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MAKING SPECIAL HEADINGS SHOWER CURTAINS – INTERIOR DESIGNING AND DECORATION TIPS AND GUIDANCE

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. 
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How to do window dressing in interior designing and decoration

MAKING PELMETS (VALANCES) the pelmet (valance). Stitch in place, double stitching across the ends. Turn up the hem allowance across the lower edge of the pelmet (valance) and slipstitch in place over the lower edge of the lining. Draw up the heading tape and hang the pelmet (valance) with hooks and screw eyes. For a fringed edge, topstitch bullion fringe along the lower edge. For a frilled edge, after attaching heading tape, stitch the frill to the lower edge of the curtain, with right sides facing and raw edges matching, leaving scam allowances free. Press the frill away from the pelmet (valance), then slipstitch the folded lower edge of the lining to the wrong side of the frill to enclose all raw edges. For a bound edge, make up the pelmet (valance) so that the lower edge of the lining, interlining and main fabric all match.
Bind the edge, using bias-cut binding if the edge is curved.
WINDOW DRESSING SOPHISTICATED HEADINGS
Traditionally, lavish draperies were only used in great houses. They signaled wealth and status for the owner; decoratively they gave presence and visual balance to the lofty height of the window frames. The proportions of a window dressing in relation to the size of a room are critical; dramatic drapes in the context of tall rooms and high windows will always look sumptuous, but in a small room with restrictions on scale, window schemes should be chosen with care. Keep to restrained, classical lines that will not be overwhelming.
 Damasks and silks are ideal fabrics for a formal interior. Tall windows can take a commanding treatment such as swags and tails, or perhaps a festooned heading, full and rich with cascading tails laden with trimmings. A high profile window dressing like this should be used in a context where the color scheme, furniture and accessories are equal to the opulence it provides. But swags and tails can be given a simpler look when the pleating on the swag is restrained rather than generous, the fabric has the cool perfection of heavyweight chintz, and the tails are pressed flat to reveal pleats and lining in geometric progression.
Opulent window treatments can be surprisingly simple to achieve but should be used boldly for a dramatic effect. Dress curtains can act as an ornate facade with inner draw curtains or blinds to provide privacy. Double curtains create a sophisticated effect in tones of the same color or complementary patterns. Hang them together for the magnified effect of luxurious fabric or drape them asymmetrically with tie-backs. Curtains with a long drop can be caught twice as they fall.

Or a single cord set high can reef up curtains in a manner reminiscent of eighteenth-century curtain designs. These schemes are ideal for semi-circular windows, or where curtains cannot be drawn. Even the most spectacular designs are contrived from a standard repertoire of swags and tails, pelmets (valances) and draped headings. The tassels pick strongest co curtain strip. Ground rules have been mastered; most window dressings can be adapted to suit your own personal style. Swags, pelmets (valances) and lambrequins all have the panache to stand alone without curtains, and add a touch of theatre to a window in a hall or landing. 
A stylish heading can also set the mood of the room itself – a Gothic heading or Neo-classical swag will establish a particular ambience. Swags and tails lend authority to imposing windows.
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Making a Template in interior designing and decoration – Pelmet- valance

Fit screw eyes around the outer edge of the lower side of a shelf so you can hang the pelmet (valance) from hooks, or stick the hooked side of Velcro (touch and close) fastening around the top of the shelf if you want to fit the pelmet (valance) that way.  
Use 12 mm (1 in) plywood or softwood, at least 10 cm (4 in) wide, and cut it the same width as the curtain track plus either ends for clearance. For a box, screw 10cm(4 in) square pieces of wood [0 each end of the shelf before fixing it in place. Fit screw eyes around the outer edge of the lower side of a shelf so you can hang the “Pellet” (valance) from hooks, or stick the hooked side of Velcro (touch and close) fastening around the [Op of the shelf if you want to fit the pelmet (valance) that way.
MAKING A TEMPLATE
Use a large sheet of paper (lining paper or offcuts of wallpaper are suitable). Trim the paper [0 the length of the pelmet (valance) shelf and fold it in half down the center. Sketch out a shape on the folded paper and cut it out through both layers. Unfold the paper and tape it at the [Op of the window so you can check the effect. Make any necessary adjustments. This is now your pat- tern for cutting out the fabric. If you are making a gathered pelmet (valance), you will have [0 ‘spread’ the shaping to allow for the fullness of the fabric.
Take a second piece of paper to correspond with the finished size of the pelmet (valance) before it is gathered. Take a series of measurements, every 10 elm (4 in) or so, down the length of the first template, and transfer these measurements [0 the new template, spreading them apart ac- cording to the type of heading tape you are using: for example, a pinch-pleated heading takes twice the fullness of fabric, so allow for double the spacing between the measurements.
STIFFENED PELMET (VALANCE) Lock the interlining to the main fabric. Position the stiffening on the interlining and herringbone stitch in place all round. Fold the seam allowance of the main fabric over the stiffening, clipping and notching the seam allowance to reduce bulk and to help it to lie Rat. Turn under the seam allowance on the lining so that the panel is about 12 cm smaller all round than the stiffened front panel. Slipstitch the folded hem of the lining to the seam allowance of the front panel all round. Stitch a row of hooks to the inside of the pelmet (valance), or fit the looped half of the Velcro across the top, to fit it to the shelf.
A straight pelmet (valance) can be attached to the shelf with 12mm U in) tacks and the heads covered with braid or a strip of fabric to match or contrast, glued in place.
GATHERED PELMET (VALANCE) Measure up and calculate fabric in the same way as for lined curtains, reducing the hem allowance to 5cm(2 in) on the fabric and 4 cm (1! in) on the lining. Bear in mind that you are making a single pelmet (valance), rather than a pair of curtains. For frilled pelmets (valances), allow 12 mm (! in) seam allowance along the lower edge, and for a bound finish, omit the seam allowance.
 Lock the interlining to the main fabric and stiffen the heading if required. Turn under the hem allowance on the lining and position the lining on the fabric. Stitch seams at each end. Turn right side out and press so that the main fabric forms even borders at each end of the pelmet (valance).

Turn the heading allowance to the wrong side across the top of the curtain. Turn under a seam allowance at each end of the heading tape, and position it across the top of it.
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SOFT FURNISHINGS ARMCHAIRS & SOFAS – Interior furnishing design and tips for the home

MAKING LOOSE COVERS

 SOFT FURNISHINGS ARMCHAIRS & SOFAS

There are so many different styles and finishes for covered furniture that it would be impossible to explain all the steps in making every type of cover, but there are some general principles that you can adapt to suit the particular shape you are covering. 1 If you are using a fabric with a bold pattern, position a motif in the center of each of the main panels of the chair or sofa, on the back or back seat cushion(s), on the center of the seat, the front seat panel and over the top of each arm.

It will be easier to do this if you find and mark the center of the chair to start with, and align each motif as you work. Join the sections of each part of the chair as you fit them, and then join them all together when you have trimmed and finished the seams. The usual order is to start with the inner and outer back sections, shaping darts at the corners or taking tucks to ease fullness on a rounded shape. Then fit the arms, the inner panel to the outer panel first, then the front panel.

Next fit the seat and front panel together at the front of the seat, then fit the sides of the seat to the lower edge of the inner arms, and the ends of the front panel to the front arm panels. Finally, join the arm and seat sections to the back, first along the back of the seat, then over the arms and finally down the outer corners. If it is a wing chair, make up the wing sections first, and then fit them to the inner back panel. Always follow the rules for trimming and clipping into seam allowances, and press and finish each seam as you stitch it. It may be difficult to finish the seams once further sections have been joined.

Where seams cross, taper any piping into the seam allowance, trimming the cord from the piping to reduce bulk so that you can stitch seams across each other. 3 On most styles of sofa, you will have to join widths of fabric to make up the full width of the back, seat and front panels of the cover. Use a full width of fabric down the center of the panel, with narrow strips joined selvedge to selvedge down each side, Slip-tack the seams to ensure any pattern matches.

Allow panels around the sides of the seat and down each back corner to tuck into the cracks between the upholstered sections of the chair or sofa to hold the cover in place. Do not trim the seam allowance from these tuck-ins until you have tacked the cover and are happy with the fit. There are many different shapes for the arms of chairs. For simple, rectangular shapes, there is often a gusset over the top and front of the arm. If you have to join strips to make up the gusset, position the seam at the front angle of the arm. For heavily stuffed, curved shapes, gather the fabric over the head of the arm and fit it to a front panel shaped to match the outline of the arm. 

Around the lower edge of the cover, allow a 20cm turning under the chair. Clip away the fabric to fit around the legs or castors of the chair leaving a 6 mm seam allowance. Then neaten the edge with a strip of fabric cut on the bias. Make a casing all around the lower edge and thread a tape through it to draw the cover tightly under the chair or sofa. 6 Down the opening edge at the back corner(s), allow a wider seam allowance and press the turnings towards the back of the chair. Fit hook-and-eye fastenings or a zip by the overlapped method.

Before fitting a valance, mark the level of the valance on the outside of the cover with chalk or pins, checking it is the same height from the floor all round. For a gathered valance, make up a strip of fabric allowing at least 1    times the measurement around the chair. Neaten the sides and lower edge with a 12 mm wide double hem. Gather the long raw edge. Position the valance on the cover, with right sides facing and the valance lying upwards, so that the seam lines match. Stitch in place, and then press the valance downwards. 8 For a crisp finish on a tailored valance, cut the lower part of the cover off just below the marked height of the valance. 

Make up the valance and re-join the strip you cut off to the seam joining the valance and cover, sandwiching the top raw edge of the valance between the cover and the lower strip with the casing. Stitch together, then layer the seam allow- ances and press them upwards. 
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SCALLOPED And FACED HEADINGS in Window dressing in interior designing and decoration

SCALLOPED & FACED HEADINGS

Decide on a suitable fullness – one and a half times the window width is usually sufficient. Allow 4 cm for side hems, a total of 35cm for loops and facing and 10 cms  for hems. Turn under 2 cm double hems down each outer edge and turn under and press a narrow turning across the top edge. Stitch in place. Turn over 25 cm to the right side of the curtain across the top edge to form the loops and facing. Decide on a suitable depth for the scallops and length for the loops, say a total of20cm – and a suitable width for the loops, say 5cm, spaced 10 cm (4in) apart. Make up a paper template and mark the scallop seam line along the top of the curtain. Stitch along the marked seam line, then cut away the fabric from the scallops, layering seam allowances. Turn the facing right side the ends of the loops to the curtain and check for length the hem by hand.

PLEA TED HEAD

Allow extra fullness for this s size and spacing of the pleat allowance is 25 cm (10 in) for F (4 in) for the scallops. Allow seam allowance across the top Include the same side turning allowance. For the lining, al fullness and top turning, but turning allowance and reduce allowance to 6cm. Join if necessary. Turn up and stitch a 4 cm hem across the lower edge Position the lining on the fall facing, with the top of the line top of the curtain. Join side edge towards the center of the CUI With the lining centered use a template to mark across the top of the curtain scallops in place, stitching across curtain 12 mm from between the scallops. Trim ex, the scallops and layer the seam Turn the curtain right side Mark a stitching line. Insert hooks, har check the length. Turn under then 8 cm and stitch the corners.

HEADINGS SCALLOPED & FACED HEADINGS

Decide on a suitable fullness – one and a half times the window width is usually sufficient. Allow 4cm for side hems, a total of 35cm for loops and facing and 10cm for hems. Turn under 2cm double hems down each outer edge and turn under and press a narrow turning across the top edge. Stitch in place. 2 Turn over 25 cm to the right side of the curtain across the top edge to form the loops and facing. Decide on a suitable depth for the scallops and length for the loops, say a total of20 cm – and a suitable width for the loops, say 5 cm, spaced 10 cm apart.

Make up a paper template and mark the scallop seam line along the top of the curtain. Stitch along the marked seam line, then cut away the fabric from the scallops, layering seam allowances. 3 Turn the facing right side out and stitch the ends of the loops to the curtain. Hang the curtain and check for length, then turn up the hem by hand.

PLEATED HEADINGS Allow extra fullness for this style, to suit the size and spacing of the pleats. A suitable allowance is 25 cm for pleats and 10 cm for the scallops. Allow 12 mm seam allowance across the top of the curtain. Include the same side turning and hem allowance. For the lining, allow the same fullness and top turning, but omit the side turning allowance and reduce the hem allowance to 6 cm. Join widths of fabric if necessary.  Turn up and stitch a 4 cm double hem across the lower edge of the lining. Position the lining on the fabric, right sides facing, with the top of the lining matching the top of the curtain. Join side edges.

 Press seams towards the center of the curtain.

With the lining centered on the curtain, use a template to mark the seam line across the top of the curtain and stitch the scallops in place, stitching across the top of the curtain 12 mm from the raw edges between the scallops. Trim excess fabric from the scallops and layer the seam allowance. Turn the curtain right side out and press. Mark a stitching line and form pleats. Insert hooks, hang curtains and check the length. Turn under 2cm and then 8cm(3 in) and stitch the hem, mitring corners. 
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A SKIRT WITH INVERTED PLEATS – Interior Cushion ideas and tips for the home interiors

 A SKIRT WITH INVERTED PLEATS

 This method of measuring and folding pleats in a skirt gives a crisp finish. It can be used on a simple arm less chair, with pleats falling from each corner of the seat to the floor, or on a skirt around the lower edge of an easy chair or sofa. There is no need to hem the bottom as the fabric is doubled. Cut a strip of fabric for each side of the skirt, adding 11 cm at each end for the pleat and scam allowances. The fabric should be twice the depth of the finished skirt, plus a 2.5cm seam allowance. 

For three of the corners, cut an underlay of fabric 22 cm wide, and the same depth as the main part of the skirt. For the corner where the opening is to be, make the underlay from two separate panels, allowing an extra seam allowance where the fastening is to be attached. Fold the side panels in half along the line of the hem, wrong sides together, and press. Repeat for the underlays.

Turn under and press the 11 cm turnings at each end of the side strips. But the folded edges of the side panels together, and position the turnings over the underlays, so that raw edges match. Pin and stitch the raw edges together, taking 12 mm scams, and trim seam allowances. Neaten raw edges together. Leave one seam not stitched at the corner where the opening is positioned.

Tack across the top of the pleats. Fit the skirt around the lower edge of the scat panel or cover, and stitch in place. Layer the seam allowances and press them upwards. Fit the zip or hook-and-eye tape down the opening. On a simple arm less chair, continue the fastening down the opening in the skirt. On an easy chair or sofa with an applied, short skirt, fit the fastening to the main part of the chair, and turn under and neaten the allowances down the center of the corner pleat. 
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Frills in interior designing and decoration to make the fabrics looks beatiful

FRILLED TIE-BACKS
Cut a strip of fabric for the tie-back, twice the finished width, and allow 12 mm (1 in) turning all round. Make up a gathered frill to match the lower edge of the tie-back. Cut interfacing the same size as the finished tie-back. Fold the strip for the band in half along its length and mark the fold line. Interface one half of the band, matching the top edge of interfacing to the fold line.
 Fit the gathered frill to the raw edge of the band, below the interfacing, and stitch in place, distributing fullness evenly. 2 Fold the band in half along the fold line, right sides together. Stitch at each end. Trim seam allowances, press and turn right side out, pushing out corners for a crisp finish. Turn under the seam allowance along the back of the band, and slipstitch to the frill.
MAKING WINDOW DRESSING MAKING PELMETS (VALANCES) Pelmets (valances) should be fitted to a shelf or box above the window. Once the shelf is up, you can plan the shape using a large sheet of paper to make a template. The pelmet (valance) must be deep enough to cover the curtain tracks and headings and should be up to one-sixth of the depth of the window.
To add fullness without cutting out light, gathered pelmets (valances) are often shaped to drape up to halfway down each side of the window. For stiffened pellets (valances), cut the main fabric 5 cm (2 in) larger all round than the template, and cut the lining, interlining and stiff buckram the same size as the template. For gathered pellets (valances), calculate the finished (un-gathered) width according to the type of heading tape used.
As for curtains, use an exact number of widths of fabric to save wastage. Allow 10cm (4in) for the top turning and 5 cm (2 in) for the hem, cut interlining to the finished size of the pelmet (valance) and a strip of interfacing for the heading the same size as the finished width if required. Cut the lining the same size as the main fabric, reducing the top turning and hem to 4 cm (1    in). You will also need heading tape to gather the fabric. Heavy bullion fringing can be added along the lower edge.
For a bound edge, omit any seam allowance along the lower edge of the pelmet (valance) and lining. For a frill, allow a 15 mm seam allowance along the lower edge of the fabric and the lining.
FITTING THE SHELF Decide on the position for the shelf; you can either fit it close to the architrave around the window, or across the front of the opening of a recessed window, or make it wider and fit it well above the window to make the window look larger. Remember that the curtain itself will hang inside the box, so make sure there is room for the curtains to stack back on either side of the window where necessary. Fit the shelf with angle irons, or screw it 104 directly to a wooden window surround if there is room. Use 12 mm (in) plywood or softwood, and cut it the same width as the curtain track plus 5cm(2 in) either end for clearance. For a box, screw 10 cm (4 in) square pieces of wood to each end of the shelf before fixing it in place.

MAKING A TEMF Use a large sheet of paper (I offcuts of wallpaper are suited a paper to the length of the p shelf and fold it in half down the out a shape on the folded paper through both layers. Unfold the paper and tape it window so you can check the e necessary adjustments. This is the term for cutting out the fabric. If you are making a gather), you will have to ‘spread allow for the fullness of the second piece of paper to collect finished size of the pelmet (gathered. Take a series of measures 10 cm (4 in) or so, down the template, and transfer these to the new template, spreading cording to the type of heading using: for example, a pinch-j takes twice the fullness of f for double the spacing measurements. 
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Window dressing – Tips on heading curtains and methods – Interior designing and decoration

INDIVIDUAL TREATMENT

LEFT A bedroom well lit by wide windows has inner curtains in white voile to filter the sunlight. The main curtains are gathered along a white pole and draped back as a symmetrical duo, covering a good deal of the window but not enough to cast the room into shade. The charming floral print is given a mark of formality with the cord and tassel tie-backs. RIGHT An arched window must be dressed to mirror its shape. This means either fixing a curving track or hand pleating the heading to follow the line oj the arch. Curtains that curve can never be drawn; they must be either tied or draped back. By looping back these curtains to show a contrast lining and edging, a rival symmetry is offered within the frame of the arch.

WINDOW DRESSING MAKING SPECIAL HEADINGS

Cafe curtains may be made in the same way as curtains, with a cased, slotted or hand-made heading. A scalloped heading, with or without pleats between the scallops, is another popular finish. These curtains are usually hung from rods fitted across the window. There are many styles to choose from: a simple, scalloped heading can be used to form a fiat curtain looped over a pole. Pinch pleats between the scallops, hooked to rings on the pole, give a more formal effect. Ready-made shower curtains are norm- ally made in a plastic fabric. Shower curtaining is available by the meter for making up curtains yourself.

You can create a soft effect by using cotton for the outer layer of the fabric and a plain white or colored plastic or plasticized fabric on the inside.

SCALLOPED & FACED HEADINGS

Decide on a suitable fullness – one and a half times the window width is usually sufficient. Allow 4 cm for side hems, a total of 35cm for loops and facing and 10 cms  for hems. Turn under 2 cm double hems down each outer edge and turn under and press a narrow turning across the top edge. Stitch in place. Turn over 25 cm to the right side of the curtain across the top edge to form the loops and facing. 

Decide on a suitable depth for the scallops and length for the loops, say a total of 20 cm – and a suitable width for the loops, say 5cm, spaced 10 cm (4in) apart. Make up a paper template and mark the scallop seam line along the top of the curtain. Stitch along the marked seam line, then cut away the fabric from the scallops, layering seam allowances. Turn the facing right side the ends of the loops to the curtain and check for length the hem by hand. 
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Making Bolster cushion for your home interiors – Tips and guidance for the interior designing and decoration

 MAKING CUSHIONS BOLSTER CUSHION

Before cutting the fabric, decide whether any pattern should run along or around the cushion. Cut a rectangle of fabric long enough to wrap around the bolster pad, with 12 mm seam allowance down all sides. Make the rectangle into a tube to fit around the pad, setting a zip into the seam. Fit on to the pad wrong side out, and clip into the seam allowance. Cut a circle of fabric for each end of the cushion, including the same seam allowance.

Apply piping or frills around the edge if required. Fit the circles on to either end of the tube, wrong side out, and tack along the seam line. Remove the cover from the pad and machine stitch seams. Layer and notch seam allowances and press towards the circles. Press, and then turn right side out and press again before inserting the cushion pad. You can decorate the end of bolsters with tassels, rosettes, covered buttons etc. Fit the outer back panel to the back of the chair in the same way, and pin and mark the seam line around the top and sides of the back of the chair. Remove the cover and pins and apply piping to the scam line around the back of the chair. Tack the scam, then stitch, leaving an opening down one side edge 

Draw a scale plan and work out a cutting layout for the panels of fabric, checking that the grain runs up and down the chair, and from front to back across the seat. Then calculate how much fabric you will need from the scale plan. Cut out rectangular panels for the back, outer back and seat of the chair to the appropriate measurements. Mark the center of the back panel, seat panel and chair with lines of pins. Pin the back panel on the chair, wrong side out, matching the pinned lines. Fit it around the top of the chair with stitched darts or tucks if necessary.

 SCATTER CUSHION

Cut out the top cushion piece from fabric, allowing 12 mm seam allowance all round, and make a paper template from it. Cut the paper across where the zip is to be inserted (about J third of the way down), and spread the pieces 2.5 cm apart to allow for the zip. Make a template of this shape and use it to cut the fabric piece for the back. Insert the zip. Apply any decorative trims to the front panel of the cushion. Position the piping or a frill around one cushion piece if required, raw edges together, the piping or frill facing the center of the cushion piece. Tack and stitch in place.

 if necessary to fit the cover. Pin and fit the scat panel in the same way.

Stitch the seams, inserting piping, if required. Fit the back of the cover and the scat on the chair again and tack the scam between the two. Stitch the tacked scams. If there is a crack between the upholstered back and the scat of the chair, shape the scam line so you can tuck in the flap. 

For a gathered skirt, cut the fabric to twice the length of the edge the skirt is to be joined to and join the fabric to make a long strip, allowing 10 cm (4 in) for the hem, a 12 mm seam allowance along the top edge, and a 2.5 cm (1 in) allowance at the ends of the strip for finishing. Press under the turning allowance at the ends; press under a 2.5 cm (1 in) turning along the lower edge, then turn up and stitch an 8cm(3 in) hem along the lower edge.

Gather the raw edge and fit the skirt around the edge of the scat and stitch in place, neatening seam allowances together. Set a zip into the opening at the back corner.

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Making headed curtains for windows and doors in interior designing and decoration

 MAKING HEADED CURTAINS Turn the curtain right side out and press, so that the curtain fabric turns to the back of the curtain for 2cm(i in) down each side edge. Turn over the allowance at the top of the curtain (the same width as the heading tape you are using), mitering corners and trimming excess fabric. Turn under the end of the heading tape and position it across the top of the curtain so that all raw edges are covered. Topstitch in place.
Double stitch over the ends of the drawstring tape to hold cords firmly. 3 Pleat up the tape, insert hooks, and hang the curtains to check the length. Pin the hem in place after the fabric has dropped, and stitch by hand or machine. For slotted tapes, pleated with hooks, calculate the fullness required according to the size of each pleat and the spacing between them. Make up the curtain in the same way.
To add a traditional trim down the leading edge of the curtain, topstitch or slip stitch bullion fringe to the finished curtain. For a frill, adjust the seam allowance down the side hem at the leading edge of the curtain and lining to 2 cm U in). Make up a frill and insert it between the fabric and lining. For a bound edge, omit the seam allowance from the curtain down the leading edge. After joining the fabric to the lining down the outer edge, press.
Tack the free side edge of the curtain to the lining. Bind the edges together with a wide strip of coordinating fabric. All curtains hang better if you insert weights inside the hem.
WINDOW DRESSING MAKING TIE-BACKS
Tie-backs, to sweep curtains to the side of the window or to hold back bed drapes, may be made in a number of ways. Two of the most popular styles are shaped tic-backs with bound or piped edges, and straight, frilled tie-backs. For either type, hang the curtains and use a tape measure to judge the best proportions and position for the tic-backs. 
For shaped tie- backs, you will need a panel of the main fabric slightly larger all round than the finished tie- back, stiff buckram the same size as the finished tie-back, enough fabric to bind or pipe the edges, and lining fabric to back the tic-backs.
The frilled bands are made up from strips of fabric slightly longer and just over twice the width of the finished bands, interfacing to stiffen each band, and enough matching or contrasting fabric to make up a frill to the required depth.
SHAPED PIPED TIE-BACKS
Measure up and decide on a shape for the tie- back. Cut out a paper pattern and hold it in place to check the effect. For each tie-back, cut out fabric and lining 12 mm (! in) larger all round than the pattern, a piece of interlining (if required) and a piece of buckram the same size as the pattern. You will also need sufficient piping (  200) to fit around the scam line, lock stitch the interlining to the main fabric, leaving the seam allowance free. Lay the stiffening on the wrong side of the fabric, and stitch around the edge using her- ringbone stitch to hold the buckram in place. Position the piping around the right side of the fabric and pin in place, then stitch on the seam line using a zipper foot.

Press the raw edges of binding and fabric over the edge of the stiffening. Turn under and press seam allowances all around the lining. 
Slips stitch the folded edge of the lining to the seam allowance of the piping. Sew a curtain ring to each end of the tie-back, close to the sea m line or a centimeter or so inside it. Hang the rings over a hook fitted to the side of the window. With larger, decorative knobs, you can use fabric loops to hold the tie-backs in place.