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RESEARCH & APPLY SOFT FURNISHINGS

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RESEARCH & APPLY SOFT FURNISHINGS

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RESEARCH & APPLY SOFT FURNISHINGS

  1. 1. RESEARCH & APPLY SOFT FURNISHINGS Mel Fee Adv. Dip. IDD
  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
  7. 7. PLAIN WEAVE • 1 UP, 1 DOWN • REFERRED TO AS A 1/1 WEAVE • PLAIN WEAVE FABRICS ARE USUALLY REVERSIBLE • E.G.. MUSLIN, PERCALE, CHEESECLOTH, GINGHAM, TAFFETA
  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
  18. 18. PART 2: DESIGNING YOUR WINDOW TREATMENT
  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

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