MAKING SPECIAL
HEADINGS SHOWER CURTAINS
Decide on a suitable fullness for the curtain - say 1
times. Allow 5 cm for 4 cm double hems down each side edge and the same for a 4cm
double hem across the lower edge. Include a 12 mm seam allowance across the top
edge. Cut waterproof fabric to the same dimensions. When stitching plastic, a
layer of tissue paper on top of the fabric helps prevent the needle sticking.
Turn under 2 cm double hems down the sides and a 4cm double hem across lower
edges and stitch, mitring corners. Position the lining on the fabric with wrong
sides together, and stitch, positioning the seam 12 mm from the top raw edge.
Turn the curtain right side out and finger press the seam. Stitch a casing the
diameter of the shower rod, positioning the first row of stitching 12 mm from
the top edge. Another simple method is to sew rings to the top of the hemmed
shower curtain. Place rings about every 10 cm and sew firmly. The rings then
slide on to the shower rod.
SOFT FURNISHINGS
CUSHIONS
Cushions, though
small, have the potential to pull a scheme together with accents of pattern or color.
The easy charm of printed linen or chintz covers responds to the zest of
complementary pattern on cushions - perhaps a stripe or diamond motif. Plain
chintz or satin weave cushions can be used to pick out and heighten secondary colors
in a room, or they can provide a striking contrast.
Decorative techniques
Cushion covers can be decorative in their own right, displaying creative
techniques such as patchwork, applique and outline quilting, stenciling or
fabric painting. Trimmings give a cushion cover a professional finish: piping in
matching or contrasting fabric outlines the shape; flat borders and gathered or
pleated frills act as frames; tasseled fringes or heavy silk cording are
suitably lavish for velvets, tapestries and brocades.
Themes from the
past A profusion of cushions, piled upon a sofa or . window seat, conveys a
sense of comfort, even though furniture is now so thoroughly upholstered that
cushions are primarily used as accessories. It was not always so. Until the
sixteenth century seating had no upholstery and most chairs no back to lean on
either. It was the cushion that provided a softer seat; they were the
precursors of the flat squab cushion we still tie to kitchen or dining chairs.
Embroidering
covers for cushions was one of the accepted occupations for women in noble
households, and cushions remain objects for colorful decoration. One of the
most popular embroidery effects was crewelwork. Cushions were also covered in
velvet or silk damask or in the carpet-like Turkey work. History repeats itself
and the pendulum of style has swung back, renewing interest in decorative
effects of the past- the embroidered and kelim-covered cushions we see on many
sofas today take their brief from earlier fashions.
