Published on


Published in: Business, Lifestyle
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • Wool :
    Can be dyed
    Excellent insulation
    Very resilient
    Prolonged exposure to sun can cause fading
    Highly durable and strong
    Dyed cotton can fade when exposed to sun
    Fair to good durability
    Often blended with other fibres for added strength and reduce cost
    Will yellow in sunlight
    Drapes well
    Smooth fabric
    Wrinkles and creases
    Highly durable
    Good resistance to sunlight
    Blends well with synthetics
    Often synthetic materials perform best when mixed with a synthetic material resulting in the best of both worlds – marrying natural components such as texture and insulation with crease free and increased durability
  • Acetate:
    Soft to handle
    Drapes well
    Resists sunlight
    Poor durability
    Make good curtains
    Poor durability
    “plastic” nature
    Good for curtains
    Highly durable
    Soft to handle
    Resistance to sun
    Sensitive to heat (iron)
    Good for curtaining
    Highly Durable
    Retains whiteness
    Highly wrinkle resistant
    Difficult to dye
    Good for curtains
    Fibre blends are best:
    Cotton/nylon = durable, easy to handely, wrinkle resistant
    Cotton polyester -= greater durability, wrinkle resistant, less static
    Cotton/acrylic = wrinkle resistance, more stable
    Wool/nylon – more durable and stable, looks and feels like wool
    Nylon/acetate = cheaper, sot, more stable
    Viscose/acetate –lower cost, good texture, luxurious appearance
  • Warp and weft make up the properties and appearance of fabric – define the WEAVE of the fabric
    The arrangement of these threads can create an infininte number of patterns and textures.
    These variations are created by different:
    Spacing – loose or close
    Thickness – fibres of warp and weft may vary
    Texture – combination of yarn fibres vary to create different surface
  • CLOSE plain weave does not drape well and tends to wrinkle. It is very durable.
    OPEN plan weave has good drape ability and poor durability
  • Does not drape well and
    Does not wrinkle extensively
    Is durable
  • Drapes well
  • Good drapeabilityy
    Relatively poor durability
  • Good drapeability
    Poor durability
  • Durability and drapeability will depend on which fibres are used.
  • Most fabrics with special finishes need more care than natural fibres.
    They work best in decorative rathe than practical situations.
    They are not suitable for a roller blind due to the stiffening of the fabric.
    Moiré is a watermark effect applied to fabrics in a technical process involving heat and pressure.
    Any contact with water removes the watermark and causes staining, even dry cleaning will eventually cause the watermark to fade.
    It is ideal for bedspreads.
  • Consider the size of the pattern on the fabric – in proportion to the size or scale of the item being upholstered or furnished.
    The larger and bolder the pattern the more attention it will draw to itself.
    Consider the proportion of the pattern to the space around it .
    Very small patterns look lost on a large surface – colours merge and appear as texture.
  • Good choices for upholstery and heavy duty drapes – more durable than printed.
    3 dimensional texture.
    Depth and substance.
  • A backing attached or separate from the curtain.
    Helps the hang of the curtain and protects it from sun damage.
    Assists insulation.
    2 types of linings:
    Pure cotton which comes in a variety of tones and textures and weights.
    Coated fabrics made from particles of alumnium. These come in a variety of weights.
    Also a total blockout which is two layers of fabric with particles of aluminium sandwiched between the fabric layers.
  • Curtains provide 3 main purposes:
    A screen for privacy
    A form of insulation
    Aesthetically enhance the space
  • Poles are intended to be seen so consider their length and impact on the room.
    Usually made or wood or a variety of metals.
    Curtain tracks consist of a rail and sliding runners which hooks are slotted into.
    Discreet and can be hidden behind a pelmet or a valance.
    They can be fitted with a corded pulley system to enable ease of closing and opening.
    The can be bent to create a return.
    Industry Standards for the installation of a standard track is 100mm or 10cm above the reveal or the window opening.
    Decorative or wooden tracks are usually installed 150mm or 15cm above the reveal or the window opening.
    Poles are fixed on the wall with support brackets – one at each end and depending on the length, one may be required in the middle.
  • Heading determines the effect of the curtain.
    Heading tape is a strip of durable fabric in varying width with drawstrings which are pulled up to produce a pleated effect at the top of the curtain.
    Pockets along the tape are designed to hold the curtain hooks for hanging.
    A large range which can produce gathers, pleats or a smocked effect.
  • Refer to your handout for representations of each style.
    Consider which would be most suited to your window treatment.
  • Considerations: one you have determined the fabric, colour and pattern determine what type of heading will suit? Also:
    Will you require a pelmet pg 140
    Will you require tie backs? Where will they be located? What will they be made from? Pg 150.
    Will you require a pulley chord?
    Will the curtain be centre opening? Or drawn to one side? Why?

    2. 2. WHAT ARE SOFT FURNISHINGS? • According to Wikipedia, soft furnishing “ is the art and science of beautifying a space to enhance both the aesthetic and functional uses of that space”. • Interior decoration would not be complete without soft furnishing as the space would be unappealing, hard and noisy – consider that fabrics absorb noise and make it easy for us to live in our homes.
    3. 3. • Soft furnishing does for a house what clothes do for our bodies. It adds colour, texture, softness and elegance to an individual spaces, often camouflaging any design flaws and enhancing the unique features of the structure as well. WHAT ARE SOFT FURNISHINGS?
    4. 4. FABRICS ARE CLASSIFIED INTO 2 GROUPS NATURAL FABRICS Mineral: – Asbestos, Fibreglass Animal: – Staple fibre: Hair→ Camel, Rabbit, Fur, Goat, Horse. – Staple fibre:→ Wool – Filament Fibre → Silk Vegetable : – Bast (Type of fibre)→ Flax → Jute, Hemp, Ramie. – Seed → Cotton
    5. 5. FABRICS ARE CLASSIFIED INTO 2 GROUPS MANUFACTURED Regenerated Natural Polymer (Cellulose): Rayon, Acetate Synthetic polymer (Non- Cellulose): Polyesters Polyamides: →Nylon Polyurethane: →Spandex Vinyl: → 1. Acrylics 2. Polymerized Hydrocarbons → Polyethylene, Polystyrene Olefin, Polypropylene.
    6. 6. WOVEN FABRICS are produced by weaving both Warp and Weft Yarns ↓↓ Warp →→→ Weft
    8. 8. TWILL WEAVE • This is frequently used in very fine meshes and it is less rigid than plain weave. • Each fibre is passed alternately over two and then under the next two cross fibres.
    9. 9. PILE WEAVE • A type of decorative weave in which a pile is formed by additional warp or filling yarns interlaced in such a way that loops are formed on the surface or face of the fabric. The loops may be left uncut, or they may be cut to expose yarn ends and produce cut pile fabric. • Velvets & Terry-pile fabrics are examples of pile weaving.
    10. 10. SATIN WEAVE • A basic weave, characterized by yarns which are weaved in such a way that there is no visible interlacing pattern, which gives the fabric a smooth shiny surface.
    11. 11. SATEEN WEAVE • A Weave that has more yarn surface on the face of the cloth than other basic weaves giving a softer hand and more lustrous, shiny look. • Good for soft furnishings, not suitable for upholstery
    12. 12. JACQUARD • Fabrics of this type are costly because of the time and skill involved in making the Jacquard cards, preparing the loom to produce a new pattern, and the slowness of the weaving operation. • The Jacquard weave usually combines two or more basic weaves, with different weaves used for the design and the background. • Fabrics such as brocades, tapestries, and damasks.
    13. 13. SUEDED AND FLOCKED FABRIC It is important to know the difference between a Sueded / Brushed fabric and Flocked fabric. • Sueded / Brushed finish: To achieve either, the fabric is treated after weaving. The face of the fabric is mechanically “brushed” with bristles or “sanded” to achieve the desired surface effect. • A Flocked fabric: When very small natural or synthetic fibres are essentially glued to the fabric surface in a particular design.
    14. 14. FABRIC WITH A SPECIAL FINISH e.g. MOIRE- Fabric, such as silk or rayon, finished so as to have a wavy or rippled surface pattern.
    15. 15. PRINTED PATTERN • Design “sits” on the right side of the fabric • Lack the depth on the reverse that a woven fabric does • Surface must be as smooth and textureless as possible to depict the details of the motifs
    16. 16. WOVEN PATTERN • Created when warp and weft threads of different colours are grouped in specified configurations. • Geometrical strips and checks are the most basic. • Woven patterns diffuse the colour throughout the design and have depth and richness. They are more muted than printed patterns as the background and motifs are less defined. • The are easy to identify because the colour shows on both sides of the cloth.
    17. 17. LINED FABRIC A Lined fabric has the following benefits: • The lining gives added strength and durability to the fabric; • The lining also improves abrasion resistance, and stability; • The lined backing also increases slip resistance
    19. 19. WINDOW TREATMENT – CHOOSING THE RIGHT FABRIC When selecting fabric for your window treatment consider the 3 main criteria: • Practicality – is the fabric easy to maintain? Can it be laundered? Will it fade in daylight? • Suitability – will it be appropriate for the type of window treatment? Will it achieve the required privacy? • Aesthetic appeal – will it enhance the space & desired treatment? Will it reinforce the scheme? Is it beautiful?
    20. 20. WINDOW TREATMENTS & THE EFFECT OF LIGHT A major consideration when choosing the fabric for your window treatment is the window location and general aspect of the space - its orientation and availability of light. •Determine whether you wish to capitalize on the availability of light or restrict it - this will depend on the use of the space. •Determine whether you wish to capitalize on the warmth or coolness available through the window treatment – note, a dark, heavy drape will insulate the space – retaining heat and coolness and transfering it into the room – a light sheer curtain will be less effective in its insulative qualities.
    21. 21. WINDOW TREATMENT – TRACKS & POLES Tracks and poles play an important part in the overall look of window treatments. A pole is often chosen because it can be seen and thus it can add a valuable feature to the window treatment and complement the rooms scheme. Alternatively a track is completely hidden when the curtains are drawn and consequently is a discreet hanging system which showcases the window treatment itself.
    22. 22. WINDOW TREATMENT – HEADINGS When designing your window treatment you need to determine the desired fullness of the curtain. This fullness is achieved by the appropriate quantity of fabric, AND the type of gather or heading implemented.
    23. 23. WINDOW HEADINGS • Goblet Headed • Double Pleat • Triple Pleat
    24. 24. WINDOW HEADING • Rod Pocket • Pelmet headed • Deep pencil pleat
    25. 25. WINDOW HEADING • Pencil Pleat • Tab headed • Eyelet
    26. 26. Reference: • The Hamlyn Book of Soft Furnishings - Reed International Books, 1997