W W O V E N
Over 100 years of industry knowledge
JA M E S D U N LO P T E X T I LE S. C O M
A CCESSORIES
Accessories allow you to add the final embellishment to your residential or commercial interior scheme. They are an important part of a designer’s arsenal as they are an affordable and flexible way to create a space which reflects the personal style and vision of the owner. Adding personality via accessories, be it through pattern, colour or texture, is an easy and non-permanent way to keep the interior current as personal style and ever-changing market trends evolve.
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MOKUM / NOMAD COLLECTION
Accessories
A CCESSORIES
Bedding
MOKUM / BERBA
In this chapter we cover key interior accessories that have a direct relationship with your upholstery and drapery treatments. These include trimmings and curtain tieback styles and an overview of common cushion manufacturing techniques. We also focus on the bedroom with custom-made bedding and pillow manufacturing as well as common lampshade styles and the importance of quality lighting for interior spaces.
JAMES DUNLOP / ROMAN
N
ow more than ever, accessories are a key component to an interior space. With the world at our fingertips, people have the freedom and capabilities to hunt online and gather accessories from around the globe. Homes become cultural melting pots, showcasing foreign treasures in the form of cushions, rugs, artwork and ornaments, to name a few. They elicit a feeling of travel and adventure without having to leave the comfort of one’s home.
Contents: 1
Bedding
2
Cushions
3
Headboards
4
Lampshades
5
Lighting
6
Tiebacks
7
Trims / Ribbons
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Getting the bedroom right, specifically the bed, is very important. Now more than ever, in an attempt to counter balance the hours we spend online, people seek escape and solace in their bedroom. Creating a space that feels like a sanctuary away from the digital era we live in. As many choose to opt for custommade bedding, we will cover the main points for consideration. The two popular categories of bed covers are quilted and unquilted. Ascertain if your client wants a quilted or un-quilted bed cover and then determine the appropriate style with the following information:
Bedspread hems, piping and flanged cords: Details will vary between manufacturers. The standard options are: FLANGED CORDS: •
There is a wide selection of flanged cords available; these are sewn into the bedspread in the same way as piping. Blind stitched hem – this hem gives a very clean look and no hem is obvious. This is not very robust hem and should not be used in commercial applications.
•
Flat padded hem – this is an attached hem made separately, usually in a contrasting fabric and between 5 - 7 cm finished width.
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Rolled hem – an attached hem but made into a firm roll approximately 8-10 cm in diameter, often in a contrasting fabric.
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Standard hem – this is an over-locked and turned hem, top stitched usually at 5 cm to 7 cm from base of bedspread.
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Ruched hem – an attached hem but ruched/gathered to give a soft and very traditional look.
PIPING:
HEMS: •
•
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Piping – can be either flat or filled with cord.
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It is normally sewn in-between two fabrics, either above an attached hem or around the top of a fitted bedspread. Piping can also be sewn around the bottom edge of a bedspread.
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cotton so when the valance is washed it does not shrink.
BED VALANCES: Custom-made bed valances are very popular because there are numerous different bed base heights and therefore readymade valances often do not fit well. Valances compliment the interior design with darker colours grounding the bed well. Valances are mostly used with cap style bed covers and duvet covers. They are also used under full size bedspreads where your customer wishes to hide the bed base. There are three basic styles: •
Pleated – pleats can appear as often around the bed as required but generally in the corners only.
•
Quilted – usually channel quilted with channels running vertically or horizontally. Channels can vary in width. A quilted valance does not require ironing after washing
DUVET COVERS There is a huge selection of ready made duvet covers available but custom-made duvet covers ensure your client has a one-off in their chosen design to reflect their interiors. Backing: It is common to use the same fabric on both sides but to reduce cost the other option is to use a coordinating bed sheet on the reverse side. Ensure the sheet is poly cotton so it doesn’t shrink when washed and is one size larger than the duvet cover size required. Basic styles: •
Flanged valance – either top stitched to achieve a flange effect or an attached contrast flange.
Wrap-around with straight sides – fitted style.
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Some details that you may wish to check with your manufacturer:
Piped valance – usually a contrast fabric is used for the piping.
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Plain valance - square edged and top stitched around edge to avoid rolling.
•
•
•
•
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It is standard to bring the valance around the top of the bed by 20 cm on each side or make the valance four sided, this ensures it sits on the bed well and does not slip down. It is standard to put a 10 cm band of the main valance fabric around the top of broad deck of the valance to ensure the poly cotton centre never shows. We recommended blind- hemmed or lined and bagged out valances. If the valance is not on the bed completely straight it is very obvious with a top stitched hem. We recommended that the fabric used on the top deck of the valance and the back of the quilting be a polyester
A CCESSORIES
Fabrics: The top fabric ideally should be a polyester, polyester/cotton or preshrunk cotton. Most bedspreads are cleaned regularly and therefore linens, viscose and complex compositions are less ideal for cleaning. Lining should be stable polyester cotton only. You will find residential clients often request linen, silk or viscose fabrics for bedspreads, these can be used successfully but your clients should be advised of the difficulty of cleaning and the likelihood of fabric movement with changes in temperature and humidity.
Buttons are prone to breaking in the washing process, please consider this when deciding on the type of closure.
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Buttoned, zipped, Velcro, domed.
Sizes: There are standard measurements for each bed size as they are made to fit the inners available. Occasionally clients request duvet covers to be made longer, this can be done easily but they need to check the type of inner they are using. It is also common to use a duvet cover one size larger than the actual bed size. This gives a very generous look.
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•
Never measure at the top or end of the bed, always measure at least 30 cm up from the end or down from the top.
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When measuring for a shortsided bed cover you must ensure you take the measurement at least 10 cm down the bed from the point where the mattress meets the base – a good rule of thumb is the bed cover should come down a minimum of two thirds of the overall height of the bed.
MEASURING THE BED: Bed measurements vary between manufacturers. The width of the bed will be within 1 cm or 2 cm but the length and heights can vary considerably between manufacturers. There are several ways to measure a bed but the following points should always be followed: •
Always measure in more than one place – we recommend taking measurements in three places.
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Always measure with the actual bedding (sheets, blankets or duvet cover) on the bed as this can make a big difference.
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Ask your bedspread manufacturer for their standard bed measurements by size, this is a good check to compare against your measurements - they will vary slightly.
Closure options: •
height measurement. This is a double check.
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Measure length of bed, width of bed and height of bed separately. Measure overall width of bed and ensure this measurement agrees with your width plus twice your
TIP: Measuring a bed base is awkward and it is best to have two people if possible, one holding up the mattress. Always measure at least 10 cm in from the edge of the base and measure length, width and height of the base.
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QUILTED:
TETRON FILLS:
When specifying a custom-made quilted bed cover, the below information is required:
Generally there isn’t a huge difference in the actual weight of the finished bed cover when you use different weights of Tetron. The main advantage of the heavier Tetron is that it gives more loft and fullness to the bed cover.
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Ascertain corner detailing – do they require rounded, square, boxed, pleated?
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Is the cover fitted or throw style?
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Ascertain hem detailing – do they require top stitched, blind hemmed?
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Piping, attached rolled hem, ruched hem or flat padded hem?
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Ascertain pillow detailing – do they require long top, short top, reverse sham?
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Do they require full length or short sides?
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If fitted around top of the bed are pleats required on sides?
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Quilting thread colour – this should be discussed with your manufacturer. Most offer thread colours to match your fabric, or you could opt for a contrasting colour.
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What is the type of quilting required? – channel, diamond, outline or designs your manufacturer provides.
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What weight of Tetron is required – 70 gram, 100 gram, 140 gram, 220 gram?
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Which colour of lining is required/desired?
QUILTING DESIGNS: These will vary depending on your manufacturer and the types of machinery they use. There are two basic categories: •
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Multi-needle quilting – regular patterns like channels, diamonds, Minarets Outline or profile quilting – the quilting will follow the design of the fabric, this tends to be more expensive than multi-needle quilting.
A CCESSORIES
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Ascertain corner detailing – do they require rounded, square, boxed, pleated?
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Ascertain hem detailing – do they require top stitched, blind hemmed or bagged out style if lined?
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Do they require piping, attached rolled hem, ruched hem or flat padded hem?
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Ascertain pillow detailing – do they require long top, short top, reverse sham?
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Do they require full length or short sides?
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If fitted around top of the bed are pleats required on sides?
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If lined, is bumf (compressed Tetron) fill required?
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If lined, which colour of lining is appropriate/desired?
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Is the cover fitted or throw style?
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Should the cover be lined, unlined or backed with quilted lining?
STANDARD TETRON WEIGHTS USED ARE: •
70 gram – very flat effect.
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100 gram – often used in motels.
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140 gram – most commonly used and generally the standard Tetron supplied.
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220 gram – very full high loft effect.
Duoline has the Tetron fused to the lining. This saves manufacturing time and is very successful when some softness is required without actual quilting. Bumf when used in quilting is a compressed Tetron, this gives some softness but no loft, it is generally used in un-quilted bedspreads. When it comes to marrying your bedspread with your bed pillows there are three basic options: 1. Long top – the pillows sit under the bed cover which comes up and over the pillows. 2. Reverse sham – the pillows sit on the bed cover which comes under the pillows and then reverses over the pillows. 3. Short top - the pillows are exposed. The cover either comes to the top of the bed and the pillows sit on top of the cover or the cover finishes approximately 40 cm down from the top of the bed. You need to clarify what your manufacturer’s standard for this is. UN-QUILTED: When specifying a custom-made un-quilted bed cover, the below information is required:
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TIP: You will need to check with your manufacturer regarding the Tetron fills, backings, quilting designs and thread colours they offer, as these do vary.
CATHERINE MARTIN BY MOKUM / METROPOLIS COLLECTION
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A CCESSORIES
JAMES DUNLOP / TERRAIN
W O V E N
Cushions Cushions are a cost effective and less permanent way to experiment with design & colour within a space. Cushions are an essential element to the feeling of a room; they create a sense of softness and tactility whilst serving functionally through adding comfort and support.
MOKUM / ETERNAL
The cushion is an ancient article of both decoration and functional furniture. From the early Middle Ages through to 19th Century palaces, they would adorn and be used for seating or kneeling, when seats were often hard and uncomfortable. Nowadays, decorative cushions are used widely with infinite options of pattern, colour, texture and scale to create a variety of looks, atmosphere or mood for your interior. You can easily relive your favourite eras such as the 60’s and 70’s with vintage prints or add nomadic texture and pattern for a tribal organic vibe. Cushions can be filled with wool, hair, feathers, polyester staple fibre, non-woven material and even shredded paper, however many people prefer and appreciate the quality of feather inners.
TIP: Care and maintenance for feather inners – hand wash, wring and dry thoroughly on gentle machine cycle. Plump regularly to keep shape.
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MOKUM / EQUATOR
Cushions come in a variety of shapes and sizes, from the lumbar to support your lower back to bolsters, hassocks (a head rest cushion) and the large euro. Cushions come in all forms; boxed, detailed, flanged, piped, plain, round, squab, square and tucked cushioning.
A CCESSORIES
LUMBAR
BOLSTER
FLANGED
TIP: For a plump/full look, ensure your cushion inner is 5 cm bigger than your case. e.g. a 45 cm x 45 cm finished cushion should have a 50 cm x 50 cm inner.
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PIPED
ROUND
BOXED
TUCKED
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A CCESSORIES
Headboards The headboard is a piece of furniture that attaches to the head of a bed and is often complemented by an ottoman at the end of the bed for aesthetic balance. Whether in a commercial or residential environment, bed heads are a popular way to complete a bedroom scheme.
When choosing an appropriate fabric to upholster the bed head, be sure to consider its washability, i.e. can it be spot cleaned? As an upholstered bed head is fixed down it cannot easily be washed, or even dry cleaned, so a fabric which is able to be spot cleaned may be beneficial. It some cases it may be an appropriate solution to manufacture a slip cover which can be easily removed and washed when necessary.
Historically a headboard served to isolate sleepers from cold drafts in poorly insulated buildings, and thus were commonly made of wood, which is less thermally conductive than stone or brick. Today headboards serve chiefly for aesthetic and utilitarian functions such as to keep pillows from falling off the bed and to provide support and comfort whilst sitting up in bed. They may also include storage solutions for books and personal items, and conveniences such as lights. Headboards used in hospital beds and aged care facilities may incorporate critical care functions.
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MOKUM / FAN
Many choose to upholster their bed heads, with either heavy drapery or upholstery fabric and there are many different styles available.
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OVAL
A CCESSORIES
DRUM
RECTANGLE
LAMINATED SHADE:
Although slim linear profiles and exposed lamps are gaining popularity, lampshades remain an effective way to add softness and ambiance to a room. As well as being a stylish decorative addition to an interior, they also function to define and highlight task areas and are regularly used in both residential and commercial spaces. The history of lampshades dates back to the late 17th Century as public lanterns made their appearance in the centre of streets. These were oil lamps with reflectors and a number of wicks. In the 19th Century gas lighting became prevalent with industrialisation but also with many drawbacks. Thankfully, in 1879, Thomas Edison developed the incandescent electric bulb, paving the way for lamps and shades as we know them today.
SQUARE
BARREL
PINCHED PLEAT
BELL
STRETCH SHADE:
Custom-made lampshades can be manufactured as a hanging pendant, floor lamp or table lamp and are made using a myriad of materials including fabric, parchment, vellum, glass, paper, or acrylic. Commonly, fabric lampshades are manufactured in either of two ways; laminated or stretched.
Laminated shades are the most common today and give a contemporary look. Fabrics with a natural composition, ie cotton, linen or silk, generally laminate better than 100% synthetic fabrics. Synthetic does not absorb the adhesive as well and therefore glue marks may bleed through or air bubbles may become apparent where the fabric has not bonded properly.
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The second common type of fabric lampshade is known as a stretch shade. This is where a metal frame of the desired finished shape is bent up and welded. Depending on the shape, the fabric is cut into panels and overlocked together. These fabric panels are then “stretched” over the frame until taut. For more intricate shapes, the frame may be bound by hand and
MOKUM / ESSENZA COLLECTION
Lamp shades
Laminated shades use a firm fabric-covered backing which is curved into A-frames or drums, in a wide variety of sizes. The backing can be opaque to diffuse the light or transparent to allow more light transmission. Coloured, metallic and reflective laminates can also create different light effects from loud and colourful, to warm and moody. The drums often have a spider top wire that drops deep into the shade, to connect it to the light bulk/lamp base.
then individual panels of fabric are hand stitched to the frame. These types of shades tend to be more traditional with scallops, crowns, waists and pleats. Modern manufacturing techniques now mean that the binding and hand stitching has been replaced with specialised glue. Wetting the fabric and shrinking it onto the frame can also help keep the cover taut. Traditionally these shades would have been made from silk but modern variations are made in chintz, linen, satin, cotton and a myriad of contemporary constructions.
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A CCESSORIES
Lighting
“It is a critical aspect for setting the mood of an environment and will directly affect the comfort level experienced by the user of a space.” – Benjamin Kamp. Below are some key points to keep in mind when illuminating soft furnishings in an interior space: You’ll need to consider how well the light source will render colour. If your soft furnishings have vibrant colours that you wish to celebrate, then a light source with a high Colour Rendering Index (CRI) is essential. A low CRI will leave the colours looking washed out and drab. CRI is crucial when considering the use of modern LED lighting. If you are using soft furnishings with heavy textures and this is something you want to accentuate, you will likely want to create high contrast. Cast the light onto the surface to create bright highlights on the peaks and dark shadows
in the valleys of the material. This will help the texture to read as a three dimensional form. In many cases it is a good idea to follow the old expression “less is more”when illuminating texture. Low angled light is always a winner in these situations.
A curtain tieback is a functional decorative window accessory, which is used to hold curtains back off the window when pulled open. They are manufactured in a myriad of materials and styles, from a simple rope or braid through to highly embellished materials with metal or glass beading and laser cut detailing.
Finally, light is a medium one needs to physically experiment with. It is impossible to predict exactly how it will work in a given situation. A good understanding will help you make informed decisions on how to use it. Next time you get the chance, play with a light source – try it in different spaces and shine it on different objects. This will develop your understanding of how light allows us to read form and space.
CATHERINE MARTIN BY MOKUM / CHARLSETON PEARLS
A good understanding of light is a very powerful tool in any designer’s arsenal. Well considered lighting will a have a dramatic effect on any interior space as it can be used to invite, deter, combine or divide space.
Tiebacks
Watch how it affects colours for better or worse and consider how it alters the mood of the environment. “Never forget that light is an essential aspect in any design. It affects us both physically and emotively.” – Benjamin Kamp
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A CCESSORIES
More elaborate tiebacks fall into the following categories:
DECORATIVE RUCHED TIEBACK: •
A ruched tieback consists of a roll of interfacing covered with a gathered tube of fabric. A ring is placed at each end to loop around the curtain and over a hook fixed onto the window frame or wall.
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HOLDBACKS:
ROSETTE:
STRUCTURED TIEBACK:
TASSEL TIEBACK:
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•
•
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Holdbacks are hardware forms as opposed to soft furnishings and usually a U shaped piece of metal, coloured to fit the scheme. One leg of the U is secured to the wall and the curtain is pulled over the other leg to secure it. Holdbacks allow for easy use when required but are inconspicuous when not needed. They’re often a good choice beside sliding doors.
A Rosette is a highly decorative holdback, made from any material and in any shape or size, from circular discs, seahorse, roses to fleur-de-lis, to name a few and can be coloured to coordinate with the scheme.
Consisting of a single U shaped strip of fabric held flat with interfacing. They’re often referred to as “Banana Shape” tiebacks, because of their recognised curved shape and contrast pipe detailing. A ring is placed at each end to loop around the curtain and over a hook fixed onto the window frame or wall.
Available in a huge range of colours and styles, the tassel tieback is one of the most common forms of soft furnishings tiebacks. A tassel tieback commonly consists of a single or pair of tassels connected to a rope with either one or two loops. These loops are secured around the curtain in the same way as the tiebacks already mentioned, or the loops may be tied to each other in a loose knot. The length of rope is referred to as the embrace and must be long enough to comfortably and securely hold the curtain. Too long an embrace and the curtain may sag too much over the window, obscuring the view, whilst an embrace too short may cause the curtain to appear bunched-up when secured back.
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A CCESSORIES
MOKUM / YIN AND YANG RIBBONS
W O V E N
Trims / Ribbons There are now a myriad of trims available to interior designers, manufactured using an endless list of compositions. They range from classic cord and bullion through to beading and crystal embellished tapes. In this section we sketch the most popular profiles of trim/ribbons which you will likely encounter.
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A CCESSORIES
The use of textile trim is an excellent way to embellish and adorn soft furnishings whilst providing a substantial add-on sale opportunity during fabric selection.
BRAID
CORD
EYELASH FRINGE (Long wispy, very thin fringe)
LOOP FRINGE (Fringe is looped and not cut)
CORD WITH LIP/FLANGE
BEADED
POM POM/BALL
TASSEL
BRUSH FRINGE (Cut fringe)
BULLION FRINGE (Heavy twisted fringe)
GIMP
BORDER TAPE
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A CCESSORIES
CATHERINE MARTIN BY MOKUM /
METROPOLIS COLLECTION
W O V E N
There are multiple ways trim/ ribbon can be used in an interior space. Below we will outline the most popular applications CURTAINS: Trims can be used along the leading edge of a curtain to add embellishment. The leading edge of a curtain is highly susceptible to direct sunlight exposure, therefore fixing a trim to the leading edge is an excellent way to protect your valuable curtains from UV degradation. Replacing a trim is far more cost-effective than replacing your entire curtain. A wide trim could be used across the bottom, or bottom third of your curtain as a border detail. CUSHIONS: Trims elevate the appearance of cushions, either by adding contrast colour or tonal embellished texture. A trim may be added the whole way around the cushion, just down two sides, or down the middle face of the cushion as a feature. HEADBOARDS/THROWS: A headboard or throw can be transformed with trim embellishment. Trims are a brilliant way to add a luxurious aesthetic to what may be a plain or inexpensive base piece. LAMPSHADES: DYNASTY COLLECTION
Trims are often used to adorn lampshades, running around the circumference of the drum. OTTOMANS/OCCASIONAL CHAIRS:
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MOKUM /
Trims look fantastic added to an ottoman or occasional chair. Textured or contrast trims are often applied around the circumference of the piece, or a tassel trim may be applied to the bottom edge to soften the look.
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