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. 

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. 

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. 

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.

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. 

Making Blinds in a new way- Tips for interior designing and decoration

Make up a length of piping the width of the finished blind, and cut enough fabric to make a frill at least 10 times that measurement. With right sides of fabric and lining together, and the top of the lining 2 cm lower than the top of the fabric, stitch down the side edges. Press seam allowances towards the lining. Stitch the piping to the lower edge of blind, leaving turning free. Make up and gather a frill to fit the lower edge of the blind, distributing fullness evenly. Pin the frill in place over the piping, then pin the lining over the frill and stitch through all layers of fabric.

 Turn blind right side out. Press, Position the tapes down the back of the blind, spacing them about 60 cm (24 in) apart. Turn over 2 cm at the top of the blind, trimming excess fabric from corners and miter them. Position the heading tape, covering the top of the vertical tapes. Stitch all tapes in place. Run cords through the loops in the tape as for Roman blinds. You may want to hang the blind first (according track used) so that you estimate the amount of cord needed for cord running through the cleat which will need to be longer than the, cleat, for example. The cord together tied to the cleat, Curtain part way up so that it.

 ED-BLINDS 

Position the tapes down the back of the blind. Pacing them about 60 cm(24 in) apart. Turn over 2 cm at the top of the blind, trimming excess fabric from comers and mitring them. Position the heading tape, covering the top of the vertical tape. Pitch all tapes in place. Run cords through he loops in the tape as for Roman blind pa e 119). You may want to hang the blind first (according to the type of track used) so that you estimate correctly the amount of cord needed for each length. 

The cord running through the row of loops furthest from the cleat which will hold the cords will need to be longer than the cord nearest the cleat, for example. The cords are all pulled together and tied to the cleat to hold the curtain part way up so that it hangs in swags.

Scatter Cushion and Box Cushion for your Interiors – tips and guidance for Home makeover

AN ARM LESS CHAIR COVER 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.

Box CUSHION

Cut out a fabric panel for the top of the cushion, making a turn pleat, if necessary. Include a 12 cm seam allowance. For the back, cut two panels of fabric to fit the cushion allowing 2.5 cm extra for the zip to be inserted across the panel. Make up a welt to fit tightly around the cushion pad. Clip into the seam allowances at the corners. If the cushion is round or awkwardly shaped, cut the welt on the bias to make it easier to fit. Fit piping at around the upper and lower panels if required. With right sides facing inwards, fit the top and base panel to the welt and pin. If the cushion is to be tied in place, make up fabric ties and pin them into the seams at the back corners.

 Remove the pinned cover by opening the zip and machine stitch the seams. Clip seam allowance across the corners and notch curved seams as necessary. The zip can be inserted into the welt in which case measure up for two lengths of fabric to make up the welt, one that extends around adjoining corners by 5 cm both ways. This piece needs to be 2.5 cm wider than the other welt piece so that it can be split down its length to insert the zip. With the zip open, right sides facing and raw edges matching, sew around the cushion. Turn right side out. Press before inserting the cushion.

RE-COVERING A DROP-IN SEAT-REPAIRING AN OVER-STUFFED SEAT-Interior Tips and guidance

RE-COVERING A DROP-IN SEAT

Cut a panel of calico, allowing at least 20 cm (8 in) all round to wrap around the sides and under the seat. Layout the fabric, wrong side up, and center the chair seat on the panel. Wrap the fabric around the drop-in seat, tightening it over the front and back rails first. Knock in temporary tacks at the center front and back, then wrap the fabric tightly around the sides and use tracks at the center of each side. Nail the fabric down each side of the underside of the seat, spacing the tacks about 5 cm apart, to within 5-10 cm of each corner. Wrap the corner of the panel of fabric over the frame and tack in place, close to the corner of the seat.

Make an inverted pleat around the corner so that you can wrap the side turnings together to form a neat mitre. Tack in place. Repeat to fit the fabric outer cover, positioning motifs centrally if the fabric has a bold pattern. Trim away excess fabric. Cut a piece of canvas or black linen upholstery fabric to the size of the underside of the seat, adding 12 mm (! in) all round. Turn under and press 4 cm (1! in) turnings all around the canvas and tack them in place underneath the seat to cover the ra wedge of the seat fabric.

REPAIRING AN OVER-STUFFED SEAT 

Strip off the old covering and webbing, noting how it was constructed and reserving stuffing and padding for re-use if possible. Use a tack lifter to lever out tacks. Traditional seats have a basket work of webbing across the base of the seat. Do not cut webbing to length: position the end of the first strip to be fixed with the raw edge level with the inside of the frame of the chair and fix in place with three tacks, close to the outer edge of the rail. Fold the webbing back over the end, and fix with two more tacks inside the first three. Use a webbing stretcher or wooden block to stretch the webbing across the seat, and hold in place with three tacks, close to the outer edge of the fixing rail. Trim the webbing 4cm from the tacks and fold over and fix the end with two more tacks inside the previous three. Repeat for all the strips of webbing. 

The gap between the webbing strips should be less than the width of the webbing. Work from front to back across the chair, and then weave the crosswise webbing over and under the first strips as you work.

Cut a piece of canvas for the lining, allowing a 2.5cm turning all around. Stretch the canvas across the frame, with the grain running parallel to the front and back rails. Hold in place with temporary tacks at the sides and corners and when you are happy with the fit, knock in the tacks. Turn in the allowance and tack in place every 5cm or so all around the chair. 3 Make a series of large back stitches (known as bridle ties) around the edge of the canvas. Tease out horsehair and arrange it on the seat, tucking it under the loops around the edge. Build up the center of the seat and ensure that the frame is well padded.

Fit calico over the seat, fixing it firmly along the straight back edge of the seat first, then stretching it to the front and then the sides of the chair. Hold it taut with temporary tacks as you work. Around the legs, cut into the fabric at the corners, and wrap it firmly around the seat, without straining it at the corners. Tuck in the fullness at the front corners and turn under the fabric in line with the top of the leg before tacking in place. 

Trim away fabric close to the tacks. 5 Lay a padding of cotton wadding or v interlining over the calico so that it w over the edge of the frame. Trim excess fabric corners.

Fit the cover in the same way as calico: the top cover may be held in place’ brass upholstery tacks, closely spaced, or ‘ ordinary tacks. Some styles have to be f along the outer edge of the side and front J others can be fixed under the frame of the 6 Glue a plain woven or decorative 1 trim to the edge of the upholstery to any tacks that show and make a neat between the frame of the chair and the fa Fit a base of canvas or calico for a neat finish.

Fit calico over the seat, fixing it firmly along the straight back edge of the seat first, and then stretching it to the front and then the sides of the chair. Hold it taut with temporary tacks as you work. Around the legs, cut into the fabric at the corners, and wrap it firmly around the seat, without straining it at the corners. Tuck in the fullness at the front corners and turn under the fabric in line with the top of the leg before tacking in place. Trim away fabric close to the tacks. 

Making Australian Blinds – Interior designing and decoration Window dressing with blinds

MAKING BLINDS

BLIND ROMAN BLINDS

Cut the main fabric and lining to the size of the finished blind, plus 5cm heading allowance. If you want a decorative border, perhaps in a plain color if the curtain fabric is patterned, make up a strip of straight- or bias- cut binding, long enough to bind the sides and lower edge of the blind. You will also need a length of fine wooden doweling for each fold of the blind, the same width as the finished blind, and curtain rings and cords to draw the blind up. Space the cords up to 60 cm apart, and buy enough curtain rings to hold each cord to each dowel casing. 

Turn under and press a 1 cm turning down each long edge of binding, and fold the binding in half. Position the blinding around the sides and lower edge of the main fabric with right sides together and the raw edge of the binding 4cm from the edge of the fabric. Stitch in place, leaving an allowance for mitering at the corners. Press bindings away from the blind. Position the lining on the main fabric, wrong sides facing. Mark and stitch casings through both layers of fabric across the blind, spacing them evenly up the blind. 

The lowest casing should be the depth of the fold plus the j 3 4 border from the finished edge of the blind. Stitch from one folded edge of the binding to the other. Then slip the dowels into the casings and fold the binding over the edge of both layers of fabric. Slip stitch is the free folded edge to the lining, enclosing the end of the dowel and forming neat miter at the corners. Stitch rings to the back of each casing, at the point where the cords cross them, and fit the blind as before. 
WINDOW DRESSING MAKING GATHERED BLINDS

Austrian blinds borrow many of their construction details from curtains. Special tracks are available, together with tapes and cords in kit form. The blind is drawn up in the same way as a Roman blind. Since the heading is gathered, the width measurement of the fabric is not critical, bur allow plenty of fullness for an extravagant effect. Lining add luxury, and a piped frill gives a delicate finish. Festoon blinds are usually unlined and may be made with similar kits, but the blind shown here is a variation on a more traditional method. Ribbon or decorative cord is threaded through casings in the blind to gather it up, with the usual cords held by rings at the back of the blind.

LINED AUSTRIAN BLINDS For a lined Austrian blind, allow at least 10 times fullness for both fabric and lining. Cut the main fabric, so that it is at least 4cm wider than the lining. If you have to join two widths of fabric, cut one width in half length ways and join the shelve edges to the main panel of fabric to avoid positioning a seam down the center of the blind. The length of fabric for the blind should be the length of the finished blind plus 12 mm seam allowance at the lower edge and 2 cm at the top edge. Cut the lining fabric 2 cm shorter than the main fabric. 

Making Curtains in Interior designing and decoration – How to make a headed curtain?

LINED CURTAINS WITH HEADING TAPES
It is not essential to line curtains, but linings do make them more efficient, keeping out the light on bright summer days and keeping in the heat on cold winter evenings. Purpose- designed lining fabrics are available in tightly woven cotton or blended fibers, in a range of colors to suit most needs. You can use coordinating furnishing fabrics for curtain linings, plain glazed cotton with floral prints, formal satin stripes with rich velvet or combinations of printed fabric of the same weight. Always check the effect of the fabric and lining together before buying by draping a length of both fabrics together while they are still on the roll. Ensure that they hang well and that no color or pattern shows through the main fabric.
 To make curtains even more effective, both in the way they insulate the window and in the way they drape, interlining can be used be- tween the curtain fabric and the lining. Thick, soft fabric (usually bump or domette) is held against the curtain fabric with tiny, loose stitches.  Join fabric widths for curtain and lining, so that the lining panel is 8 cm (3 in) narrower and up to 15 cm (6 in) shorter than the main fabric, Turn under a 4cm double hem across the lower edge of lining. Lay out the fabric, right side up, and position the lining on top of it, so that the raw edge at the top of the lining is below the raw edge, at the top of the curtain. Adjust the fabric so that you can pin the side edges of the curtain and lining together. Stitch together, taking 2 cm (4 in) wide seams.
Press seam allowances towards lining.
MAKING HEADED
Turn the curtain right side of, so that the curtain fabric turn off the curtain for 2 cm (5 in) dough edge. Turn over the allowance at the curtain (the same width as the h you are using), mitering corners an excess fabric. Turn under the heading tape and position it across the curtain so that all raw edges a Topstitch in place. Double stitch 0 of the drawstring tape to hold core 3 Pleat up the tape, insert hook the curtains to check the long hem in place after the fabric has the stitch by hand or machine.
 For slotted tapes pleated ‘A’ calculate the fullness required the size of each pleat and the spacing them.
Make up the curtain in the s; To add a traditional trim leading edge of the curtain, to slip stitch bullion fringe to the finish For a frill, adjust the seam allow and side hem at the leading edge of the lining to 2 cm (5in). Make up a frill and insert it between the fabric and for a bound edge, omit the allowance from the curtain down I edge, after joining the fabric to down the outer edge, press. Tack t edge of the curtain to the lining edges together with a wide coordinating fabric. All curtains hang better if weights inside the hem.
Check the effect of the fabric and lining before buying by draping a length of fabrics together while they are still on the ensure that they hang well and that no or pattern shows through the main make curtains even more effective, both way they insulate the window and in the drape, interlining can be used be- ‘he curtain fabric and the lining.

Thick, ric (usually bump or domette) is held the curtain fabric with tiny, loose. fabric widths for curtain and lining, hat the lining panel is 8 cm (3 in) r and up to 15 cm (6 in) shorter than fabric. Turn under a 4 cm (1    in)cmacross the lower edge of the lining. ‘.he fabric, right side up, and position on top of it, so that the raw edge at ,- the lining is 10cm(4 in) below the at the top of the curtain. Adjust the at you can pin the side edges of the d lining together. Stitch together, m wide scams. Press seam towards the lining.