Covering Fabrics for the furniture in Interior designing and decoration – Tips and guidance

COVERING FABRICS

It is essential to use firmly the upholstery; it must hold it: stretched and not allow tack through the weave. Velvet and fabric, brocade and silk, dhow linen, and plain or woven pat can all be used for upholstery, use the upholstery has to no-decorated scheme of the two important considerations in the FAB. The two dining chair seats illustrate some of the prime upholstery. The method for coin seat shows how calico attached, and can be adapted if is fixed directly to the frame of The overstuffed chair seat unique a step further, showing I the webbing and re-fit the pad, finishing the cover.

The met drop-in seats, and upholstery I on the back or the arms of a chair the chair dictates where the fixed: it may be fitted in an area of the chair, with a carved or s trim; or it may wrap around chair, so that trimming is del than acting as a mask for tack h Always cut the panels of the crosswise grain runs parallel to back rails, with the lengthwise down the center of the chair tacking is a professional tech upholstery which involves with a few strategically spa you fit the permanent tacks.  

Use upholstery tacks and a fine ham- to fix the webbing, canvas and calico in e. The horsehair is held in place with large, e stitches (bridle ties); you will need a ‘y, straight or curved upholstery needle to this. A finer curved needle is useful for stitching fabric in place – both the calico or and the top cover of the chair.

It is essential to use firmly woven fabrics for upholstery; it must hold its shape when stretched and not allow tack heads to slip through the weave. Velvet and heavy tapestry fabric, brocade and silk, dobby weave and linen, and plain or woven patterned cottons can all be used for upholstery. The amount of use the upholstery has to undergo and the decorative scheme of the room are other important considerations in choosing a fabric. The two dining chair seats discussed here illustrate some of the principles of simple upholstery. The method for covering a drop- in seat shows how calico and cover are attached, and can be adapted if the upholstery is fixed directly to the frame of the chair.

 The overstuffed chair seat takes the technique a step further, showing how to replace the webbing and re-fit the padding, as well as finishing the cover. The methods apply to drop-in seats, and upholstery fitted to panels on the back or the arms of a chair. The style of the chair dictates where the fabric should be fixed: it may be fitted in a recess on the frame of the chair, with a carved or shaped wooden trim; or it may wrap around the seat of the chair, so that trimming is decorative rather than acting as a mask for tack heads. 

Always cut the panels of fabric so that the crosswise grain runs parallel to the front and back rails, with the lengthwise grain running down the center of the chair. Temporary tacking is a professional technique used in upholstery which involves holding the fabric taut with a few strategically spaced tacks while you fit the permanent tacks.

Curtains for interior designing how to use the new and old curtains for windows and doors- tips and guidance

JOINING FABRIC
 The first step in making cut fabric widths
Use only full and fabric, Always make sure t matches across the complete Slip-tacking (  196) is use which are difficult to match widths (if required) at the out curtain. Use flat seams for cu lining, and clip into selvage: seams from puckering.
MAKING UNLINED
 After joining fabric width seams, turn u wide double hems down eac the panel of fabric for each CD or hem in place.
FADED CURTAINS
  Top wide unlined curtains need, availing  or on a ‘heck the help -hey ht. 11 e plus 2cm(it in) turning at the top and 10cm(4 in) for the hem. Include an allowance (the length of the pattern repeat) for pattern matching. Multiply by the number of drops of fabric required. For lined curtains, allow fullness according to the type of tape you are using.
Allow 4 cm (1 in) side hems when calculating the number of drops of fabric. Include a turning allowance of 8 cm (3 in) – the depth of the heading tape- and a hem allowance of 10 cm (4 in). Include any allowance for pattern matching. Since lining fabric is generally slightly narrower than curtain fabric, it is usually fairly simple to calculate the amount needed.
Allow the same amount of fullness for the total width of the curtain, but there is no need to include an allowance for side turnings. No allowance is needed at the top of the curtain, and only 6 cm (2in) for hems. The amount of curtain tape for each curtain is the same as the finished (un-gathered or un-pleated) width, plus a few centimeters for turning under at each end.
JOINING FABRIC WIDTHS
The first step in making curtains is to join fabric widths, Use only full and half-widths of fabric. Always make sure that the pattern matches across the complete set of curtains. Slip-tacking is useful for patterns which are difficult to match. Position half-widths (if required) at the outer edge of each curtain. Use flat seams for curtain fabric and lining, and clip into selvedges to prevent the seams from puckering.
 MAKING UNLINED CURTAINS
After joining fabric widths with flat fell seams, turn under 2cm (1 in) wide double hems down each outer edge of the panel of fabric for each curtain. Topstitch or hem in place. 7. 8. 2 At the top, make sure that the fabric edge is straight; turn over a 2 cm (i in) wide turning, mitering corners and trimming away excess fabric if necessary. Cut heading tape to length, turning under 1 cm (i in) at each end, and pin it in place across the top of the curtain 1 cm (i in) from the top fold, so the raw edge is covered.
Pin, then topstitch, making extra lines of stitching across the tape ends to hold the drawstrings firmly. 3 Turn up 2 cm (1 in), and then 8 cm (3 in) across the lower edge of the curtain and slip stitch in place, or use a machine hemming stitch. Use drawstrings to gather the curtains, tying the cords firmly near the center of the curtain. Fit hooks into the woven loops and hang the curtains. If the curtains are to fit inside a window recess, the length has to be precise, therefore, gather and hang the curtains before hemming. This is also advisable with loosely woven fabrics which may ‘drop’ – leave them for at least 24 hours before hemming.

Unlined curtains can be backed if you make up the separate lining and fit a special lining tape. This requires no extra allowance along the top edge of the lining. The lining fabric slips between the two layers of tape and is machined in place. This method will not how- ever, improve the hang of the curtain. It will provide extra insulation and protect the curtain fabric from strong sunlight and fading, as well as making it easier to wash. The curtain hooks are inserted through the lining tape and then into the curtain heading tape before hanging. The lining and curtain can then be hand-sewn together at intervals down the edges, if necessary.

SOFT FURBISH LOOSE COVERS(SLIPCOVERS- decorate with Furniture loose Covers

SOFT FURBISH LOOSE COVERS (SLIPCOVERS)

Whether you want to change a color scheme or revitalize a favorite chair, loose covers (slipcovers) are the ideal furnishing solution. Their practicality also endears them to areas of heavy use, such as family rooms, where covers that are removable and can be washed or dry- cleaned come into their own. Loose covers (slipcovers) were first made in the eighteenth century as a form of protective covering for fine silk and velvet upholstery. They were frequently made in dimity, a gingham-like cloth, and many paintings of interiors show that their fit was far from tailored. This informal, unfitted style is echoed by the throw over, used for both chairs and sofas – a skillfully draped length of cloth, sometimes an old embroidered or linen tablecloth or antique bedspread, well tucked in down the sides and around cushions, but neither cut nor sewn. 

A few darts can be added for shape and to keep it in place, but when piled high with cushions, a throw over suggests casual informality. A tailored loose cover (slipcover), with matching or contrasting piping to outline the shape of the chair or sofa and a straight valance, with inverted pleats at the corners, will lend a neat, formal look that is almost indistinguishable from an upholstered piece. But the loose cover (slipcover) is most often associated with a more mellow formality, with chintz and linen covers in classic floral patterns that age gracefully. Gathered valances and plump cushions add to the sense of ease and comfort.

 Choosing fabric

The right quality fabric will help to achieve a good-looking finish. It must be strong, but also light enough to take decorative piping and a well- pressed seam line, so avoid materials such as velvet, tapestry or tweed because of their bulk. Woven and printed cotton and glazed chintz are ideal for light occasional use but try a more durable fabric such as a heavy cotton weave or linen union for hardware. If you’re chosen fabric is not shrink resistant, and covers are to be washed rather than dry-cleaned, pre-wash all materials, including piping, before making up. Start with a plain fabric or a print with a small all-over pattern, which is easier to match or position than fabrics with large designs and bold motifs. These should be centered on covers.

 SOFT FURNISHINGS MAKING LOOSE COVERS (SLIPCOVERS)

 Tailored or casually fitted covers are a practical and traditional finish for upholstered furniture. You can add a range of different trims to set the style of the cover, picking up themes used elsewhere in the room. The simplest finish is a drawstring casing around the lower edge of the chair, with a tape threaded through it to draw the edge of the cover under the chair. Skirts and fringed trims can be added according to the effect you want. Piping emphasizes the structure of a piece of furniture and adds formality. It can be combined with a skirt with inverted pleats at the corners to give a tailored finish. Deep bullion fringing can also be stitched around the lower edge of the cover to hide unsightly legs.

 Loose covers (slipcovers) are not difficult to make but they are bulky and awkward to handle. Tackle simple shapes first – an arm less chair is a suitable project for a beginner. The basic method involves cutting rectangles of fabric to cover the chair or sofa, and then constructing the cover on the chair with the fabric inside out. By fitting the panels inside out, it is easy to mark and tack seam lines. Fit and stitch the various sections of the cover in turn, following the sequence described here. 

Window designing and decoration with fabrics-curtains for windows

CURTAIN EQUIPMENT
 Curtain weights Regular and pronged hooks, interfacing
  
WINDOW DRESSING MAKING HEADED CURTAINS
 Heading tapes enable you to finish the top of the curtain and draw up the fullness with the minimum of trouble. They may be used on lined or unlined curtains. To simplify the instructions here, a standard 2.5 cm (1 in) wide gathered heading tape is shown on unlined curtains, and a 8 cm(3 in) wide pencil- or pinch-pleated heading tape on lined curtains. You can use whatever combination you need, and other widths and styles of tape are available.
Adjust dimensions and turnings accordingly. Before buying fabric, fit the curtain track or pole and measure up. Decide on a suitable fabric, noting the width, and check how much fullness you will need for the heading tape you have chosen. This will help you to calculate the amount of fabric. Curtains do not take heavy wear but they do suffer from the fading effects of sunlight.
Some colors, such as deep blues and apricots, are especially susceptible and, although not all curtains need to be lined, this is one good reason for doing so. Lining, and interlining with bump or domette, also improves the fall of curtains and controls heat loss through the windows. Sateen lining fabrics are tightly woven in cotton or blended fibers, in white, cream, and other colors. Match the lining fabric to the ground color of a patterned curtain. Brightly colored linings are best kept for deep toned curtains where the color of the lining will not show through.
Co-ordinated furnishing prints or patterned linings are an- other alternatives to plain sateen and follow the nineteenth-century practice of making the exterior view of the windows both consistent and attractive. For standard, unlined curtains, allow 1-2 times the fullness. Divide the total width required for each finished (ungathered) curtain by the width of the fabric, rounding up to the nearest half-width for each of the pairs of curtains. Check that this gives you enough for 4 cm(1! in) hems down each side edge.
 Each curtain is made up from one or more drops of fabric, full or half-width. The total length of each drop is the finished length of the curtains, 100 plus 2 cm turning at the top and 10 cm(4 in) for the hem. Include an allowance (the length of the pattern repeat) for pattern matching. Multiply by the number of drops of fabric required. For lined curtains, allow fullness according to the type of tape you are using. Allow 4 cm (1in) side hems when calculating the number of drops of fabric. Include a turning allowance of 8 cm(3 in) – the depth of the heading tape and a hem allowance of 10cm(4 in).

Include any allowance for pattern matching. Since lining fabric is generally slightly narrower than curtain fabric, it is usually fairly simple to calculate the amount needed. 
Allow the same amount of fullness for the total width of the curtain, but there is no need to include an allowance for side turnings. No allowance is needed at the top of the curtain, and only 6 cm (2 in) for hems. The amount of curtain tape for each curtain is the same as the finished (un-gathered or un-pleated) width, plus a few centimeters for turning under at each end. 

Interior designing and decoration fabric walls -covering walls with fabric designing technics

COVERING UP WITH FABRIC
 FABRIC WALLS
Measure up the area to be covered, and check the width of the fabric you intend to use. Calculate the total width of the area to be covered. For fabric gathered on to curtain wires, you will need at least 10 times this width; for stretched and stapled fabric you will need to add an allowance for joining widths plus about 10 cm (4 in) for turning down the sides of the area to be covered, and for a pleated and stapled finish you will need to allow 2-3 times the width of the area, plus side turnings.
Divide the total width of fabric required by the width of the fabric you plan to use to give the total number of drops of fabric. Each drop of fabric has to be the height of the wall to be covered, plus 10 cm (4in) top and bottom for making a casing or turning and stapling – make allowances for any pattern repeats. Multiply the length of each drop by the number of drops to give the total amount of fabric required. Battens have to be fixed all around the room to carry the stapled fabric or the curtain hooks.
 The battens can be nailed in place with masonry nails, screwed, or glued with a strong building adhesive. The fabric lies away from the wall, so you will have to adjust the positions of light switches, fittings and sockets, raising them away from the wall and edging them with battens so that you can fix the fabric around them. Always turn off electricity at the mains before doing this; if you do not feel confident about working with electrics, ask an electrician to do this for you.
If you want to hang pictures afterward, remember to position battens in suitable places. For gathered fabric, string curtain wires around the room along the battens. Fit extra wires above and below sockets and switches, above doors and above and below windows. Make up panels of fabric for the major areas to be covered, turning under a narrow hem down each side. Form casings top and bottom by turning under a double 5 cm (2 in) hem and making two rows of stitching 2.5 cm(1 in) apart, 2.5cm(1 in)- from the finished edge of the panel.
Thread the wires through the casing and hang in place, adjusting fullness across the wall. Mark the position of electrical sockets on the fabric curtain. Take down the fabric, cut an H shape and turn hems to make casings above and below the area removed for the sockets. Neaten the sides of the opening with zigzag stitch before rehanging.
For stapled fabric place extra battens vertically down the corners of the room and around doors and windows. Join widths to make up panels of fabric for each area to be covered and press under 10 cm (4 in) turnings all around. Staple one side edge of the first panel to a vertical batten at the end, working from the wrong side of the fabric with the panel of fabric turned to face the adjacent wall. Work across the wall, stapling the top edge of the fabric to the horizontal batten. Stretch the fabric, and then staple the bottom edge in place. (This may be easier with two people, one working at the ceiling and the other working along the skirting.) 
If the window has angles or curves, as with bay or bow windows, check that the track can go around the bend. For medium- and heavy-weight drapes, and pale-colored curtain fabric, it is worth using a cording set so that you can draw the curtains without putting unnecessary strain on the leading edge of the curtains – this helps to prolong wear and reduces the need for cleaning.
Heading tapes Heading tapes either have drawstrings running through them which pull up to form a gathered or pleated heading plus woven loops to fit the hooks into or they have woven slots into which Standard tape Pencil pleat tape pronged curtain hooks are fitted to form pleats across the top of the curtain. Many heading tapes have the effect of stiffening a few centimeters ‘ across the top of the curtain, which gives a crisp finish and helps heavy curtains to hang well.

The manufacturer will indicate how much fullness is required in the curtain for the different sorts of heading tape. Roman blinds and Austrian blinds have special tapes with rings sewn to them at regular intervals to carry the cords for pulling the blind. Cased headings involve making two lines of stitching across the top hem of the curtain so they can be slotted onto a pole, rod or wire. Lining tape – Triple or pinch pleat tape. 

Bedroom Designing and decoration – Bed Linen designing tips and guidance

 
A COT BUMPER Use washable fabrics and quilt the bumpers with heavyweight polyester wadding. The instructions here are for a bound edge – but bumpers can equally well be finished with a frilled or piped edge. Measure across the inside of the top and half way down the sides of the cot and Decide where the ties should be positioned – the top edge of the bumper should be tied to corner posts and to bars half way down the side of the cot. If the cot has a solid headboard, make long ties which can fasten around the back of the headboard. 
 
Cut main panels of fabric and a layer of wadding to the finished measurements. Join widths of fabric with flat seams and the wadding with a lapped seam if necessary. Cut a 15cm wide strip to bind the edges of the bumper; these strips need not be cut on the bias since they do not have to be eased around curves. Cut four ties, 20cm long and the 5cm wide. 
 
Sandwich the wadding between the two panels of fabric, right sides outwards; pin, then tack together all around the edges. Tack at intervals to hold the layers in place while you stitch the quilting – tack along the length of the bumper for vertical stitching, or up and down for horizontal quilting. 
 
Turn under 2.5cm down each long edge of the binding, position on the inner side of the quilted panel, with the raw edge of the binding 2.5cm from the edge of the panel, right sides together. Stitch along the fold line, making tucks to turn the corners.
 
Turn the binding over to the outside of the quilted panel and slipstitch in place by hand or machine just inside the previous line of stitching. Make up ties by turning in 12 mm (! in) down each long edge and then folding in half, press and stitch, turning in the ends. Stitch the center of each tie to the appropriate point on the outside of the binding by hand. Do not make the ties too long; if they were to come untied, they could become entwined around a baby’s neck. 
 
POCKET STORAGE A simple fabric pocket storage system, hung on the back of the door or at the foot of the cot, can be used to store baby-changing equipment or small items of clothing. Decide on a suitable overall size for the storage system: about 60cm wide by 100cm (40 in) deep is suitable for most needs. Plan the size and number of pockets: the instructions here are for three rows of pockets across the width of the panel, 30cm. 

Herring bone stitch – Stitching style to design and decorate

Herring bone stitch

 Sandwich the three layers together, with the wadding in the middle and the main fabric and lining right side out, tack together all around the outer edge. Make lines of tacking stitches diagonally or in parallel lines across the panel, a bout 10 cm apart. 2 Quilt up and down the panel by machine. Trim the quilted panel to the finished measurements of the bedspread and round off the corners if required. If the bedspread has to fit over the frame of a bed, cut out the corners so that you can arrange the overhang neatly around the bedposts at the foot of the bed.

Cut lengths of binding on the bias, making one strip long enough to fit all around the outer edge of the quilt and one to fit across the top. Join lengths as necessary. The binding should be about 8cm(3 in) wide. Turn under and press 2 cm G in) down each long edge, and fold in half and press. Position the binding around the outer edge of the quilt and stitch in place by hand or machine.  Make up further strips enough to fit the width of tl strips so that each one starts fabric in the sequence. Press a clip across corners of seam all Join the strips in the same ‘A being careful to take precise allowances. Check the array strips before stitching so diagonal bands of pattern.

Make up the quilt with panel and a piece of wadding the patchwork panel, and when joining  triangle square, match the raw edge resulting seam will be incorrect,  If the quilt is to fit over a brass or wooden bed frame, cut out the corners of the quilted fabric to accommodate the bed posts before applying the binding. 

FITTED COVER WITH INVERTED PLEATS – Interior designing and decoration tips

 FITTED COVER WITH INVERTED PLEATS

This cover has a top panel with piped edges, and a straight skirt with inverted pleats at the corners of the foot of the bed. Calculate the finished measurements for the bedspread – the overall length and width of the top panel and the depth of the skirt. Cut a rectangle of fabric for the top panel, allowing a 12 mm U in) seam allowance all round. Cut a piece of lining fabric the same size. Cut an? Join the sections for the skirt, adding 40cm (16 in) for pleats at each corner.

Allow a 12 mm seam allowance along the top edge and 5cm for double hems all around the sides and lower edges. Make up sufficient piping to fit all around the sides and lower edge of the top panel. Join fabric to make up a top panel if necessary. Round off the corners at the foot of the bed for a less severe shape, position piping all around the sides and lower edge of the top panel and tack and stitch in place using the zipper foot, taking a 12 mm seam allowance.

 Clip into seam allowances as necessary to fit the piping around the corners. If the corners are rounded, lay the cover on the bed and mark the position of the pleats at the corners of the top panel with pins. Turn under 2.5cm double hems down the sides and along the lower edge of the skirt, mitring the corners. Measure and pin pleats to fit at the corners of the bedspread, and then stitch across the top of the pleats, just inside the seam line. Position the skirt around the sides and lower edge of the bedspread, with right sides facing and raw edges matching.

Clip into the seam allowance of the skirt at the corners if necessary to help the fabric lie flat. Pin and tack in place, following the line of stitching which is holding the piping in place. Layer the seam allowance. Position the lining over the top panel, right sides facing and raw edge matching, stitch across the top edge, and turn the lining to the wrong side. Turn under 12 mm U in) all around the lining and slip stitch in place, enclosing the raw edges of the top panel, the skirt and the piping.

 MAKING QUILTS A simple throw over bedspread in quilted fabric gives a smart finish and provides an extra layer of warmth over blankets or a duvet. In warmer weather, the quilt and a flat top sheet alone provide ample bed covering. Although ready-quilted fabric and ready- made quilts are available, by quilting your own fabric, you can alter the spacing, direction or even the shape of the quilting to suit the fabric. A straight striped fabric, for example, is particularly effective quilted with parallel lines of stitching, following the stripes of the fabric. For more elaborate detail, shape the quilting to outline bold motifs in a pattern.

 QUILTED THROW OVER Cut a panel of main fabric, the size of the finished bedspread plus 10 cm (4 in) all around. Cut the wadding and lining fabric (preferably in a contrast fabric, as the throw over is reversible) to the same size. 1 Join widths of fabric with a flat seam, and butt widths of wadding together, joining them with zigzag stitch or by hand with. 

Making Bed spreads for the interior designing and decoration

MAKING BEDSPREADS

By making your own bedspreads, you can ensure a good fit and perfect match to other furnishings in the room. You can devise your own finishing touches and embellishments – quilting in patterns outlining the print of the fabric, or ‘adding an unusual trim, piping or binding, for example. When measuring up for a bedspread, note whether the pillows and bedding should be in place. When cutting out fabric for a double bedspread, it is important to position the seams down either side of the top of the bedspread, close to the sides of the bed: this avoids having an unsightly central seam and gives a more professional finish to the cover. 

Fitted covers lie more smoothly on the bed if the top panel is lined and interlined; the sides need not be lined, although this gives a smart finish to tailored covers.

A THROW OVER

 This simple, floor-length throw over cover has rounded corners at the foot of the bed, and is lined and interlined. Decide on the overall finished dimensions of the bedspread: it can just touch, or trail on to the floor. Cut out the fabric to make up the main panel, allowing 5 cm turning all around the sides and lower edge, and 2.5cm across the top. Cut the interlining with a 2.5cm turning around the sides and lower edge, but no turning allowance across the top. The lining should be 5 cm smaller than the main fabric around the sides and lower edge, with the same turning across the top.

 If you need to make seams in the layers of fabric, position a full width of fabric down the center of the bedspread with narrower widths joined selvedge to selvedge down each side edge. Use flat seams for the main fabric and lining, and abutted seams for the interlining. Round off the lower corners of the panels, using a large plate or paper template, and check that the corners match. Position the interlining on the wrong side of the main fabric and lock stitch in place leaving the appropriate turning allowance all around.

Herring bone stitch the interlining to the main fabric around the’ outer edge. Turn under and press the seam allowance across the top edge of the main fabric, over the interlining. For a hand-finished cover, turn up the 5 cm (2 in) hem allowance on the main fabric, rolling the interlining up without pressing a crease. Press under a 2.5cm turning all around the lining. The lining may be fitted by hand, or stitched by machine. Position the lining on the wrong side of the fabric and lock to the interlining. Slipstitch the lining to the main fabric all around the sides 2 and edge of the cover close interlining. For a machine-stitch the lining on the inter sides together. 

How to use bed linen for interior designing and decoration – Tips and guidance

BEDS & BED LINEN

BED SPREADS

For centuries, sumptuous bedspreads, coverlets and quilts have been important elements of bedroom furnishing. Crimson silk worked with gold thread was the stuff of royal fourteenth- century quilts; Henry VIII’s bed also boasted splendid covers quilted in gold and silver; humbler Tudor households made do with embroidered linen and serviceable woolen blankets. Washable, brightly printed Indian chintz bedspreads, known as “palampores”, were first seen on European beds over 300 years ago and were imported from Madras by the East India Company; contemporary regal four posters, however, favored more elaborate bedspreads of damask and velvet.

Marriage quilts were something special- Victorian girls would spend years stitching their own – and in colonial America, betrothed girls would be expected to stitch at least twelve everyday quilts as well as a marriage quilt for a trousseau. Styles, colors and fabrics Bedspread fashions may come and go but for cottage and attic bedrooms a traditional patchwork quilt teamed with a simple iron, pine, or painted bedstead is a recipe for success. 

Grand, more formal beds can take a dressed-up patchwork quilt. A frilled or pleated valance showing below gives a variety of different effects. The fabric could echo or contrast with colors in the quilt, bedhead, window dressing or upholstery fabrics. Quilts and bedspreads in children’s rooms in pastel-colored fine cotton prints with embroidered angles edges look enchanting appliqued with alphabet or animal motifs.

 For more unusual applique inspiration, say, in an Edwardian-style child’s bedroom, Kate Green away’s characters would also look appropriate worked in typically muted grey-greens, blues, cream and terracotta. Lace and crochet bedspreads always look feminine and pretty, providing a soft, glamorous contrast to sturdy brass and iron bedsteads.

 BEDS & BED LINEN fortunately, it is not hard to find new versions of authentic nineteenth-century lace designs as these are still being made. A fine white or cream voile or lace ‘overspread’ with a gathered skirt can cover an existing chintz quilt for an exciting new look and give added protection at the same time. Throw over bedspreads consisting of a simple hemmed sheet are useful in informal bedroom schemes and are quick and easy to make.

For grander beds needing a more luxurious, finished look throw overs can be quilted and lined with a complementary coordinating fabric in a tiny geometric print. Alternate bed covers according to the season with a heavy quilt for winter warmth and a light cotton cover for the summer. A tailored bedspread with a paneled or pleated skirt lends dressed-up dignity to a four poster. 

In one-room apartments and spare bedrooms the bed needs to blend in unobtrusively as part of a seating arrangement. Suitable fabrics here could be a plain linen union or cotton pattern or paisley prints in sophisticated burgundy, navy, charcoal and bottle green will also work well. To add interesting detail, pick out the piping and pleats in a fabric to match the curtains and upholstery.