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.