A lively dining room by McMillen Plus, with the same floral print used on the draperies and the chairs. The backs of the chairs are upholstered in a different fabric for a nice contrast.
FABRICS & TEXTILES
Textiles “dress” the architecture of an interior, bringing a soft touch to the harder-edge elements. Features such as upholstered furniture, throw pillows, area rugs, and fabric shades are used to accessorize seating, cushion floors, and cover windows—and to make a fashion statement, injecting color, pattern, and texture into a room.
A lively dining room by McMillen Plus, with the same floral print used on the draperies and the chairs. The backs of the chairs are upholstered in a different fabric for a nice contrast.
THE OPTIONS
Selecting the right fabric, whether to clad a sofa or top the bed, can prove an unexpectedly overwhelming task. Stylistically, there are seemingly limitless prints, colors, weave effects, and decorative embellishments to choose from. First, consider what type of fabric is appropriate:
Plain or patterned
Smooth or textured
Heavy or light
How will the fabric be used? To fashion curtain panels or soft Roman shades for window treatments? Or to upholster a family room sofa or a little-used side chair? Upholstered pieces require durable, tightly woven fabrics, while the gathered nature of drapery headers calls for a lighter-weight cloth.
What special feature or character of the room or furnishing do you want to emphasize? If the ceiling height is low, vertically striped curtains are a smart option. A sumptuous solid may be best if the goal is to play up a fauteuil’s curvy profile. And a print or woven pattern can lend interest to a sofa with clean lines.
Textile expert and designer Adrienne Concra suggests a beloved fabric or a preferred motif as a starting point. “It should be a crime of passion,” she jokes. “But the next question is: What makes practical sense for this particular application? There will be limited answers.” Each end use requires different material properties. (See chart on this page.)
Performance expectations over time are also a factor. Textiles are highly susceptible to wear and tear and can be tricky to clean—especially after being applied to furniture. Certain fabrics age better than others; chintz, for instance, develops a soft patina over time, while chenille tends to crush. And even before they begin to fray, many textiles get irreversibly dirty and dingy; linen is notoriously quick to stain. Consider the level of abuse the fabric will endure and the source: kids, pets, moisture, or sunlight?
Read the fabric’s label to find out how it can be used. In addition to the name, style number, and color, the following information will be listed on the label:
Fiber content (in percentages)
Recommended applications (and disclaimers on usability)
Any backing or finishing
How the fabric tests for wear, light/colorfastness, flammability, etc.
Width of a linear yard (in inches)
Pattern repeat size
Whether the fabric can be “railroaded” (or installed horizontally, which saves yardage)
Showrooms simplify fabric selection by presenting textiles on movable vertical panels called wings that display the full width of the bolt, showing the complete pattern. Each fabric is also presented in all available hues, or colorways. Solids are often available in dozens of colors, while prints may be offered in just two or three. The buyer is able to see a large repeat in its entirety (sometimes gathered to show how it drapes), along with coordinating solids and complementary patterns that might work well on other elements in the room—a boon for creating a complete fabric scheme.
Fiber Type
The building blocks of a textile are fibers, which are typically spun together to form yarn that’s then manufactured into cloth.
Textile fibers fall into three categories:
Natural. Deriving from plants, grasses, and animal hides, natural fibers have many positive attributes. They “breathe,” have a nice patina from the start, and take a wide range of colors and dyes well. (Cotton can even be grown in pale colors, eliminating the need for dyeing.) Many have a recognizable “hand,” or feel, that is satisfying to the touch.
Synthetic. Most synthetics derive from sludge, a by-product of refining oil. Man-made fibers are hydrophobic, meaning that moisture cannot easily penetrate them. The result is a fabric with a dry and sometimes plasticky feel that is static-prone and less cleanable. Earlier generations of synthetics were often frowned upon in higher-end residential applications, but that bias no longer holds true. Modern production methods are capable of creating fabrics that closely approximate linen, wool, and suede and are in fact preferred over their natural counterparts for certain uses. For instance, silk strands will quickly disintegrate in the sunlight, whereas look-alike polyester is durable and lasts a long time, even in tropical climates.
Hybrids. Rayon and viscose are made of wood pulp, a natural product that is chemically processed into yarn.
Gary McBournie tented a room from floor to ceiling in striped fabric.
What Fabric to Choose
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FABRIC USE |
MATERIAL PROPERTIES |
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Window treatments |
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Wall treatments and other vertical applications |
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Upholstery |
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Soft furnishings (cushions, tablecloths, bedspreads, bed skirts) |
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Carpets and rugs For more on soft floor coverings, see this page. |
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Common Fibers for Residential Textiles
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NATURAL AND HYBRID FIBERS |
PROS/ATTRIBUTES |
CONSIDERATIONS |
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WOOL |
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COTTON |
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SILK |
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LINEN |
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LEATHER |
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MOHAIR |
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VISCOSE, BAMBOO-RAYON, BAMBOO-VISCOSE |
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ACRYLIC |
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NYLON |
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POLYESTER |
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RAYON |
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VINYL, FAUX LEATHER, MICROSUEDE |
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Natural fibers are twisted into a continuous strand to form yarn, but synthetics begin life as a liquid that is extruded through a machine to form a long filament. Sometimes this filament itself is the yarn; in other cases, the filament is chopped into small pieces (about the length of natural fibers) and then spun, resulting in a yarn that more closely mimics the feel of a natural product. Acrylic, for instance, was developed to approximate wool. The more twisted (or high-spun) the yarn, the stronger and more consistent it is—but the harder its hand; choosing a textile for durability often means sacrificing softness.
Once twisted into yarn, each type of fiber—from silk to viscose—exhibits a unique combination of the following properties:
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ATTRIBUTE |
WHAT IT MEANS |
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LENGTH |
The longer the fiber, the less likely the fabric is to pill or shed. Spun silk is an example of a long-fiber fabric. In general, natural fibers are short. |
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ELASTICITY |
A fiber’s “give,” or ability to stretch without snapping. Nylon is very elastic. |
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LUSTER |
The level of light reflectance, which is based on smoothness. Naturally nubby wool is less lustrous than silk. Fabrics made of short fibers can be “polished” (i.e., smoothed) after weaving. |
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STRENGTH |
The longer the filament or fiber, the greater the strength of the resulting yarn. Synthetic fibers, made by extruding a liquid into a single long strand, are inherently strong. |
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FLAMMABILITY |
Some fibers, such as wool, are naturally fire-resistant; synthetics are usually highly flammable and must be treated. |
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RESISTANCE TO SUNLIGHT |
Synthetics are the most resistant to disintegration and color fading. |
Fabrics are made of a single fiber or a blend of two or more varieties: cotton-polyester and wool-silk are common examples. Blended yarns or fabrics strive to maximize the best qualities of different fibers—such as resistance to abrasion and brilliant color—and to minimize the downsides. The label designates fiber content by weight per square yard, a figure that will reveal the percentages of fibers, but not whether they are blended in the yarn or the weave (as in silk for the warp, wool for the weft).
FABRIC CONSTRUCTION
Textiles are made by weaving, knitting, or knotting yarns together, by punching fibers into a backing, or by way of mechanical or chemical bonding (as is the case with Ultrasuede and felt). But most common are woven textiles made on a loom that interlaces the yarns at right angles: warp yarns run vertically, and the weft yarns are inserted horizontally.
The simplest type of weave, the classic plainweave pattern, is also the strongest. More complicated textiles have an extra set of weft yarns woven in for decorative effect.
When specifying fabrics, note the following:
The direction of the weft. The warp yarn is generally stronger, providing the fabric’s structure. Fabric has less give when pulled in the warp direction, so installing fabric in the proper direction—along the length of the bolt—will maximize the dimensional stability. Fabrics that are able to be “railroaded” can be used both horizontally and vertically, and are stable in both directions. There are two sides to most fabrics—front and back; very few are reversible. Striped fabrics are almost always intended to be run vertically.
Thread count. Likewise vital to note is the number of yarns per square inch—a tally that includes both warp and weft yarns. The higher the thread count, the more densely woven and thus strong the fabric is.
FINISHING TREATMENTS
Textiles used for interior applications are frequently enhanced with a finish.
BACKINGS
A backing is applied to the fabric’s reverse side to stabilize its construction and allow for an unconventional use:
Bonding the fabric to paper enables it to be pasted to the wall as a covering.
A polyester/cotton knit stabilizes the construction for upholstery use and helps prevent sagging when the fabric is installed vertically. A knit backing also prevents delicate fabrics from shredding and their seams from slipping or pulling apart.
FRONT TREATMENTS
These are applied to smooth or texturize a surface, to enhance the design, or to alter the hand (softening it, for instance):
Chintz (or glazing). An applied glaze renders the fabric—usually a cotton or satin-weave fabric—shinier and more resistant to dirt. Durable resin-finish chintz withstands washing and dry cleaning, whereas wax-and-starch glaze washes out over time.
Calendering. Cloth is pressed through hot metal rollers for a soft and glossy result. This is often done to temper the inherent nubbiness of linen or wool.
Moiré. Heat and heavy pressure from rollers applied to a woven rib fabric creates a wavy or rippled effect akin to wood grain; the flattened and unflattened portions of the ribs reflect light differently.
Embossing. Impressing a plate or engraved rollers into the cloth to form a raised pattern.
Embroidery. Needlework applied to cloth by hand or machine, using either wool (crewel) or silk threads.
Quilting. The fabric is bonded to polyester batting (with a knitted top layer) and then topstitched in a pattern.
Laminating. A sheet of matte or glossy vinyl or plastic is bonded to a smooth fabric, to make it usable in high-traffic areas.
CHEMICAL TREATMENTS
These treatments are applied to fabrics to make them stain-repellent, water-resistant, easier to clean (called soil-release), and/or to inhibit the growth of bacteria and mold.
Although some fabrics are sold pretreated, the designer generally initiates the process. Before buying the full amount of fabric, she arranges for the supplier to send a length of it (usually a 2-yard minimum that may have to be purchased) to the finishing house. The finisher inspects the fabric and determines whether it’s suitable for the desired backing or treatment. If it is, the sample will be finished and returned for approval. For very expensive fabrics, the designer might send only a memo sample to the finisher in order to gauge his opinion on the likelihood of success before going any further.
ORDERING & PURCHASING
Purchasing textiles for interior applications is a very different—and far more technical—process than buying fabrics for clothing or crafts. Be sure to order from a knowledgeable source that understands the many aspects involved, such as a trade showroom or a drapery/upholstery workroom.
Sizing
Upholstery fabrics are commonly 54 inches wide—including the selvage, which is the 1½-inch unfinished edge—although the measurement can range from 48 to 108 inches (the latter is most common for window and drapery fabrics, to obviate seams). Note that fabrics are sold by the linear yard—not the square yard—and each wholesaler has a different minimum order, usually 2 yards. A full bolt averages 55 yards, an amount that varies slightly depending on the fabric weight.
Leather
Natural hides are sold by the square foot but can only be purchased as half or full hides. Shaped like the animal they once were, natural hides have a big loss factor; add a minimum of 20 percent to the needed square footage to account for imperfections.
There are three types of leather:
Full-grain leather is natural.
Top-grain leather has undergone minor corrections.
Split leather is only the very center of the hide, without imperfections or markings.
Dye Lots and Reserves
Bolts of greige or gray goods are dyed in a large kettle. Each batch is assigned a dye lot number, which will be listed on the fabric bolt. Although the chemical recipe is consistent from batch to batch, there will still be subtle color variegation between dye lots. It is therefore essential to request a cutting (a small 3- to 5-inch-square sample) from the in-stock dye lots and place a reserve for a specific lot. (Reserves are also necessary for imported fabrics and those with long lead times.) A fabric house will hold a reserve for five days; after that it must be renewed to remain in effect. Often, another designer is waiting in the wings to snatch up the desired yardage once a hold expires. Reserving more than is needed is also a smart strategy. Upon placing the order, request another cutting for approval (CFA) before giving the okay to the vendor to ship to the workroom; this ensures that the right lot is sent.
Printed Fabrics
Fabrics were colored with natural pigments derived from plants or animals, such as indigo, saffron, and cochineal, until the mid-nineteenth century. Nowadays manufacturers use more stable chemical colorants. Ground cloth is colored using dyes that react with the textile-fiber molecule to impart integral coloration. In contrast, patterns are printed with pigments, microscopic particles that adhere to the fabric surface—but not to the fiber; therefore, prints are often prone to fading, can rub off on adjacent fabrics or clothing (called crocking), and need to be cleaned carefully to prevent loss of color.
TEXTILE GLOSSARY
Bark cloth. A slightly textured, nubby cotton or cotton-blend fabric that imitates ethnic fabric originally made of real tree bark.
Block print (or hand-blocking). Subtle mixes of hue are achieved to create a primitive, informal effect.
Bouclé. An uneven yarn of three plies, one of which forms loops at intervals.
Brocade. A supplementary weft in gold or silver is inserted to create a pattern.
Brocatelle. Initially developed to mimic tooled leather, this stiff fabric has a raised relief created by a satin warp yarn in the pattern.
Burnout. Generally velvet or polyester treated to a chemical process that dissolves some of the fibers, resulting in a semitransparent fabric.
Chenille. A yarn or fabric with a fluffy, protruding pile.
Damask. A satin weave distinguishes both pattern and ground, which reverse on opposite sides of the cloth. Striped imberline is one example.
Dupioni. A strong but irregular silk yarn.
Felt. A dense, strong nonwoven made by matting fibers together.
Dyed. There are a number of ways fabric can be dyed:
Cross-dyed. A fabric composed of two different fibers is piece-dyed to produce a variegated effect: each fiber takes the color a bit differently.
Piece–dyed. The whole bolt of greige goods is dyed in one lot.
Resist-dyed. A decorative motif is blocked out with wax prior to the cloth being dyed, creating a reverse pattern. Batik is one example.
Solution-dyed. Synthetic fibers are dyed when they are in liquid form, before being extruded into filaments, resulting in a very consistent, more integral coloration.
Stock-dyed. Fibers are dyed before being spun into yarn, creating a fabric with a more consistent coloration.
Ikat. Yarns are tie-dyed prior to being woven into a distinctive flame-like pattern.
Jacquard. Fabric made on a Jacquard loom capable of producing complex patterns. A tapestry is a type of stiff, heavy Jacquard made with a multicolored “rainbow” warp that adds great visual interest.
Knits. Knitted fabrics include lace and fake fur. They don’t have much dimensional stability.
Leno. This open-weave method is used to fabricate drapery fabrics: warp yarns are twisted before each weft is inserted, locking the yarns into an open pattern that doesn’t shift. Many patterned casements that are intended to stand alone as the sole window treatment are leno weaves.
Matelassé. A double-cloth fabric woven with a three-dimensional design that creates a puckered or quilted look.
Microsuede. A microfiber is needle-punched onto a felt ground in this nonwoven.
Ottoman (or repp). Using different types of threads for the warp and weft creates this ribbed look.
Plainweave. A fabric made by alternating warp and weft yarns one-to-one.
Roller, cylinder, and machine printing. An efficient way of printing fabric in quantity.
Sateen. A smooth, lustrous fabric, usually made of cotton.
Satin weaves. Weft threads are woven at widely separated intervals, creating a smooth, shiny fabric with a less “woven” look. The spacing between weft yarns creates a more delicate cloth.
Screen printing. Color is applied to a ground in certain areas only using silk screens, layering until the final design is achieved. There may be as many as twenty-five colors used in a single English or French floral print. The two kinds of screen printing are rotary and flatbed.
Slub. Yarn is spun unevenly to create “slubs,” or sections of irregular thickness.
Twill. The weft yarns are woven over two (or more) warp yarns; herringbone is one example.
Velvet. A type of satin weave, velvet boasts a thick, soft pile that’s created through a second set of warp yarns that are looped up above the face of the fabric. Loops are left as is (called uncut) or sliced to create a fringier feel (called cut). Cut and uncut loops can also be combined to create patterns (looped threads will often outline the pattern). Velvet pile lies in one direction, which is called the nap.
Vinyl or faux leather. Plastic backed with knitted jersey fabric for stability; sometimes called “leatherette.”
Worsted. Yarn made from long wool fibers.
FURNITURE & UPHOLSTERY
A room is like a container, and it should be designed in layers: first the architecture; then the walls, floor, and ceiling planes; and finally the objects to be carefully placed within. Furniture selection is not something that should be done in isolation of the space or as an afterthought; rather, it is part of an integrated exercise to create a complete environment.
How does a designer move from the general specs and sizes of pieces on the furniture plan (e.g., an 84-inch sofa and a 36-inch coffee table) to a particular sofa (a brown leather Chesterfield) and an accompanying coffee table (a hexagonal midcentury design in walnut)? She refers back to the initial concept, and how line, form, shape, texture, color, and pattern are expressed in the designs of the desired style or period.
An eclectic assemblage of furnishings populate a loft by Carol Egan.
THE OPTIONS
The floor plan will dictate the number and placement of individual furnishings, and the wall elevations will illustrate where the accompanying decorative lighting, mirrors, and art will be sited. But choosing or designing each piece relies on knowing the available options and making a decision about each anatomical part of a particular furnishing.
Furniture falls into three basic categories: tables, case goods, and seating. Every room features something from each one.
Tables
Rooms need to have a variety of surfaces to serve a multitude of purposes: to hold drinks, to make a sketch, to jot down a note, to display an object or table lamp. Below are the main categories, and each type is available in many styles and materials.
Coffee table: Place at the center of a conversation area to hold decorative objects as well as book and magazines, a stack of coasters for drinks, and/or a bowl of candy, nuts, or fruit.
Side table: Use alongside a sofa or chair to support a lamp for reading-height lighting as well as drinks, books, and objets d’art. Side tables can also lend sculptural presence.
Console: Choose a wall-mounted or freestanding one behind a sofa, along a narrow hallway with a mirror or painting above, or to set the tone in a foyer and catch keys and mail. A console’s long, narrow proportions make a perfect canvas for a tablescape.
Demilune: A half-round console is often used in pairs flanking a fireplace or other focal point, such as a doorway. The curved edge makes a demilune a bit more space-efficient in tight quarters than a regular console.
Dining table: For meal-taking, of course—and sometimes for doing homework, or paying the bills—it must be lovely yet durable.
Library table: A freestanding, large rectangular table that can “hold” the center of a room with lots of character, it is the ideal place for a large floral display, stacked books, a shawl, or a casually draped rug. Place chairs or ottomans on either side.
Case Goods
Items in this category are a case of some sort: a box that is fitted with open or closed shelves, drawers, doors, or any combination thereof. Case goods can be made of wood, metal, plexiglass, or glass.
Desk: For doing work or, when chairs are placed on either side, nurturing conversation.
Bookcase: Not just for books, shelves can be used to display a collection, small artworks, or mementos.
Storage/Cabinet: A box (i.e., case) with open shelves, drawers, and/or doors.
Seating
For function and visual variety, most rooms need a mix of different types of seating.
Dining chair: Choose host chairs with arms for the table’s head and foot, and armless chairs along the sides. Glides on the bottom of each foot will prevent damage to a hard floor.
Bench: A long perch can substitute for several chairs at a dining table or be used to grace a hearth or the end of bed (where it can hold blankets).
Sofa: Intended to hospitably support formal or informal gatherings, sofas can be sized to accommodate two, three, or more people.
Loveseat: A two-seat upholstered sofa is ideal in smaller spaces.
Settee: The defining characteristics of a settee, which can seat up to three, are an exposed, finished frame, minimal upholstery, and delicate scale.
Club chair: An upholstered armchair sized for comfort complements a conversational grouping. Club chairs are often deployed in pairs; a singular one is usually intended for reading in.
Occasional chair: A versatile player in any room is a lightweight chair, generally with an exposed frame, that can easily be moved and spontaneously pulled up to a seating group.
Slipper chair: A lightweight occasional chair, armless club chair, or similar that is generally fully upholstered.
Desk chair: A supportive back, arms, and a comfortable seat are musts in a work chair; casters are optional but practical.
Ottoman: Square, round, or rectangular, this upholstered piece usually functions as informal seating, often as a footrest but sometimes as a coffee table.
Footstool: A small, lightweight ottoman that suits a variety of purposes: footrest, supplementary seat, sculptural element.
Pouf: A large ottoman but with a higher seat, a pouf often has a conical center projection that serves as a backrest.
IN ADDITION TO PROVIDING A PLACE TO REST, SEATING ESTABLISHES THE ATMOSPHERE OF A ROOM, FROM PLUSHLY WELCOMING TO SEVERELY FORMAL.
Five vendors played a role in the fabrication of this simple chair: the frame maker, the frame finisher, the fabric house, the trim supplier, and the upholstery workroom.
UPHOLSTERED SEATING
Designing a custom chair or sofa isn’t just about picking fabric patterns and figuring out nice tufting and piping details. Generally, upholstered pieces are the anchors of a seating area and should be scaled appropriately: to the room, to the particular users, and to the surrounding pieces in the grouping. The selection of fabric follows, and then the details such as cushion fill and outside back shape—all of which should be equally well scaled and suited to the concept, use, and location. Custom workrooms will have muslin-covered samples on display to assist in specifying every detail; the subtle differences are easiest to discern when the chairs are dressed in the same plain fabric.
Some options are purely stylistic, while others affect the piece’s function or performance. Most functional details also have a strong aesthetic component, of course. Although there are myriad iterations of certain details like arm style and skirt, learning the most common can give a sense of all the possibilities. Once you know all the anatomical parts and details, you can design a chair, ottoman, headboard, etc., since they are all just iterations thereof.
A sofa is just a larger version of a chair, and headboards and ottomans are simpler but will still have a few details.
Frame
The best frames are constructed with dowels and glue and are screwed, corner-blocked, and reinforced to maintain structural integrity over time. Think of the frame as the skeleton of the piece. Decisions to make are:
Material: Kiln-dried maple is the foundation for all fine upholstery, but lesser types are made of various other hardwoods.
Shape: The profile (and size) of a finished piece is largely determined by its frame. The frame shape should complement the details of the finished space: a tuxedo or tailored sofa in a modern room; a curvaceous arm on a piece slated for a boudoir.
Exposure: The frame can be either completely internal (hidden under the fabric) or partially exposed. An exposed frame gives the piece an “outline,” emphasizing its shape, and requires a beautiful hardwood that can be stained and finished: oak, mahogany, walnut. Maple is a good base for a lacquered or painted exposed frame.
Arms
When choosing or designing arm details, bear in mind that arms will get the most wear and tear. In addition to specifying arm height and width—a choice that will depend on the scale of the room and the formality of the use—there are many other design aspects to consider:
Extension: How far from the vertical will the arm extend, either through the angle of the arm or its fullness? Note that the flare can add significantly to the width of a piece.
Relationship to the front plane of sofa: Arms may be flush with or set back from the sofa front.
Shape: Straight, rounded, curved, panel-fronted, sloping, or especially low or high are among the options.
Style: The arm shape is one of the most defining decisions made for an upholstered piece. Some popular options:
» Rolled arm: Curving outward, common on traditional sofas, can be quite dramatic.
» Lawson arm: A small rolled arm.
» Sock arm: A simple rolled arm with no panel.
» Pleated: A sock arm where the fabric is drawn and gathered from the inside of the arm and over the top.
» English arm: A low-profile arm set back from the front edge of the sofa that does not add to the width.
» Track or box arm: Straight arms creating a boxy effect.
» Tuxedo arm: Usually narrow box arms that are the same height as the sofa back and slightly flared.
» Panel arm: Has a vertical flat panel in front.
Welting/piping: Can be the same as the upholstery fabric (self-welt) or contrasting fabric or special cord or trim.
Outside Back
Although usually covered in the same fabric as the body, the outside back is nonetheless an opportunity to instead use a complementary or contrasting fabric. Other details to consider:
Shape: The back can be flared, straight, angled, or curved around continuously to the arms, the latter creating a softer impression.
Skirted: The outside back may be tight-upholstered or the skirt may begin here.
Inside Back and Back Cushions
Back cushions can be square, rectangular, or T-shaped (to extend over the arms of the piece).
Tight back: In this case, the inside back is padded and upholstered, but there are no loose cushions. A tight back may be tufted, button-tufted, or have dramatic vertical channels. A tight back has the firmest feel.
Loose cushions: The back cushions are not attached to the frame; they generally rise 3 to 5 inches higher than the outside back. They have removable covers that can be cleaned.
Semi-attached: Back cushions that give the appearance of being loose but are actually sewn in place (to keep them neat).
Pillow back: A number of large pillows artfully arranged along the back (in lieu of actual back cushions) creates a layered effect. This design offers the softest feel and look.
Upper Edge Shape
The shape of the sofa’s top edge should relate to the overall design. Choices include:
Straight: Traditionally falls below the height of the back pillows.
Extra height: This can be 36 inches plus, creating a sense of enclosure and shelter.
Camelback: This curved style is raised in the middle and slopes lower toward the arms.
Skirt Style
The choice of skirt is purely stylistic but a key aspect of the overall design. The following styles are the most common:
Pleated: The fabric is folded into regular pleats, which can range in width from small to large. Accent the apex of a pleat with a special flourish such as a button, bow, or passementerie rosette.
» Inverted pleat: A pleated skirt with emphasis on the inverted areas. Align the pleat with the break between seat cushions or the seams of a tight seat.
» Box pleat: Creates an architectural rhythm on a more traditional piece. Can be finished with tape.
» Corner kick pleat: Used with a flat-front skirt that needs a special moment at the corners. May be lined with a contrasting or complementary fabric.
Dressmaker: A version of a kick pleat skirt that falls from directly under the seat cushion, without any intermediate welting or tacking. It’s used to create an elegant, modernized take on a traditional look. The skirt can even fall from directly under the arms or from the top edge of the back.
Fringe: Long fringe can be laid over a simple skirt to appear to be the skirt itself.
Tight: A sleek style most often used on contemporary pieces and paired with a recessed base or simple block or tapered legs in wood or fabric.
Gathered: Traditional and feminine. Gather the fabric evenly around the entire base or just at the corners.
Seat Support
The seat of an upholstered piece needs support, which can come from a range of systems. The finest is a network of eight-way hand-tied springs. Sinuous spring construction is also frequently used, particularly in a smaller frame as it takes up less space. Web suspension is a third option, but the least desirable.
Like the back cushions, a seat may be either tight (fixed to the frame or decking) or loose. If the seat is loose, then the cushions sit on a “deck” of tight fabric that is part of the upholstered frame. Depending on the piece, there may be one (called a “bench” seat), two, or more seat cushions. They can either be straight in front, designed to stop at the arm (and the seat edge), or they can be T- or L-shaped in cases where the arm is slightly recessed from the seat front. Nicest is when the material used for the decking and the underside of the seat cushions match the overall piece; this is called “self-decking.”
Feet/Legs/Base
Seating can be supported by legs, feet, or a base—a choice that depends on the style of the chair or sofa: a settee or dining chair with a higher-than-typical 18-inch seat will require legs; feet or a low base will suffice for a sofa or club chair meant for relaxing and with a 15- or 16-inch seat height.
Material: Legs or feet can be made of any material: exposed wood or metal, or wood fully upholstered in fabric. Wooden legs or feet often have metal “shoes,” or casters. Glides are applied to the bottom of feet and legs to lift them slightly off the floor.
Style: Modern or contemporary seats call for simple, straight-lined feet or legs that don’t compete with the overall lines of the piece. A recessed base is the least visible and intrusive and may be made of reflective metal or wood, either stained or painted black or to match the fabric. Exposed legs styles include:
»Block: Roughly 4 by 4 inches wide at the top, 64 inches high, and slightly tapered toward the floor.
»Tapered: A straight leg, roughly 2½ inches square at the top and tapered toward the floor.
»Upholstered: Usually a block leg, covered with fabric to match the piece.
»Bun foot: A round, depressed ball shape, approximately 4 inches across, and made of exposed wood or upholstered.
»Carved: Wooden legs, 4 inches high minimum, traditionally carved with natural motifs.
Fill/Stuffing
Seat cushions come in varied fills. The choice depends on the comfort desired and the intended use. Use high-density polyethylene wrapped in polydacron or cotton when you want a firmer sit—for instance a wingback chair in a formal living room (as opposed to a sofa in a media room intended for sprawling).
For a softer and more luxurious experience, choose cushions filled with a mix of down and feathers from waterfowl like ducks and geese. (Down is the fluffier outer part of the feather; goose down is most desirable.) The more down, the softer the cushion. However, all-down cushions are uncomfortably soft, become shapeless, and need lots of maintenance. They aren’t specified very often, as they are generally too soft to support most people comfortably. A mix of 80 percent down, 20 percent feathers over a center foam core is the preferred content for both seat and back cushions.
If luxury is desired but better support is needed, a core seat cushion of high-density polyethylene foam wrapped with a channeled blanket of 80 percent down and 20 percent feather fill is a good option. For box or other shaped cushions, the foam core is wrapped with polydacron followed by another batting layer of a down/feather mix. All cushions are wrapped with down-proof mildew-resistant ticking before the final fabric is applied in order to keep any feathers from poking through the finished textile cover.
Finally, seat cushions subject to a lot of use can be made with internal springs for strong support and to keep their shape over time. The springs are wrapped in high-density foam, which itself is wrapped in pads made of Dacron polyester fiber and down.
Choosing a Fabric
Upholstery fabric has to look good and be a workhorse. The “skin” of a sofa or chair, it must be strong enough to hold the filling in, hug the skeleton and resist abrasion and staining, yet be welcoming to the touch and beautiful to see. Choose tightly woven fabrics backed for dimensional stability and made of fibers with specific characteristics and functionality. The cards and labels attached to fabric samples will often state whether or not they are suitable for use as upholstery. If you’re unsure, let the upholstery workroom approve a sample rather than to jump in and purchase 25 yards of something potentially unusable. On some fabrics used for both residential and commercial applications will be a note regarding the Wyzenbeek (ASTM D4157) or Martindale (ASTM D4966) abrasion tests; either is a reliable means of determining the limits of a fabric’s ability to withstand abrasion without wear or pilling. (For more on fabric testing, see this page.) Some of the best fabrics for upholstery are:
Wool
Chenille
Brocade
Repp
Plain weave cotton
Chintz/polished cotton
Damask
Blends of natural and synthetics
Leather or synthetic leather/microsuede
ENGINEERING
Once a fabric is chosen for a piece of furniture, decide how it should be applied: Where will the pattern repeats be presented? Where will the seams fall? This exercise is called engineering, and it should always be done in close collaboration with the upholsterer. A pattern’s repeat size and configuration contribute to the amount of waste material that the upholstery process generates—thus adding to the yardage needed. In some cases, a fabric can be railroaded; that is, installed horizontally. It is the upholsterer’s responsibility to determine the exact amount of fabric and trim needed based on the chosen fabric type and the pattern repeat.
SEAM SLIPPAGE
Seating can suffer heavy abuse: the repeated action of getting in and out of a chair makes the fabric shift. To accommodate this, fabric must be of a suitable weight and sturdiness for upholstery use, or it should be reinforced with an acrylic backing to render it more durable. Fabric seams on upholstered goods are especially vulnerable to wear. Because some bulky fabrics will pull at these connection points, specialized seams are required to take the pressure off:
French seams
Stitching on outside
A good upholsterer will tell the buyer if the fabric needs backing based on the application.
SLIPCOVERS
Stylistically, slipcovers come in and out of vogue, but they serve two important and timeless functions: to protect upholstered furniture, and to give a piece new or extended life. They are also a staple of certain looks; consider the loose and light slipcovers in cotton chintz or gingham that embody the country-house look. Some homeowners, anticipating stains and spills—especially in a household of children and pets—ask for a set of covers just for the seat cushions. A sateen or plain-woven cotton is the best choice. Contrasting piping or a ruched or dressmaker skirt gives a simple cover a bit of energy.
Embellishments: Trim, Buttons, Nails
An upholstered sofa, chair, or ottoman, with or without an exposed frame or legs, is not complete without its “jewelry,” or trimmings. Trim come in the form of metal decorative nails, fabric or decorative buttons, and welting, piping, cords, tassels, rosettes, and fringe.
Welting is a special category. Most upholstered pieces have sections where a seam is embellished. The design decisions include:
Desired thickness
Contrasting fabric or self-welt?
Do you want to include decorative cording and, if so, what design?
PASSEMENTERIE
Passementerie was developed in thirteenth-century France to hide seams and tailoring details—a role akin to how moldings are used to cover the joints between building materials. Trimming later came into its own as a purely decorative accent, first on window and bed draperies and later on upholstered furnishings.
Today, trimmings are deployed as special adornments to uphold the creative vision and confer a sense of luxury—which is appropriate, as they can be quite pricey. The most exquisite and ornamental examples are borne of fine craftsmanship, from hand wrapping to special knotting and stitching techniques. Even loomed elements made on small, slow-producing machines require much handiwork. A simple cord might take up to eight manufacturing stages to complete.
Silvina Leone designed a velvet-covered settee with a tassel-accented bolster.
TRIM
Braids, fringe, and other trims are made in running or linear yardage. It is most often used to trace edges of upholstered pieces and draperies, outlining and enhancing their profile.
Braid: Flat, ribbonlike woven tapes used to decorate edges and seams, often on draperies. They can be simple or quite elaborate, and come in widths ranging from 1 to 4 inches.
Cording: Cords are composed of twisted plied yarns. They are available with or without a flange (or lip), a header that allows the cord to be inserted into the seams. The treatment is referred to as decorative welting when ornamenting an upholstered piece.
Fringe: A decorative border of hanging threads or cords. Fringe attaches to a textile by way of its heading, which is either inserted into a seam or sewn, glued, or affixed to the outer surface by brass nails.
» Ball and scallop fringe
» Onion fringe
» Loop fringe
» Brush (or moss) fringe
» Tassel fringe: tassels can vary in size and length on a single header
» Skirt fringe: often used at the base of a sofa
» Bullion fringe: frequently used on the skirt of an upholstered sofa or chair
Galloon (or gallon): This tightly woven ribbonlike trim is made of gold, silver, silk, or a combination; the term is from the French for a border or braid.
Gimp: A narrow woven or knitted trim that gets nailed to or glued on upholstery. It is often used to garnish edges and seams.
Ruche: Cord-like twisted yarns are looped and sewn to a flange, and then sometimes cut into a brushy fringe. It serves the same purpose as cording but offers a more decorative look.
Tape/border: A flat banding used to cover and embellish edges and seams. Tape is also used as a header for beaded or tassel fringe.
Tassel: A dangling element made by tying together same-length yarns or cords and fastening them at one end. Tassels are often added to fringe, chair ties, or tiebacks or used to accent a rosette.
ACCESSORIES
Individual decorative items made of passementerie or trim are a nice complement and an extra-special touch.
Rosette and button: An ornament made of finely wrapped yarns arrayed in a circular pattern to resemble a rose; the center medallion is often accented with a tassel. These embellishments are used on the corners of pillows, the front panel arm of a sofa, drapery, and more.
Frog: Ornamental braiding consisting of a rosette/button that passes through three loops, resembling a cloverleaf.
Key tassel: A tassel topped with a cord loop. It is meant to hold a special key but can be used for various decorative accents.
Tieback: Used to gather back a curtain panel at the side of a window. Trim tiebacks are a decorative cord, with or without one or two tassels.
Chair tie: A long stand of twisted cord with tassels at either end. It is used to attach the back of a seat cushion to the chair frame.
Loose Pillows
The standard size is 20 inches square, but throw pillows are often slightly larger or smaller and vary in shape. In spite of their seeming simplicity, a well-designed throw pillow is complex and labor-intensive. Because of that, custom pillows can be surprisingly expensive. Regardless, a beautiful pillow, filled with down and feather (or a soft synthetic substitute) in a muslin insert, can dress up a sofa or club chair, unite the disparate textiles and colors of a room, and add to the general sense of comfort and welcome.
Points of decision are:
Shape
» Square
» Rectangular
» Cylindrical
» “Ball” shape
Same or different colors or designs on the front and back
Pieced and quilted patterns
Surface applications
» Ribbon
» Lace
» Braid or tape
» Faggotting
Corner treatments
» Knife edge
» Gathered
» Turkish corners
Edge seam treatments
» Decorative cording
» Welting
» Fringe
» Flange
» Ruffles
WHAT’S INSIDE A HIGH-END CUSTOM UPHOLSTERED PIECE
Jonas Upholstery itemizes the many layers of support that lie between the kiln-dried maple frame and the exterior upholstery in the finest furnishings:
Webbing. Jute webbing is applied in a basket-weave pattern and tacked down to the frame seat and back.
Springs. Coil springs are placed atop the webbing in a graduated grid pattern, with firmer springs placed for seat and lumbar support and softer springs for the upper back. These springs are hand-tied to one another and then tacked to the frame using twine.
Burlap. A layer of burlap is placed atop and sewn to each spring as well as tacked to the frame.
Horsehair. Curled and sterilized horsehair (sometimes synthetic hair) is loosely placed and hand stitched atop the burlap. This artisanal humane fiber defines the best quality upholstery. It is long-lasting and allows the skilled upholsterer the ability to contour it into refined and elegant shapes. (Often, foam is used instead; it disintegrates over time and has a puffier, less nuanced look.)
A second layer of burlap-topped horsehair. This layer is more “shaped.”
Cotton batting. Puffy cotton fills the void and indentations created by the hand sewing.
Glazed cotton. A single layer is tacked down to the frame to cover the hair and burlap to prevent the hair from poking through.
Down pad. A channeled blanket of goose down.
Dacron. A layer of Dacron softens the appearance of the down pad’s stitches and provides loft to the exterior fabric.
Many steps are involved in creating custom upholstery at Jonas, from attaching jute webbing to the hardwood frame to topping the horsehair filling with burlap.
DESIGN CONSIDERATIONS
Selecting furnishings requires thinking about the whole setting and the principles and elements of design. Consider proportion and context as the placement for each piece is determined.
Every style has a “vocabulary” of furnishings that expresses the overall feeling. For instance, the choices for a traditional English country house are limited to cabinets and tables in various woods; seating in a mixture of upholstered and exposed frames; a range of fabrics in florals, prints, and solids; shaded decorative lighting; and antique (or reproduction) accessories.
Avoid period rooms, in which every detail and piece comes from one specific era, in favor of a more eclectic mix. Some guidelines:
Line. Mix boxy with straight-lined, organic with curvy, leggy with upholstered-to-the-floor.
Scale. Is the piece oversize or petite? Put like with like.
Contrast. One great piece, such as a Georgian secretary or a Le Corbusier chaise, can be completely different from every other piece.
Color. Create a palette composed of a major color, a secondary color, and an accent color. Collage a room on the floor plan with paint or swatches to determine what color or fabric will be used on each piece—decide before shopping. Use a monochromatic scheme and even the same fabric on several furnishings to unify all the upholstered pieces.
Unity. Mix different woods in a single room and never worry about matching the color of a wood floor to the wood of the furniture.
INSTALLATION CONSIDERATIONS
Furniture is often large and strong but it is not indestructible. Consider hiring special art and antiques movers to transport the very best pieces. A workroom or a vendor will often provide its own local delivery person. Fine wood pieces and mirrors are wrapped in blankets; upholstered pieces are covered in brown paper and plastic.
What happens if a large piece doesn’t fit into a building’s elevator or can’t be carried up a stairway and maneuvered through an apartment door? It’s vital to require that an upholsterer or a furniture maker visit the site in advance to assess installation challenges. Both hard and upholstered furnishings can be designed or crafted in pieces and assembled (or reassembled) on-site; for instance, the bun feet of a sofa can be screwed in later, or a highboy made in two sections to be put together after placement.
PURCHASING & ORDERING
Ultimately, buyer beware is the rule of all furniture purchases. It is the buyer’s—not the workroom’s or seller’s—responsibility to know the size of rooms, doorways, halls, and stairwells, and to select the right fabric for the application. Custom pieces can never be returned, and with very few exceptions the same goes for antiques.
Many designer showrooms or galleries will work “on approval,” sending a special piece to the customer’s home in advance of purchase to see how it looks in place.
WINDOW TREATMENTS
Seen from the outside, windows give a building’s facade a sense of scale, hierarchy, and rhythm. Inside, they inform a room’s purpose and character. Just as windows are important architectural and interior features, so too are their coverings: connecting indoors and out, decor and view. Window treatments can serve many purposes.
As a design feature, they can:
create a point of emphasis at the window(s)
add the illusion of height to a low-ceilinged room
correct poor room proportions
frame an appealing vista or hide an unpleasant (or mundane) view
support the decorating scheme via color, texture, pattern, and detail
As a functional element, they:
offer privacy
control the glare of daylight and streetlamps
attenuate sound
aid thermal control
boost energy efficiency
Each genre—drapery, shades, blinds, and shutters—performs some or all of the above roles, to varying degrees. Often two or more types of treatments are paired to achieve the needed combination of function and decorative panache: for instance, a Venetian blind with billowing sheers or a fabric-laminated roller shade with straight-hung curtain panels.
Kapito Muller Interiors designed a curtain panel bordered with Greek key-patterned tape that puddles lightly at the floor.
THE OPTIONS
Within the four categories of window treatments there are myriad choices of fabric, construction, and trim to be considered. Learning the technical vocabulary of window coverings can help you unlock all the creative possibilities. A strong grasp of the industry vocabulary is essential when commissioning a custom design, in order to communicate with workrooms to ensure the desired results. The best process includes accurate drawings and specifications that are illustrative of the desired appearance and function.
Draperies
These soft window treatments—a genre that includes curtain panels—are typically hung from a wall-mounted rod or a track (also called a traversing mechanism). Draperies offer a unique combination of structure and softness. They can look crisp and folded or loose and billowing. As the strongest vertical gesture in a room, curtain panels can create a sense of architectural rigor and add a dose of color or pattern to the decor. While the final creation may look effortless and elegant, even the most sparely appointed design is anything but simple. Dealing with the various components of draperies requires much planning, not to mention making many decisions.
FABRIC TYPE
A textile’s weave structure, pattern, and dimensional stability will dictate what style of drapery it can be used for; what sort of lining may be necessary to add body, volume, and sun protection; and what pleating or heading type is appropriate. Certain fabrics will require that lead weights (string or coins) be sewn into the hem to keep the panel from billowing. A fabric’s UV stability is another key factor: some colors and fibers, such as silk, are prone to fading or disintegrating in heavy sunlight.
In a room by Caleb Anderson, a metal holdback mounted high on the wall gracefully clasps a drapery panel.
Window Treatment Functions
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TREATMENT |
LIGHT CONTROL |
THERMAL CONTROL |
ENERGY CONTROL |
SOUND CONTROL |
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DRAPERIES |
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SHADES |
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BLINDS |
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SHUTTERS |
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PATTERN
Consider scale, repeat, and how the pattern will appear when draped in tight pleats or billowing folds. When choosing a top treatment, such as a valance or a cornice, it’s vital to determine how the motif should be positioned: centered or offset. Also think about how the pattern will present at the leading edge of the panels. If the fabric is striped, which color should fall at the edge, and should the full width of the stripe present?
LINING
A lining sewn onto the back of a panel can serve varied functions, including insulation and light blocking. The latter is often desirable for aesthetic purposes: natural light will alter the perception of a textile’s pattern and color; some fabrics take on a yellow cast when light shines through. A lining also helps a panel drape nicely and shows off the motif to best effect. There are several types:
A decorative lining can play up the design of the primary fabric by complementing or contrasting with it. Choose a solid hue or a coordinating pattern. Be strategic about color: because the lining faces the window, a bolder hue will give off a tinted glow, which may or may not be desirable.
An interlining is an additional layer sewn between the front fabric and rear lining. It helps the curtain drape and can ensure opacity, so the facing fabric reads better. Interlining adds more weight and thickness to the drapery.
A blackout lining is a must when complete light blocking is desired—in bedrooms and home theaters, for instance.
For a more casual look or to admit more daylight, leave curtain panels unlined. When used as the major drapery treatment, woven casement fabrics or decorative sheers—especially burnout patterns—are rarely lined, since their character derives from how the light passes through them.
UNDERDRAPES
Simple casement curtains are typically made of sheer or semitransparent fabric in a woven pattern. A translucent layer can screen the view out or in to offer privacy (or to soften a subpar vista).
FULLNESS
The fullness of the drapery panel depends on its width in relation to the distance it spans when closed. The general range is two to three times the span; the higher the ratio, the fuller the drape. Fullness is also affected by the style of pleat, if one is chosen:
Pinch pleats
French
Pencil
Box
Inverted
Smocking
TOP TREATMENTS
A soft valance or stiff cornice offers a complementary gesture to balance the design of the panel. It can finish a drapery by covering up the curtain hardware. (Top treatments are not always appropriate; for instance, avoid them where doors and windows swing inward.) The valance should always coordinate with the panel fabric. In general, run the fabric in the same orientation, even for solid colors; otherwise, the warp/weft threads of the panel and valance will run perpendicular to one another, which can cause the color to read a bit differently. Collaborate with the workroom to decide where seams will fall: the ideal choice is somewhere unobtrusive, not along the centerline. Here are some popular top treatments:
Valance. This is the most common top treatment, and often boasts more elaborate detailing than the curtain panels themselves: ribbons, rosettes, bows, cords, fancy pleating, interesting shapes, and contrasting linings.
Swag, jabot, and cascade. These loose treatments extend across the top of the window—sometimes wrapping around the curtain rod—and drape down the sides (about two-thirds of the window height).
Cornice. Sheathed in fabric, this padded plywood or solid-wood form is visually stronger than a soft valance and has a greater architectural presence. Be sure to specify how the fabric pattern should align on the cornice and its exact dimensions, including the depth of the return to the wall. (Each layer of drapery will require 4 inches of depth on the cornice.)
Pelmet. This cross between a valance and a cornice is soft but firm-bodied, padded with jute.
Lambrequin. This stiff, U-shaped treatment brackets the top and sides of the window frame. The fabric should extend about two-thirds of the height of the window, or all the way to the sill.
EDGE TREATMENTS
It’s often desirable to embellish the leading edge of a drapery panel (i.e., the side that faces inward, toward the window). Use trims such as welting and braid to add whimsy or lend a bit of geometry. Ruffles or a turned-back cuff can be soft or striking depending on whether executed in the same or a contrasting color. The leading edge itself need not be straight; consider a sinuous silhouette, an arabesque, or a scallop. Bottoms are ripe for decoration too. In fact, leading-edge treatments are often continued along the hem—although not if the panel is supposed to puddle on the floor, which would obscure the decoration. Sometimes just the bottom is treated: for example, a 15-inch swath of contrasting fabric at the hem lends elegance.
ROD VERSUS TRACK
Curtains can hang from hidden tracks (or brackets) or from rods. Tracks control the path of the drapery and can be surface-mounted or recessed into the ceiling. Rods are offered in a wide range of styles and materials, from carved wood to burnished metal. Capping the rod’s end with an ornamental accent called a finial makes a nice embellishment. The choice of rod is also functional: one that bends around to connect directly to the wall, thus obviating the need for brackets and finials, is great for blocking light, since the drapery panel can “return” (or curve) all the way to the wall. Choose a method for attaching the curtain panel to the rod:
Hooks and rings
Pockets
Tabs
Ties
Grommets
OPERATION
Fixed draperies designed to be left open—not pulled shut—are more decorative. These are typically paired with another treatment (a blind, a shade, or a casement/sheer) for light control and privacy. Operable curtains can be drawn closed by using cords, a chain, or motorized controls. When drawn shut, the edges of the panels either butt or overlap.
HANGING STYLE
Panels can hang straight or be gathered and held to the side. Panels that hang straight have a crisper look, and this is the preferred style for operable curtains. (Tiebacks wrinkle the fabric, creating an untidy look when curtains are drawn.) Choose one of the following for cinched panels:
Tableau style (also called theatrical or Italian stringing): drawn up from behind via a cord
Holdbacks (wall-mounted hardware)
Tiebacks
Rings
Loops
FULLNESS
Gathered curtains are sized in “fullness,” a term that pertains to the actual width of the curtain panel, as opposed to the distance that the panel is intended to span. For example, a 45-inch panel at 2½ fullness will require 112 inches of fabric. A fullness of 2½ to 3X is most common, and creates a luxurious appearance open or closed. Anything less will result in a skimpy panel.
CURTAIN LENGTH
Determining the appropriate length of curtains can be tricky. Short curtains can look unfinished, and overly long curtains can feel dated. Use the window’s architecture as a guide:
Sill height. Stopping at the windowsill is preferred when there is an architectural interruption below: a radiator, a window seat, built-in cabinetry, etc.
Apron height. Extending side drapery panels just past the sill can give an awkward window a bit of grace.
Above the floor. Generally not advised, since the draperies will appear truncated or under scale; however, some applications will demand them. The height above the floor should be 3 inches.
Break. Just brushing the floor. Measuring is particularly vital when curtains are to break at the floor—especially if the space is not yet built. Take into account the added height of any wall-to-wall carpeting or large area rugs that will raise the floor height at a later date.
Puddle. More than 2 inches of extra fabric is a bit romantic. Reflective or smooth fabrics are best for this panel length.
Curtains by Lillian August have a pleated header, decorative tape border, and hang from a return rod.
Cuffed drapery with plaid lining, an antler holdback, and Venetian blinds.
Alexa Hampton paired Asian-inspired lambrequins with smocked headings and clean-lined curtain panels (held with tiebacks in the same fabric).
A Roman shade with lace detailing.
Louvered wooden shutters in a den by Villalobos Desio.
Simple roller shade in a kitchen by Joan Dineen.
In a room by Patrick James Hamilton, a cornice is layered over a sheer shade and louvered shutters, crisply bracketed by pleated panels.
Softly draped empire valance by Silvina Leone.
Shades
Shades are used largely for privacy and light control, although they can also provide thermal insulation. Practical as well as decorative, they can serve either as the sole window covering or in tandem with a drapery treatment. Customize them with flat ribbons and tassel pulls, laminate them to blackout linings, or leave them unlined to softly filter sunlight.
Plain shades have a flat surface when lowered. They tend to have a simple and tailored look; when raised, they expose a good amount of window to maximize light and views.
Gathered shades are fuller and more decorative than plain shades. They require more fabric and can often be quite formal. Because they are generally given an “outside” installation—mounted so that they cover both the window and the trim—they obscure more of the window surface. The most decorative variety is the Austrian shade, a ruched and gathered style with a lovely scalloped bottom that is drawn up by a rear cord (sewn into a pocket).
LINING
Shades are simply pieces of lightweight fabric with cords used to gather, raise, and lower them. They have very little structural integrity unless lined. Standard lining options are simple cotton sateen (in white or ecru) or very thin cotton that allows light to filter through. Other common choices include flannel and vinyl (the latter is used to render blackout shades completely opaque). Made of delicate fabrics, Austrian shades are always unlined: the trademark heavy gathering provides the needed structure.
EDGE TREATMENTS
Shade edges provide ample design opportunities. Accent the sides and bottom with ribbons, tape, or trims. A flat ribbon set in about 4 inches from all edges of a Roman shade is a pretty accent.
TOP TREATMENTS
Plain shades are often topped by a small 4-inch cornice to confer a finished look and hide the track or mounting device. This element can also be enlarged or adorned with braid or trim.
OPERATION
Like draperies, shades are raised and lowered by using motorized controls or by hand. In the latter case, choose cord (cotton cord or metal chain) or cordless operation, or consider a loop or a wand. Roller shades commonly have a flat piece of wood or plastic inserted into a pocket at the bottom to allow manual pull-down.
Blinds
Blinds are composed of operable slats (called vanes), oriented either horizontally or vertically and made of metal, wood, or plastic. A wand is used to angle the vanes, enabling a great deal of control over light, privacy, and ventilation. While blinds can certainly be colorful or patterned, a neutral look that blends in with the interior scheme is more typical. One exception is wooden or venetian blinds, which traditionally have 2-inch slats and, courtesy of their dominant horizontal look, confer a strong decorative, even architectural presence. Wood blinds are stained to match standard wood colors, such as cherry, oak, and pine.
Shutters
Usually made of wood, and often louvered, these hinged vertical panels are like doors that cover the window to block light; when swung open, they lie against the adjacent wall surface, bracketing the glass. They are a great option to create continuity in a wood-paneled room. In nineteenth-century row houses and brownstones, shutters were designed to fit flush into pockets abutting the windows so they disappeared when open.
DESIGN CONSIDERATIONS
Every room has certain quirks, and many have windows that are mismatched or asymmetrical. Site conditions—from how windows operate to the placement of their openings on the wall—will affect the design and selection of treatments. Measuring and assessing windows at the start of the project is essential (see this page). Each has an “inside” dimension: that of the actual opening. Carefully note that measurement and the exact location of the window openings on the wall elevations. Here are some questions to ask during the assessment:
What is the distance from each window opening to the ceiling, the bottom of the crown molding, and the floor?
How much wall space is available on either side of the window? This will inform the size afforded the stack back: the width of the curtains when drawn open. (Drapery panels are usually designed to frame the window aperture and therefore need adequate space to “sit” on the walls—beyond the actual window itself, at least 12 inches.)
How does the window (or door) operate? If they are casement windows or doors, do the panels swing out or in? Be sure to mount valances and shades in a manner that doesn’t obstruct an inward-swinging pane.
Do any handles or cranks protrude?
Is the window inset into the thickness of the wall, creating a recess, or is the glass pane flush with the interior wall plane?
Is there a windowsill? Does it project beyond the wall or is it flush?
Is there a radiator or heat pump under the window? Does it extend into the room? How far?
Are there baseboard heating units, HVAC floor grilles, window seats, built-in shelving, cabinets, or other architectural interruptions?
Will the window operation affect how the drapery closes? Gathered drapes are approximately 4 inches deep from front to back. That means that a window treatment with an underdrape, an overdrape, and a full draped valance or cornice may measure a foot deep (or more) altogether. How will the whole assembly look when viewed from the side?
Challenging Configurations
Creative problem solving is required for a number of common window situations.
MULTIPLE WINDOW FORMATS
It is not unusual for a single room to have different kinds (or sizes) of windows on each wall: bay windows, double-hung, French doors. The design challenge is to unify the appearance of all the windows through varied but complementary treatments. This can be done by using the same fabrics, trim, and hardware, as well as consistent overall drapery design and fabrication details.
A PROTRUDING RADIATOR
Select or design curtains that fall just to the sill, or fixed panels mounted wide enough to fall on either side of the protrusion. Layer with a shade or blind that provides light and privacy control. (Consider a cabinet to cover the radiator.)
TWO CLOSELY ADJACENT WINDOWS
Treat the pair as one window, using a single shade (or pair of butt-joined shades) to cover the window surfaces. Frame the whole assemblage with a single valance and just two drapery panels, one on the far left and one on the far right.
A RECESSED BAY WINDOW
This feature is best treated with decorative shades and/or blinds, but full drapery panels can sometimes work. Depending on the architecture, the whole recess can be treated as one window. Return the side of any outside-mount treatment to the wall.
POOR ROOM PROPORTIONS
Windows are arguably the most important architectural feature of a room, and their size, shape, and format give the space its sense of proportion and scale. Manipulate poor proportions by dressing the windows to instill balance; for instance, make windows look taller by mounting drapes high, and enhance the illusion of width with a substantial stack back on either side.
COMPLETE DARKNESS DESIRED
Use blackout shades that extend beyond the window opening and/or operable lined curtain panels mounted on a track.
AN UGLY VIEW
Go for sheer curtains or blinds—solo or paired with more opaque panels. Or choose slatted blinds that can be kept at an angle to screen the view while admitting daylight.
ARCHED WINDOW
Is the window itself arch shaped, or does a separate arched window sit above it? If the whole window is arched, treat the rounded pane with an inset gathered curtain. Try to eschew coverings if possible for a separate arched top window. Inset a stained- or textured-glass panel to diffuse and refract light, and use standard treatments for the window below.
VERY MODERN ROOMS
Use minimal treatments such as blinds or shades made of fabric or mesh. For draperies, choose solid-color fabric mounted on a simple rod or recessed track via rings or ties.
SLIDING GLASS WALLS
Large expanses of glass walls inset with doors or window openings present a real challenge. Treat these features simply: use only one type of fabric for the drapery panels—versus a more decorative design pairing two colors or prints—and hang them from a recessed or surface-mounted track so that, when drawn closed, the treatment mimics the wall of glass it covers. The curtains should open where there are doors or windows.
FRENCH DOORS
Gathered curtains hung on fixed bars that are attached to the door panel itself work best. Tie a bow in the center of the curtains, which allows for some view. A roller shade or mini blinds can be mounted at the top of the door panel, but this is a more pedestrian solution.
LONG, WIDE WINDOWS
Many designers believe that a shade should be longer than it is wide for aesthetic reasons; however, many windows are wider than they are long! In such cases, divide the horizontal span of the window into an odd number of segments (or in segments that align with the window’s vertical dividers). Make one shade for each and hang in a row, tightly butted against one another.
Suzanne Lovell floated a curtain rod in front of a window seat—a typically tricky installation. The panel puddles at the floor for a feeling of luxury.
INSTALLATION CONSIDERATIONS
Become familiar with the wide variety of window tracks, hooks, pulls, rods, and other mounting hardware. Drapery hardware ranges in appearance from utilitarian to precious, and for some situations the choices are very limited. Work closely with the supplier, workroom, and installer to understand your options and select wisely.
MOUNTING LOCATION
Install treatments either within the window opening or mounted above and outside its frame or casing to allow for additional light and privacy control. The functional and design goals will dictate where the shades and draperies should sit in relation to the window opening. For example, in cases where molding is a prominent feature of the decor, an inside mount is often preferred. Shades that extend over the edge of a window will block more light in most instances.
DRAPERY MOUNTING
Placement and mounting of rods depend entirely on the site conditions; there are no hard-and-fast rules for guidance. Factors to consider include ceiling height and the distance between the window casing and the crown molding. Be sure the pole extends just beyond the curtain stack—which when open should cover about 6 inches of the window (with the bulk of the panel on the surrounding wall).
RECESSING
Recessing the top mounting or track used to support draperies, shades, or blinds into the ceiling, molding, or soffit above will eliminate the need for a valance. Another option is to mount a flat, narrow wooden panel (or fascia) painted like the ceiling over a track to create a mock recess.
Curtain panels in a vignette by Linherr Hollingsworth are also a nice touch to bracket a doorway.
