger and more elegant and let more light into the houses. To reduce the risk of fire, an Act was passed in 1774 requiring the box containing the cord and weight mechanism, which had previously been exposed on the sash window, to be set within the frame.
Casement windows continue to be used. Double-glazed windows became popular, initially set into wooden frames and later into uPVC. Float glass manufacturing advancements meant that there was almost no limit to the size of glass panes. Patio and large picture windows became affordable and widely used. Engineering improved and ways were found to move larger pieces of glass more easily, allowing entire walls of folding glass to be installed in domestic homes. Other glass developments include thermal, self-cleaning, toughened and electrochromic privacy glass.
Venetian window
Ogee-arch window
8 Encyclopaedia of Curtains
Georgian sash window
Double-glazed window
Bi-folding glass doors
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History of curtains Looking back at curtain design developments over the past few centuries can help you create a unique window treatment which perfectly complements your home. When dressing a window, we can learn a great deal by seeing how our predecessors dealt with the same problems facing us today; that is, a practical need for warmth and privacy, where the solution should also be satisfying to the eye. Looking at the past can give us small design gems that can be used in today’s modern homes. Prior to the invention of photography, the only visual records we have of early curtains come from carvings, drawings, paintings and engravings. The majority of curtains or window treatments were part of the background, obscured by the portraits or genre scenes which were the real subject of the artist’s work. By the mid-eighteenth century, drawings of curtain designs started to appear in trade catalogues. Knowledge of the history of curtains is helpful if you have an old property which you want to decorate sympathetically, or if you have a particular style from the past that you wish to recreate. Curtain design has evolved over the centuries and has responded to fabric availability and technology. It was also influenced by developments in window design. A pictorial history of British window architecture from 1400 to the present day is shown on the previous page.
Pre - 1 4 0 0 Pre-1400 windows were very small and were left unadorned. Early windows were just ventilation holes, covered by oiled skins or fabric or wickerwork nailed onto wooden frames and jammed into the reveals to keep out the wind. Windows were barred at night by loose boards or basic shutters. The early Romans had used thin slices of marble to let light into rooms but substituted glass as a luxury in the imperial period. Colonising the colder climes of Northern Europe, they used wooden shutters to keep out the weather (as in Italy) but also took glass-making knowledge with them. In the 8th century, Wilfred, Bishop of Worcester, substituted glass for wooden shutters and wicker lattices in Worcester Cathedral. An early recorded use of glass in English domestic buildings came in the 13th century when Henry III had many windows glazed in the royal residences. Fabric was prohibitively expensive, so early curtains were only used to decorate thrones, canopies and royal beds, rather than windows. Curtains were also used as room dividers to exclude draughts and provide privacy.
In turn, window design was driven by developments in glass making. The Romans used glass for architectural purposes following the discovery of clear glass in Alexandria. They brought their glass-making processes to Northern Europe. Initially, cylinder glass was used in windows. It was made from blown cylinders of glass which were cut, reheated and subsequently flattened into sheets. Crown glass was used in England from 1674. It was cut from a blown globe of glass and was thinner and clearer than cylinder glass. 19th Century improvements in cylinder sheet and plate glass manufacturing processes allowed larger pieces of glass to be made, such as those used in the Crystal Palace of 1851. Between 1953 and 1957, the float glass process was developed by Pilkington Brothers and meant that the glass was uniform in thickness, with no imperfections, and suitable for larger panes. Glass technology has continued apace.
Illustration of a 10th-century ivory carving showing tab-headed curtains used as a room divider
History of curtains
9
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20 E n c y c l o p a e d i a o f C u r t a i n s
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Curtain styles and window shapes Looking at the range of curtain styles together with your window shape will help you make the right choice. Every window is individual, and the chosen curtain style must fit in with the function and overall scheme of the room, as well as working with the window shape and its position within the wall. When looking at window treatment designs, you should consider factors such as budget, light, curtain length, fabric preference, window shape and outlook, all of which will influence your final design decision.
Curtain styles
Fu l l - l e n g t h v e r s u s s i l l - l e n g t h c u r t a i n s Full-length curtains always look more elegant than short curtains. If you are unable to have full-length curtains due to an obstruction, such as a radiator or sink, consider choosing a blind instead. Sill-length curtains rarely make an impact in a decorative scheme, but there may be valid reasons for choosing them in certain situations.
Fa b r i c s Curtain choices range from curtains with decorative headings hung from tracks, poles and fabric-covered laths, to curtains combined with valances, pelmets or swags and tails. Blinds can also be used with curtains or simply on their own.
Budget If you have a tight budget, consider unlined curtains. If there are existing fittings in place you can use them to reduce the overall cost. Some window treatments require more fabric than others; swags and tails with curtains use the most fabric and Roman blinds use the least.
Light How much daylight are you prepared to lose? All curtains will block out light if they stack back over the window glass. If space permits, curtains can be stacked back over the wall area. Your choice of decorative curtain heading may be dictated by how well the heading stacks back. For example, eyelet-headed or French-pleat-headed curtains stack back more tightly than goblet-pleat-headed curtains. For minimal light-loss at the top of the window, choose curtains hung from tracks, poles or fabric-covered laths. Valances, pelmets and swags will block out light at the top of the window. Where possible, fit top treatments on wall space above the window, also known as dead wall space or dead light, as less light will be blocked by the top treatment. For proportions of top treatments, see pages 68–71. Roller blinds block out very little light, even when they are fitted in the window recess. Roman blinds fitted in the window recess will block out some light, but less if fitted outside the recess.
The type of fabric needs to be suitable for curtains as well as fitting in with the overall style and colour scheme of the room. For example, if you need to wash your curtains, choose a washable fabric made up in an unlined style. Before purchasing fabric, it is worthwhile obtaining a sample and putting it in the room to check that you are happy with the fabric choice.
Wi n d o w s h a p e s If the window is tall and narrow you can choose almost any window treatment. To make a small window blend in with the wall, keep the design simple. To make a small window appear bigger, dress the wall space around the window. If the window is shaped at the top, the curtains and/or top treatment can be shaped to match.
M i n i m a l s t a c k b a c k a re a Blinds are usually the best solution where there is very little space at either side of the window. For curtains, choose a compact heading style, such as eyelets or TĂŞte de Versailles (also known as single-pleat).
Wi n d o w o u t l o o k a n d a s p e c t The window outlook may affect your choice of curtain style. For example, you may choose to frame the window with a minimal curtain treatment. For privacy you may choose a multilayered treatment of sheers or blinds combined with curtains. For sunny aspects you may want to protect delicate fabrics, such as silk, from the sun with sheers or a roller blind. To block out light in bedrooms, use either blackout blinds and/or curtains with blackout lining.
C u r t a i n s t y l e s a n d w i n d o w s h a p e s 21
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Ta l l w i n d o w s
N a r ro w w i n d o w s
This is the most elegant window shape to dress and suits most curtain styles.
For a simple and neat look, Roman blinds can be used successfully at narrow windows.
Since you are further away from the top of tall windows, any top treatments will need to be proportioned to suit the height of the window. See proportions for top treatments on pages 68–71. If you are unsure, a scale drawing or paper template will allow you to check the Canvas pelmets trimmed with rope depth of the top treatment along the top and lower edge and give you the confidence to scale up to the most suitable proportions. If using wooden poles, then larger diameter poles of 50–75mm (2–3in) will be needed so that they look in proportion to the room when viewed from below. Adding a Roman blind to the treatment draws the eye lower down the window.
Dress curtains with inverted pleats and a functional Roman blind
40 E n c y c l o p a e d i a o f C u r t a i n s
Narrow windows can also look good with just a single curtain scooped across the glass and held open with a tie-back or ombra. A pair of curtains can be joined in the centre and Italian-strung, or held open with high tie-backs, to allow Five narrow windows with curtains light to flood into the room. hung from a continuous pole Italian-strung curtains will need re-dressing each time they are opened so it is best to leave them as dress curtains and use functional roller or Roman blinds for light control. Curved pelmet boards, with valances or fixed-headed curtains, can look effective on narrow windows. They give the curtain treatment an added dimension.
Goblet fixed-headed curtains, held open with high rope tassel tie-backs
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Wi d e w i n d o w s Wide windows are often a feature in modern homes and extensions, having the advantages of letting in a lot of light and creating a closer connection with a garden or a view. Understated window treatments and fabrics are often the best answer, so that curtains are not overpowering. A series of blinds is another option, with or without curtains.
Va l a n c e s On a wide window either keep the valance lower edge shaping straight and simple or consider serpentining it. The valance below has a pleated heading with wide spaces to show the fabric pattern to its best advantage.
When designing top treatments for wide windows with wall space above, you can soften the strong horizontal lines of the window with shaped valance or pelmet lower edges. Accent the vertical lines with curtain leading edge trims.
Fa b r i c - c o v e re d l a t h s Laths are ideal for wide windows where there is little or no wall space above the window. To keep the clean contemporary look of the lath, full-length curtains should just reach the floor. For overlong curtains, where tracks are corded, note that the drag of the curtains when opening and closing them could strain the track.
Pe l m e t s Curtains hung from a fabriccovered lath with sheer curtains hung from a track behind
Po l e s Poles for wide windows will need central support brackets. Where a top treatment is required but the wall space above the window is insufficient, you can attach a valance to the top of curtain to still achieve a top treatment effect. In the picture below, the three windows have been treated as one wide window.
When choosing the core stiffening for a pelmet, bear in mind the final weight. A plywood pelmet will need significantly more support than a canvas one. For long plywood pelmets, also consider how they will be transported to the site.
Swags and tails Placing trims, such as trumpets or rope clovers, between the swags creates interest in a multiple swag treatment.
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Estimating fabric quantities This chapter includes everything you need to know to estimate quantities in plain and patterned fabrics for curtains, top treatments, blinds and beds. C u r t a i n m e a s u re m e n t s re q u i re d f o r estimating fabric quantities To estimate fabric quantities for curtains you will need to know the measurements below. 1
2
3
4
5
Usable width of the fabric. The distance from edge to edge of the seaming points, taking into account any pattern matching. If using patterned fabric, the length of the vertical pattern repeat; see page 96. Length of the track or the pole. If the track or pole is not in place, then estimate the length generously; see page 64. Curtain heading fullness ratio, which is determined by the heading you choose; see table on page 74. Finished curtain length, including optional overlong. If your fittings are not in place, then estimate the curtain length generously; see page 56.
Quick curtain fabric estimating
N o . o f f a b r i c w i d t h s re q u i re d f o r 2 – 2.5× f u l l n e s s c u r t a i n s Length of track or pole
No. of fabric widths based on 137cm (54in) wide fabric
120 –160cm (47–63in)
3
150–230cm (59–90in)
4
220 –300cm (86 –118in)
5
280 –360cm (110 –141in)
6
330 –430cm (130 –169in)
7
390 –500cm (154 –197in)
8
Estimating curtain fabric
To quickly find how many widths of fabric you need for your curtains, use the table above. For the cut drop measurement add a heading and hem allowance to the finished length. For standard full-length curtains, use a fabric heading and hem allowance of 30cm (12in), and for lining and interlining, use 20cm (8in).
We give two ways to estimate fabric quantities; a quick way in the next column, which will give you a fullness ratio of 2–2.5, and, on pages 74–5, a more accurate method using our Curtain Fabric Quantity Estimation Form.
For plain fabrics, multiply the number of widths by the cut drop measurement and round up to the nearest half metre to give the total plain fabric quantity. Repeat for the lining and interlining quantities as required.
For hand-pleated headings on patterned fabric, estimate using a generous fullness allowance, to allow you to place the pleats on the pattern motifs. This may seem extravagant, but will produce a more professional result; see page 158.
For patterned fabrics, the cut drop needs to start at the same part of the pattern for every width so that the curtain panels match at the seams. Divide the cut drop measurement by the pattern repeat and round up the resulting figure to the nearest whole number. Multiply this whole number by the pattern repeat, which gives the pattern-adjusted cut drop.
6
Heading and hem allowance; see page 74.
To estimate quantities for fabric with a half-drop pattern repeat, use the Half-drop Pattern Fabric Quantity Estimation Form on page 77. Rounding up the final total gives you flexibility should your curtain measurements increase or if the fabric has a minor flaw that needs to be cut around.
Multiply the pattern-adjusted cut drop by the number of widths of fabric required, then add one extra pattern repeat and round up to the nearest half metre to give the total fabric quantity. The extra pattern repeat allows you to choose where the pattern starts at the top of the curtain. E s t i m a t i n g f a b r i c q u a n t i t i e s 73
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Fa b r i c q u a n t i t i e s f o r b l i n d s M e a s u re m e n t s re q u i re d f o r b l i n d s 1
Usable fabric width and vertical pattern repeat.
2
Finished blind width and length; see pages 55–8.
3
The fullness required for London, balloon, Austrian and festoon blinds is noted under each type of blind.
Ro m a n b l i n d s For unlined blinds, the fabric cut width is the finished blind width + (2 × 8cm (3in)) side turning allowance. The cut drop is the finished blind length + 12cm (5in) heading and hem allowance. Either use rod pocket tape or for fabric rod pockets add a further 2cm (3⁄4in) per pocket to the cut drop. To calculate the number of rod pockets, see pages 300–1. Recess-fitted Roman blind
If your blind is wider than the fabric width, then you will need to allow an additional cut drop and seam fabric to either side of the blind. If your fabric is plain or has a pattern that will work horizontally and the blind cut drop is less than that of the fabric width, use the fabric sideways, also known as ‘border’. This eliminates unsightly seams. You can also cut the lining and interlining border.
B o r d e re d e d g e s Contrast borders can be quite narrow, for example 2cm (3⁄4in) or less, or up to 10cm (4in) wide, depending on the size of the blind and the overall look required. Contrast borders are also a useful design device for extending the fabric width of a Roman or fantail blind to accommodate blinds that are marginally wider than the width of the fabric. Borders strips can be cut on the straight grain of the fabric to the required length; for mitred corners, add an extra 20–40cm (8–16in) per mitre. For the border cut width, allow 2 × width of the border + 2 seam allowances.
Lower edge
Side edges
Lower and side edges
80 E n c y c l o p a e d i a o f C u r t a i n s
For lined blinds, the fabric cut width is the finished blind width + (2 × 5cm (2in)) side turning allowances. The cut drop is the finished blind length + 10cm (4in) for heading and hem allowance. To cover a wooden batten up to 130cm (51in) long, allow 30cm (12in) of fabric. Allow more for longer battens. The lining cut width is equal to the finished blind width. For the lining cut drop allow the finished length of the blind + 10cm (4in). Either use rod pocket tape or for lining rod pockets add a further 2cm (3⁄4in) per pocket to the cut drop. To calculate the number of rod pockets, see pages 300–1. For interlined blinds, the interlining cut width is the finished blind width + (2 × 5cm (2in)) side turning allowances. The cut drop is the finished blind length + 10cm (4in). Black Bolton twill is cut as per interlining. When using combined lining as an interlining, allow the finished width and length of the blind.
Blind fitted inside the recess
Blind fitted outside the recess
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Fa n t a i l Ro m a n b l i n d s
Au s t r i a n b l i n d s
This is a variation of a Roman blind, where the rods are cut in half so that the lower edge forms a fan-shape when the blind is partly raised by a central cord. They are suitable for portrait-shaped windows.
Gathered or pleat-headed Austrian blinds vary from 1.5–2.25× fullness, according to the heading required. The classic heading for Austrian blinds is a gathered heading with 1.5–2× fullness.
When made in a sheer fabric, a fantail blind is useful for letting in light while screening an unwanted view. The fabric calculations are the same as a Roman blind. Allow for any contrast-bordered edges, if required.
Austrian blinds are usually made 30–50cm (12–20in) overlong, so that they can retain scalloped hems when they are lowered. Estimate fabric quantities in the same way as for a single curtain; see pages 73–5. Allow additional fabric for frills, as required.
London blinds
Fe s t o o n b l i n d s
Decide on the number of inverted pleats; see page 310. They can be spaced 50–120cm (20–48in) apart.
A festoon has a gathered heading and, in addition, vertical gathers down the length of the blind, which give it a ruched look. It usually has a 5–10cm (2–4in) frill around the edge.
Estimate the fabric cut width as for a Roman blind; add 30–40cm (12–16in) per pleat required to the cut width of the blind + pelmet board return measurements, if required.
Estimate the fabric cut width using a fullness allowance of 1.50–2× fullness. Then divide this by the usable fabric width to establish how many widths are required.
For the fabric cut drop, add 30–50cm (12–20in) overlong to the finished length; this will allow the hem to retain the scalloped shaping when it is lowered. To this measurement add 6cm (2in) heading allowance + 24cm (10in) hem allowance. For the lining cut drop, omit the hem allowance.
For the fabric cut drop, add an overlong allowance of 30–50cm (12–20in), then multiply the finished length by the 1.5–2× vertical fullness. Now multiply the cut drop by the number of widths. Allow additional fabric for the frill.
Balloon blinds
Ro l l e r b l i n d s
Balloon blinds are a variation on London blinds but with more inverted pleats, creating a flat-fronted blind with a series of scoops.
The cut width = finished width + up to 20cm (8in).
Decide on the number of inverted pleats, which are spaced 25–50cm (10–20in) apart. The pleats at the outer edges can be set in by 5cm (2in) to allow the fabric to fall into small tails at the sides. Estimate the fabric quantities in the same way as a London blind allowing for the required number of pleats.
The cut drop = finished length + 40cm (16in). If applying a stiffening solution to the fabric, add 10% to the cut width and length of the blind to allow for shrinkage when the fabric is treated. For further details, see page 295.
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Decorative headings Your curtain heading is a key design decision. Choose from informal, machine-tape or hand-sewn headings to suit your fabric and scheme and to reflect your individual style. The type of heading chosen dictates the fullness of the curtain, the ease with which the curtain draws back and how it stacks back. Machine-tape headings are quicker to make up but the machine lines are visible at the front of the heading. Hand-sewn headings are more time-consuming but allow flexibility when placing pattern motifs.
Before you complete the curtain heading you need to calculate the finished headed width of your curtain for a single curtain, a pair of drawing curtains or fixed-headed curtains, according to your design.
I n f o r m a l h e a d i n g s (pages 138–45)
Calculating the finished headed width
Curtain finished headed width
Sewn rings, clip, rivet rings, fabric tabs and ties, channel For a pair of curtains, establish the track or pole length, overlap and returns measurements plus ease for closing to calculate the finished curtain headed width.
M a c h i n e t a p e h e a d i n g s (pages 146–54) Gathered tape, frilled and puffed, drop-over frill Pleated triple, goblet, box and eyelet tapes For wave-effect tapes see page 162
Overlap allowance: a central overlap to keep out light and draughts, 7–9cm (23⁄4– 31⁄2in).
H a n d - p l e a t e d h e a d i n g s (pages 155–69) Pressed eyelets, hook-pleated Tête de Versailles and pin-tucks, inverted pleats, French pleats, goblet and cartridge pleats, box pleats Winged goblet pleats, shaped pleats
H a n d - s e w n g a t h e r h e a d i n g s (pages 170–3) Gathered, smocked
Heading fullness ratios
Fabric tabs and ties, sewn rings, clip, rivet, hook-pleated, pressed eyelets, inverted pleats
For ease of closing: allow 2cm (3⁄4in) per 50cm (20in) of track or pole. Finished curtain headed width = length of track + overlap + 2 returns + (2cm (3⁄4in) ease per 50cm (20in) of track)÷ 2.
For specialist tapes see the manufacturer ’s recommendations
Curtain and valance headings
Return to the wall: this is the projection of the track or pole from the wall, usually about 8cm (31⁄8 in); see page 65.
C a l c u l a t i n g f i xe d - h e a d e d f i n i s h e d w i d t h
Fullness ratio Minimum Average Maximum 1.50
1.75
2.00
Channel, puffed, Machine-gather & pleat tapes
1.75
2.00
2.25
Tête de Versailles, cartridge pleats
1.75
2.00
2.25
French pleats, goblet pleats, hand-gathered
2.00
2.25
2.50
Winged goblet pleats, box pleats
2.25
2.50
3.00
Fixed headings can be used for curtains, valances, gathered blinds or Italianstrung curtains. For straight boards, measure round the front edge of the pelmet board and the side returns. For curved boards, measure round the board. To allow for easing round the corners and for the hook and loop tape, add 2.5–4cm (1–11⁄2in). Divide by two for each curtain finished headed width.
Hand-sewn, fixed-headed curtains
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H e a d i n g s f o r a r c h e d a n d a p ex w i n d o w s Make the most of these unusual windows with a shape-headed curtain treatment. This chapter explains how to tailor curtain headings to shaped windows. Arched windows can be semicircular, shallow-arched, gothic or ogee-shaped, all of which can have curtain headings shaped to the window. Arched and apex curtain headings are fixed. The curtains are hand-sewn together at the centre and held back with tie-backs, ombras or Italian stringing; see pages 285–91. Shaped headings involve curtainmaking skills, plus additional pattern-cutting techniques. The first stage in making arch-headed curtains is to French-pleated arched heading make two paper templates of above datum line the arch-shaped heading above the datum line. One template is cut into sections, fullness inserted and used to make the curtain heading pattern. The other template is used to check the finished heading size and shape the fittings. To gain confidence, you could mock up the shaped heading in waste fabric or lining, to work through the processes involved and acquire the necessary skills before making the actual curtains.
Re m i n d e r c h e c k l i s t : b e f o re y o u s t a r t 1
2
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Decide whether to fit inside or outside the recess. Measure the semicircular arched window or take a paper template for a shallow-arched, gothic or ogee-shaped window; see pages 60–1. Choose a curtain construction method; see pages 116–35. Estimate the curtain fabric quantities using 2, 2.25 or 2.5× fullness, as for a straight window, but use the top of the curtain arch to the hemline as the finished curtain length; see pages 73–7. Choose a gathered or pleated heading and read through the pattern-making instructions on pages 176–9. Decide on your fittings; see column opposite and page 360.
Fi t t i n g s f o r a r c h e d w i n d o w s For recess-fitted curtains, lightweight bendable top-fixed tracks are available. Specialist metal tracks can be pre-bent to the shape of the arch. Unlike working tracks, the gliders are static. Hook and loop tape fastener is the easiest way to fit curtains to a shaped window. The hook tape can be stapled directly onto a wooden architrave or to a custom-made arch-shaped wooden pelmet board. The arch-shaped board can be as simple as a piece of 20mm (3⁄4in) plywood, or a more substantial wooden frame fitted to the wall above and around the window. The corresponding loop tape is sewn onto the back of the curtain heading; see Fitting at arched windows on page 360. Alternatively, fix screw eyes either directly into the wooden architrave or into a plywood shape fitted to the wall above and around the window. To hang the curtains place the hooks through the screw eyes. When fitting outside the recess, cover the frame or track projection from the wall with a matching fabric band; see page 360.
A p ex w i n d o w s Measure the apex window and make a paper template of the apex above the datum line; see page 61. The semicircular arch-shaped pattern-cutting techniques in this chapter can be adapted for apex-shaped windows. Follow and adapt the make-up instructions for arch-shaped curtains; see pages 176–9.
The red line indicates the datum line
For fitting, see Fitting at apex windows on page 360.
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Pe l m e t s When placed at the top of a treatment, a pelmet can add elegance and height to a window. Whether simple and modern or traditionally trimmed, the design potential for a pelmet is limitless. A pelmet is a flat piece of fabric wrapped around a core stiffening material, sometimes with a shaped hemline, and fitted to a pelmet board. A lambrequin is a shaped pelmet that extends down the sides of the window. The practical function of the pelmet is to cover the curtain track. It can add elegant height by covering wall space above the window. The decorative potential ranges from a simple flat panel to a fringed tapestry pelmet hung from a gilded wooden cornice – and everything in between.
Pro p o r t i o n s f o r p e l m e t s Deciding the correct depth of the pelmet in relation to the pelmet board to floor measurement is key to the success of the window treatment. For straight pelmets the ideal proportion for average ceiling heights with adequate wall space above the window, is 1⁄6–1⁄8 of the top of the pelmet board to floor measurement. For sill-length curtains you can use 1⁄6 of the curtain length instead.
Fabrics with patterns are shown to their best advantage on a flat pelmet. For fabrics with a geometric or repeating motif the pelmet lower edge can be shaped to correspond to the pattern. A pelmet can be embellished with rope and fringe and even trumpets with coronets or swags.
In cottages, or rooms with extremely low ceilings and small windows, the pelmet depth can be less than 1⁄8 of the pelmet board to floor measurement. In this case choose a simple style of pelmet.
The type of core material chosen will affect the look of the pelmet. Choose the appropriate core material for the type of fabric to be used and the look required; see pages 242–3.
Make a full-size paper template and hold it up to the window to check the dimensions of the pelmet. Alternatively, make a scale drawing.
The following pelmet make-up instructions use curtainmaking techniques, but pelmets can also be made using upholstery methods (although not explained here).
For shaped pelmets, on pattern paper, draw the ideal proportion as for a straight pelmet. Then overlay your chosen shaping rising above and below the proportion line. The depth at the side of the pelmet can be considerably deeper where it falls over the curtain stackback.
Planning your pelmet
The finished width of the pelmet is the length of the pelmet board + returns + 2cm (3⁄4in) for ease of fitting round the board. This allows 1cm (3⁄8in) to the front edge of the board and 5mm (1⁄5in) ease to each return.
3
Estimate the fabric, lining and interlining quantities; see page 79. Straight pelmets can be self-lined; see page 244. Note: lining and interlining can be cut border.
4
Pelmets can be edged and trimmed. See the following pages: piping, pages 112–3; contrast-bound edges, pages 181–4; fabric trims, pages 194–207; passementerie, pages 209–15.
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Decide on the pelmet style, depth and shaping, also decide on the length, width and fitting height of the pelmet board; see pages 30–1 and 63–71.
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1
Proportion line
Shaping above and below the proportion line
Pa t t e r n p l a c e m e n t Allow enough fabric to be able to position the pattern effectively on the pelmet, as this is crucial. When seaming the panels of fabric together, a full width is usually positioned in the centre of the pelmet. On rare occasions, you can ignore the seam placement so that a dominant motif can be centred in the middle of the pelmet; see page 104. If making the pelmet in several sections for a bay or wide window, the pattern should read across the pelmet.
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Stiffening tie-backs To make stiffened tie-backs, a piece of stiffening is inserted into the fabric shape. The most commonly used types of stiffening are given below.
Making plain tie-backs 1
Using the paper patterns (see page 287), cut out the fabric, lining and stiffening. You need a left and a right for a pair so, if using patterned fabric, place a motif on the front half of each tie-back accordingly. If possible, cut the tie-back lining out of the main fabric.
2
Place fabric and lining right sides together and machine round taking a 2.5cm (1in) seam allowance, leaving a gap at the lower edge. Trim the seam allowance at the corners. Clip the concave seam allowance.
Cotton heading buckram This is softer than pelmet buckram and suitable for small tie-backs where only a soft core material is required, for example lined-only curtains. The shaping will be limited by the depth of the heading buckram unless you join it by overlapping two pieces. Fusible buckram is the firmest of the heading buckrams. Pre-cut tie-back shapes are available.
Synthetic non-woven stiffening Synthetic non-woven stiffening is available on a roll and in a range of thicknesses. It tends to be more malleable than the cotton or jute buckrams.
Step 2
Interlining stiffening shapes
3
Using the stiffening pattern, cut out the tie-back shape. Cut out two pieces of interlining slightly larger than the stiffening shape. Lay one underneath the stiffening and machine round 1cm (3â „8in) in from the edge. Trim the interlining close to the stiffening edge.
Turn the tie-back through to the right side and press. Insert the stiffened shape through the gap, turn in the lower edge seam allowance and slip-stitch.
4
Sew rings securely onto the back of the tie-back. The front ring should be level with the edge to conceal it. The back ring should be halfway over the edge of the tie-back to allow it to fit onto the hook.
Front ring
Turn the tie-back over and lay the second piece of interlining underneath the stiffening and machine round. Trim the interlining close to the edge of the stiffening as before.
Back ring
Back of right-hand plain tie-back Steps 3 & 4
Contrast-bound tie-backs Trim the seam allowance off the fabric edge to be bound. Cut out and machine-attach the contrast binding; see page 185. Lay the stiffening shape onto the back of the fabric, neatly turn over the fabric, pin and then hold in place with tacking stitches all round, taking care to maintain an even depth of contrast binding. Lay the lining onto the back of the tie-back, turn under all the raw edges, pin in place and slip-stitch round. Sew rings as Step 4 above.
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Making piped banana tie-backs 1
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Using the paper patterns, cut out the fabric, lining and stiffening. If using patterned fabric, you need a left and a right for a pair, so place the design accordingly. If possible, cut the tie-back lining out of the main fabric.
Sew rings securely onto the back of the tie-back. The front ring should be level with the edge to conceal the tie-back hook. The back ring should be halfway over the edge of the tie-back to allow it to fit onto the hook.
Cut out and make up the piping; see page 113. On the lower back edge of the tie-back fabric, place the piping onto the right side. With the raw edges level, machineattach, taking a 1.5cm (1⁄2in) seam allowance. Snip the piping seam allowance around the curve to allow it to lie flat. Repeat and mirror for the second tie-back. To join the piping, cut the cord so that the ends butt together. On one side, trim the fabric up to the cord and on the other, leave 4cm (11⁄2in) of fabric. Fold in the raw edge, overlap the trimmed end by 2cm (3⁄4in) and machine across.
6
Front view of tie-back
Front ring
Back ring
Back of right-hand banana-shaped tie-back Steps 5 & 6
Making piped scalloped tie-backs RS fabric
Make up as for a piped banana tie-back but follow the scalloped shaping. However, at Step 4, leave a gap at the top large enough to insert the stiffening.
Piping a right-hand tie-back Steps 2 & 3
Lay the lining underneath the fabric, right sides together. Machine round, following the piping stitch line. Leave a gap at the lower edge to insert the stiffening. Clip and notch the seam allowances.
RS fabric
Attached piping, which has been clipped and notched
WS fabric WS fabric
Step 4 When machining leave an opening at the top of the tie-back. Snip into the Vs of the scallop.
5
Turn the tie-back through to the right side and press. Insert the stiffened shape through the gap, and at the back of the tie-back turn in the lower edge seam allowances, pin and slip-stitch to neaten.
Front ring
Back ring
Back of right-hand scallop-shaped tie-back
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Cushions Cushions add comfort and are the final piece in a design scheme. Through the considered use of fabrics and trimmings, even the smallest of cushions can have an impact by accenting a key colour or visually linking soft furnishing elements. This chapter includes information about cushion pads, instructions for cutting and making cushion covers, different methods used to close covers, and how to define cushion edges with piping, frills or trimmings, as well as making boxed cushion covers and chair and window seat cushions.
Cushion pads and fillings For a firm, plump cushion, choose a pad that is 5cm (2in) larger than the cover to ensure a snug fit. For a flatter shape, choose a pad that is the same size as the cover. Cushion pads can be filled with either feathers or synthetic fillings.
Cushion shapes Square cushions range from small scatter to large floor cushions. Rectangular, round, bolster and box cushion pads are readily available in a range of sizes. For unusual sizes or shapes, specialist manufacturers can make custom-made cushion pads from paper templates.
Cushion template If you make a lot of cushions, an alternative to making individual paper patterns is to buy a clear, plastic template with punched holes. The template allows you to quickly mark out square and rectangular cushion covers in a range of sizes. Cushion templates are available with square and tapered corners.
Chicken feathers are curled to give them volume. Over time the curling will drop out and flatten. Chicken feather cushion pads may have an odour. Duck feather pads have good recovery, the feathers are naturally curly and are usually combined with 20% down. For the most luxurious filling, choose goose and duck down. Feather cushion pads are covered in a waxed cambric fabric. The waxed side is used on the inside of the cover to prevent the feathers from piercing the fabric. Hollowfibre is a synthetic cushion filling. It has good recovery, but doesn’t have the softness of duck feather. Hollowfibre cushions will flatten over time. Foam is used for seat pads and is available in a range of thicknesses and densities. The soft density is suitable for back cushions, the medium for seat cushions and the firm for bedding.
Cushion cover openings can be hand-sewn closed (see page 342) but this is only suitable if you do not need to clean the cover regularly.
Cut the foam to the exact size needed and make the cover to the same size or slightly less, depending on the stretch of the fabric. Foam pads can be covered in wadding for softness and then encased in a siliconed stockinette fabric, so that the pad can easily be inserted into the cushion cover. Also extend the zips round the corner of the cover, for ease of inserting the pad.
For covers that need to be removed easily, a simple option is to create an envelope opening, similar to a pillowcase flap; see page 343. A zip is a more secure closing and is positioned out of view at the lower edge of the cover; see page 344.
For sofa base cushions, foam cushions wrapped in feathers give the softness of a feather cushion with a firmer core of foam. These are usually custommade to customers’ measurements.
Methods of closing covers
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Stitch templates and chou pattern For hand-gather instructions, see pages 170–3, and for a chou, page 197.
2 c m ( 3⁄ 4 i n ) h a n d - g a t h e r s t i t c h t e m p l a t e f o r c u r t a i n s a n d v a l a n c e s The dots denote where the small stitches are taken on the RS of the fabric. © 2017 Merrick & Day
2.5cm (1in) hand-gather stitch template for curtains and valances The dots denote where the small stitches are taken on the RS of the fabric. © 2017 Merrick & Day
4 c m ( 1 1⁄ 2 i n ) h a n d - g a t h e r s t i t c h t e m p l a t e f o r b e d b a c k c u r t a i n s The dots denote where the small stitches are taken on the RS of the fabric. © 2017 Merrick & Day
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Chou fabric pattern Fi n i s h e d d i a m e t e r 9 c m ( 3 1⁄2 i n ) No seam allowance required. Cut a 14cm (51⁄2in) circle of wadding. © 2017 Merrick & Day
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P l e a t e d a n d g o b l e t c o ro n e t p a t t e r n s For make-up instructions, see pages 206 and 207
Small pleated c o ro n e t No seam allowances © 2017 Merrick & Day
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Fo l d l ine
t re eam ks
d li ne
bac
Fo l Fo e
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Fo
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lin e re
ba
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am lin
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Centre front fold
Fo
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L a rg e p l e a t e d c o ro n e t No seam allowances © 2017 Merrick & Day
line
G o b l e t c o ro n e t No seam allowances © 2017 Merrick & Day Centre front fold
Centre front fold
Centre back seam
Fo l d
Pleat fold
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