Top 10 Design Websites – Friday Afternoon Fun

A little bit of design fun for a Friday afternoon, designed to give you
something to talk about when socialising after work.

Here are what are “probably” July’s Top 10 Interior Design Websites – in reverse order.

10. IKEA HACKER

Someone really  has got too much time on their hands as they buy and
then modify many of the IKEA staples.

https://ikeahacker.blogspot.com/

9. ain’t no disco

At number 9 a much more serious site covering some far from run-of-the-mill
office interiors.


https://www.aintnodisco.com

8. mydeco

Despite daring to release an unfinished ‘beta’ web site, mydeco give a
creditable room planning tool on their site.

https://mydeco.com/plan-my-room/

7. ACRHITONIC

We would probably prefer the RIBA Product Selector as the tool of product
choice for architects however ARCHITRONIC deliver a packed online library for
designers and architects.


https://www.architonic.com/

6. INTERIOR DESIGN

The font is a bit similar to World Of interiors I know. Anyway the originally
named INTERIOR DESIGN website does provide a wealth of opinion and sources.


https://www.interiordesign.net/

5. getdecorating

A genuinely good source for inspiration in decoration. Although for a more
comprehensive product list we always recommend The House Directory.

https://www.getdecorating.com/interiors.cfm

4. miraentuinterior

If you like vinyl then look no further.

https://www.miraentuinterior.com/

3. apartment therapy

They aim to be ‘saving the world, one room at a time’. It might take quite a
while.


https://www.apartmenttherapy.com/

2. de zeen design magazine

Continuing the trend for organisations that avoid using capital letters in
their names wherever possible, de zeen design magazine stylishly delivers a
wealth of interiors news.

https://www.dezeen.com/category/interiors-news/

1. Wallpaper*

A great lifestyle magazine we would all agree. Have a look to see if their
online presence is as good as the paper version. And what is that asterisk (*) for anyway? For fabrics we would recommend World Of Interiors.


https://www.wallpaper.com/interiors

A big thank you to: www.design-training.com

Top Market Fabric Suppliers For Interiors (Leading European, UK Base)

Use this page as a directory of the UK’s leading fabric suppliers.

Abbot and Boyd 020 7351 9985
Altfield 020 7351 5893
Alton Brooke 020 7376 7008
Borderline 020 7823 3567
Brian Yates 01524 35035
Brunswig 020 7351 5797
Bruno Triplet 020 7823 9990
Chase Erwin 020 8875 7441
Colefax 020 7244 7427
Colony Fabrics 020 7351 3232
Donghia 020 7823 3456
Gainsborough Silk 01787 372081
Henry Bertrand 020 7349 1477
Jab 020 7349 9323
Jane Churchill 020 7244 7427
Jrobertscott 020 7376 4705
KOTHEA 0870 285 4768
Kravet 020 7795 0110
Lee Jofa 020 7823 3455
Lelievre 020 7352 4798
Manuel Canovas 020 8877 6400
Nobilis 020 7351 7878
Pierre Frey 0207 376 55 99
Robert Allen 01494 474741
Sacho Hesslein 020 7352 6168
Silk Gallery 020 7351 1790
Turnell and Gigon 020 7259 7280
Watts Westminster 020 7376 4486
Zimmer and Rhode 020 7351 7115
Zoffany 08708 300 350

Many of these fabric companies sell a wide range of products including: chenille, contract fabric, faux / fake leather, mohair velvet, linen velvet, cotton velvet, wool,  hand woven products, natural silk, cashmere and damask for upholstery, curtains and cushions.

Martindale Rub Count Thresholds for Hotel and Restaurant Upholstery

For guidance on Martindale rub count thresholds for hotel and restaurant upholstery — including recommended rub counts by room type and how to specify for contract environments — see our complete guide: Hotel Fabric Specification Guide: Martindale, Crib 5, Cleaning and Dye Lots.

For the Martindale rub test explained in full, see our Martindale rub test guide. For Crib 5 fire certification for contract upholstery, see our Crib 5 guide.

Request Samples

Order cutting samples of any fabric from our current collections. Trade accounts only.

Order Cuttings

Sheer Fabrics & The Rub Test

Kothea was recently asked: do sheer fabrics have a rub test?

The Martindale rub test is an abrasion test. It mimics the wear a fabric experiences when used on upholstered seating. Any fabric can be put through the test procedure.

Sheer fabrics are used for curtains and blinds, not for upholstery. So the answer is no. A rub test is not relevant to sheer fabrics because they are not used on sofas.

For sheer fabrics and contract curtains the most important performance test is for flame retardancy. If you need guidance on fire rating standards for curtain fabrics, contact Kothea directly.

Textile Performance Guidelines (USA Only)

ACT is the acronym for Association for Contract Textiles, which is a not-for-profit trade organization made up primarily of the companies that supply textiles to the contract interior design industry.

The ACT Textile Performance Guidelines

In order to make textile specification easier, ACT member companies adopted a body of popular tests that measure important performance criteria for textiles in the contract interior textiles market. The results of these specific tests are represented by graphic symbols, which are used on ACT-member company textile sampling to indicate that a specific textile performs to contract standards for its recommended application.

The Guidelines are a selection of the numerous tests for textile performance that have been established (and are periodically reviewed) by standards organizations, such as ASTM (American Society for Testing and Materials: www.astm.org) and AATCC (American Association of Textile Chemists and Colorists: www.aatcc.org).

ACT has developed the following voluntary Performance Guidelines to make textile specification easier. The 5 symbols give architects, designers, and end-users a vast amount of performance information in a succinct visual way. Look for these symbols on INSTYLE CONTRACT TEXTILE sampling to assure that the textiles you specify perform to contract standards and pass all applicable testing.

These categories describe a textile’s performance features as measured by specified methods under standard laboratory conditions.’


Flammability

The measurement of a fabric’s performance when it is exposed to specific sources of ignition.
Note: ACT guidelines specify different flammability tests dictated by the intended end use for the fabric.

ACT Guidelines
Upholstery
California Technical Bulletin #117 Section E – Class 1 (Pass)

Direct Glue Wallcoverings
ASTM E 84-03 (Adhered Mounting Method) – Class A or Class 1

Wrapped Panels and Upholstered Walls
ASTM E 84-03 (Unadhered Mounting Method) – Class A or Class 1

Drapery
NFPA 701-89 (Small Scale)* – Pass* NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

TEST METHODS
California Technical Bulletin #117
Section E* – Class 1 (Pass)

The California TB #117 Section E is a test method of the California Bureau of Home Furnishings and Thermal Insulation. It is a vertical flame test measuring the ease of ignition and the burning rate when a small open flame hits the surface of the test fabric for 1 second. A Class 1 (Pass) rating is assigned if:

1. A 5.0 inch section of the fabric is consumed in 3.5 or more seconds (less than 3.5 seconds is a failure). For raised surface fabric, the minimum burn time is increased to 4.0 seconds.

2. An average char length of less than 6.5 inches or an individual specimen over 7.5 inches.

* For complete technical details about California Bulletin #117 Section E:
https://www.bhfti.ca.gov/techbulletin/117.pdf

ASTM E 84-03* Tunnel Test
The ASTM E-84 test is a test method of the American Society for Testing and Materials (ASTM). Commonly called the Tunnel Test, this test can be performed under two different methods adhered or non adhered where the only difference is in specimen preparation:

Adhered: The fabric is bonded to either a CA board substitute or gypsum board. This is the prescribed method for wall coverings whose actual use will be adhered .

Non adhered: If the fabric is a panel fabric or upholstered walls, it is tested in a frame without being bonded to any other material.

In each instance (adhered and non adhered), the fabric is placed in the ceiling of the test tunnel and subjected at one end to a high intensity flame which spreads over the first 4.5 feet of the 24 foot test specimen.

The distance of flame front progression and total burning time are used to calculate a flame spread index. Smoke monitors are used to calculate a smoke developed value. The flame spread index and smoke developed value are calculated from the results of the test fabric compared to the characteristics of cement board and red oak materials resulting in the indexes.

Typically, the code classes are as follows:
Class A: Flame Spread Index of 25 or less and Smoke Developed value of 450 or less
Class B: Flame Spread Index of 26 to 75 and Smoke Developed value of 450 or less
Class C: Flame Spread Index of 76 to 200 and Smoke Developed value of 450 or less

Caution: The ASTM E 84 test is only valid if the textile or vinyl wall covering is used in a sprinklered occupancy. If not, the Room Corner Test (NFPA 265 for textiles; and NFPA 286 for vinyl) is mandated in many jurisdictions.

* For complete technical details about ASTM E 84-03: https://www.astm.org

NFPA 701-89 (Small Scale)*
The NFPA 701-89 (Small Scale) is a test method of the National Fire Protection Agency. It measures the ignition resistance of a fabric after it is exposed to a flame for 12 seconds. The flame, char length and flaming residue are recorded. The fabric will pass the test if all samples meet the following criteria (if one sample fails the fabric fails):

1) an after flame of less then 2.0 seconds

2) a char length of less then 6.5

3) the specimen does not continue to flame after reaching the floor of the test chamber

Note: NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

* For complete technical details about NFPA 701: https://www.nfpa.org

Revised October 2003


Wet & Dry Crocking

Transfer of dye from the surface of a dyed or printed fabric onto another surface by rubbing.

ACT GUIDELINES
Upholstery

AATCC 8-2001
Dry Crocking, Grade 4 minimum.
Wet Crocking, Grade 3 minimum.

Direct Glue Wallcovering
AATCC 8-2001
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

Wrapped Panels & Upholstered Walls
AATCC 8-2001
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

Drapery
AATCC 8-2001 (Solids)
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

AATCC 16-2001 (Prints)
Dry Crocking, Grade 3 minimum.
Wet Crocking, Grade 3 minimum.

TEST METHODS
AATCC 8-2001*

The AATCC 8-2001 is a test method of the American Association of Textile Chemists and Colorists (AATCC). This method uses a standard white cotton fabric that is rubbed against the surface of the test fabric. To test for wet crocking the standard fabric is wet before rubbing against the test fabric. After rubbing under controlled pressure for a specific number of times the amount of color transferred to the white test squares is compared to an AATCC color chart and a rating is established.

Grade 5 = no color transfer
Grade 1 = high degree of color transfer

* For complete technical details about AATCC 8: https://www.aatcc.org

AATCC 116-2001*
The AATCC 116-2001 is a test method of the American Association of Textile Chemists and Colorists (AATCC). This test is specifically used for printed fabrics that do not lend themselves to the AATCC 8-2001 method. The test fabric is held at the base of a Rotary Vertical Crockmeter and rubbed with a standard cotton white fabric either dry or wet. After rubbing under controlled pressure for a specific number of times the amount of color transferred to the white test squares is compared to an AATCC color chart and a rating is established.

* For complete technical details about AATCC 116: https://www.aatcc.org

Revised October 2003


Colorfastness to Light

A material’s degree of resistance to the fading effect of light.

ACT GUIDELINES
Upholstery

AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Direct Glue Wallcoverings
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Wrapped Panels and Upholstered Walls
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 40 hours

Drapery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum at 60 hours

TEST METHOD
AATCC 16 Option 1 or 3 – 2003*

The AATCC 16 Option 1 and 3 are test methods of the American Association of Textile Chemists and Colorists (AATCC). ACT recognizes both methods where the only difference is the light source being used. In AATCC 16 Option 1 a Carbon-Arc lamp is used as the light source and in AATCC 16 Option 3 a Xenon-Arc lamp is used. Under both methods a strip of fabric (part of which is protected by a special paper card) is placed in a fadometer and exposed to 40 hours of accelerated fading units (AFU). After the exposure the difference in color between the exposed and protected parts of the fabric are compared to the AATCC gray scale and the degree of fading is rated.

Grade 5 = no fading
Grade 4 = slight fading
Grade 1 = high degree of fading

* For complete technical details about AATCC 16 Option 1 or 3 – 2003: https://www.aatcc.org

Revised October 2003


Physical Properties

Physical property tests include: Brush Pill, Breaking Strength and Seam Slippage. Pilling is the formation of fuzzy balls of fiber on the surface of a fabric that remain attached to the fabric. Breaking strength is the measurement of stress exerted to pull a fabric apart under tension. Seam Slippage is the movement of yarns in a fabric that occurs when it is pulled apart at a seam.

ACT GUIDELINES
Upholstery

Brush pill
ASTM D3511-02, Class 3 minimum

Breaking strength
ASTM D5034-95 (2001) (Grab Test)
50 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
25 lbs. minimum in warp and weft

Wrapped Panels and Upholstered Walls
Breaking strength
ASTM D5034-95 (2001) (Grab Test)
35 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
25 lbs. minimum in warp and weft

Drapery
Seam slippage
ASTM D3597-02-D434-95
for fabrics under 6 oz./sq. yard
15 lbs. minimum in warp and weft

Seam slippage
ASTM D3597-02-D434-95
for fabrics over 6 oz./sq. yard
25 lbs. minimum in warp and weft

TEST METHODS
ASTM D3511-02*

The ASTM D3511-02 is a test method of the American Society of Testing and Materials (ASTM). This test utilizes nylon bristles to rub the surface of the test fabric for a specific amount of time. The number of pill balls are counted and given a 1 – 5 rating.

Class 5 = no pilling
Class 1 = severe pilling

* For complete technical details about ASTM D3511: https://www.astm.org

ASTM D5034-95 (2001) (Grab Test)*
The ASTM D5034-95 (2001) (Grab Test) is a test method of the American Society of Testing and Materials (ASTM). To evaluate, the fabric being tested is put into a machine that grips the fabric with two clamps. One clamp is stationary and the other moves away applying tension until the fabric breaks or ruptures. This test is performed in both the warp and weft directions. The number of pounds required to cause a fabric to break or rupture determines the rating.

* For complete technical details about ASTM D5034-95 (2001) (Grab Test): https://www.astm.org

ASTM D3597-02-D434-95*
The ASTM D3597-02-D434 is a test method of the American Society of Testing and Materials (ASTM). To measure a fabric’s ability to resist seam slippage, a seam is sewn in the test fabric using a standard thread, specific seam allowance and specific number of stitches per inch. The sewn fabric is then clamped at opposing side of the seam. One clamp is moved away from the other applying tension at the sewn seam. This test is performed in both the warp and filling directions. The tension is increased until the seam separates to a specific distance. The number of pounds required to cause separation due to yarn slippage determines the rating.

* For complete technical details about ASTM D3597-02-D434-95: https://www.astm.org

Revised October 2003


Abrasion

The surface wear of a fabric caused by rubbing and contact with another fabric.

ACT GUIDELINES
General Contract Upholstery

ASTM D4157-02 (ACT approved #10 Cotton Duck)
15,000 double rubs Wyzenbeek method

ASTM D4966-98 (12 KPa pressure)
20,000 cycles Martindale method

Heavy Duty
ASTM D4157-02 (ACT approved #10 Cotton Duck)
30,000 double rubs Wyzenbeek method

ASTM D4966-98 (12 KPa pressure)
40,000 cycles Martindale method

End use examples of heavy-duty installations where upholstery fabrics rated at 30,000 double rubs should be appropriate are single shift corporate, hotel rooms/suites, conference rooms and dining area usage.

ACT acknowledges that there are extreme wear situations that may require higher levels of abrasion resistance. End use examples that may require higher than 30,000 double rubs include: 24 hours transportation terminals, 24 hour telemarketing, 24 hour healthcare emergency rooms, 24 hour casino gambling areas, and such public gathering places as theatres, stadiums, lecture halls and fast food restaurants.

It is strongly suggested that double rubs exceeding 100,000 are not meaningful in providing additional value in use. Higher abrasion resistance does not necessarily indicate a significant extension of the service life of the fabric.

The Wyzenbeek and Martindale tests are the two methods commonly used to predict wear-ability. Actual performance is determined by many factors such as fiber content, weaves, finishes, furniture design, maintenance, cleaning, and usage. Durability of an upholstery fabric is a complex interaction (combination) of a number of performance tests that, in addition to abrasion, includes seam slippage, pilling, tensile strength, and usage.

There is no correlation between the Wyzenbeek and Martindale tests so it is not possible to estimate the number of cycles that would be achieved on one test if the results from the other test were known.

TEST METHODS
ASTM D4157-02**

Oscillatory Cylinder (Wyzenbeek)
The ASTM D4157-02 is a test of the American Society of Testing and Materials. A Wyzenbeek machine is used for this test allowing samples of the test fabric to be pulled tight in a frame and held stationary. Individual test specimens cut from the warp and weft direction are then rubbed back and forth using an ACT approved #10 cotton duck fabric* as the abradant. The number of double rub cycles achieved before two yarn breaks occur or noticeable wear is observed is recorded as the fabric s abrasion rating.

** For complete technical details about ASTM D4157-02: https://www.astm.org

* The wire screen abradant is recommended by ACT for use with vinyl and polyurethane coated upholstery and may also be used for testing 100% olefin fabrics.

ASTM D4966-98* Martindale
The ASTM D4966-98 is a test method of the American Society of Testing and Materials (ASTM). This is an oscillating test. Fabric samples are mounted flat and rubbed in a figure eight like motion using a piece of worsted wool cloth as the abradant. The number of cycles that the fabric can endure before fabric shows objectionable change in appearance (yarn breaks, pilling, holes) is counted. Number of cycles determines abrasion rating.

Source: Association for Contract Textiles

Quirky, New Textured Weave Fabric For Contract & Domestic

KOTHEA Release New Fabric For Interiors

LONDON, England. 06-JULY-2009 11.30 AM: KOTHEA today announced it has expanded its extensive upholstery fabric collection by the addition of KOCAFELATTE. KOCAFELATTE is a somewhat quirky and hard wearing fabric with an unusual, fine patterned design. It is a striking fabric with a high Martindale result, achieved whilst maintaining the highest levels of exclusive design. It is well suited for a range of uses but targeted towards upholstery and cushions in either domestic or contract installations.

KOCAFELATTE
Reference: 02-002-415

Colour Shown: Champagne

Other colourways: 3

Width: 135cm

Repeat: V9 – H9cm

Composition: 100% Viscose

Martindale: 40,000 ‘rubs’

Primary Usage: General upholstery or window treatments, contract & domestic.

Type of fabric: Textured Weave

About KOTHEA.

KOTHEA are a top-market fabric house based in London serving customers throughout all of Europe and The Middle East. Founded in 1999 they have since continued to develop and sell an extensive range of timeless fabrics to the top architects, interior- and yacht-designers for projects ranging from mega-yachts to boutique hotels and from luxury spas to penthouses.

KOTHEA operate on a trade-only basis and their fabrics are available to the public through interior designers and specialist interior design shops such as Gotham, Interiors Bis and Fiona Campbell. KOTHEA also supply beautiful hand-woven linen fabrics and finished goods – throws and table linen.

KOTHEA’s trade customers would perceive their signature fabrics to include several ranges of velvet including the exclusive ‘cashmere silk velvet’, silks, linens, double-width sheers, faux leather and interesting weaves for upholstery often with high Martindale ‘rub tests’ making them highly suited to both contract and residential projects.

Founder and Executive Director, Lisa Parsons started KOTHEA more than 10 years ago after 11 highly successful years with Nobilis Fontan in Chelsea and Donghia in Chelsea Harbour. She says, “At KOTHEA we like to think we bring something a little different to the market. Our difference will be reflected in our customers’ eyes by unusual fabrics that complement our core fabric ranges; all augmented by our excellent levels of customers service, market knowledge and attention to detail.”

# # #

For Further Information

Please visit the company web site at https://www.kothea.com

Trademarks

KOTHEA is a registered trade mark of KOTHEA Limited. Other names may be trademarks of their respective owners.

Colourfastness – Testing to US standards

Colorfastness to Light

A material’s degree of resistance to the fading effect of light.

ACT GUIDELINES (USA :: Association for Contract Textiles)

Upholstery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Direct Glue Wallcoverings
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Wrapped Panels and Upholstered Walls
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 40 hours

Drapery
AATCC 16 Option 1 or 3-2003 Grade 4 minimum
at 60 hours

QuickTime Movies (click link to play)
Colorfastness to light

TEST METHOD
AATCC 16 Option 1 or 3 – 2003*
The AATCC 16 Option 1 and 3 are test methods of the American Association of Textile Chemists and Colorists (AATCC). ACT recognizes both methods where the only difference is the light source being used. In AATCC 16 Option 1 a Carbon-Arc lamp is used as the light source and in AATCC 16 Option 3 a Xenon-Arc lamp is used. Under both methods a strip of fabric (part of which is protected by a special paper card) is placed in a fadometer and exposed to 40 hours of accelerated fading units (AFU). After the exposure the difference in color between the exposed and protected parts of the fabric are compared to the AATCC gray scale and the degree of fading is rated.

Grade 5 = no fading
Grade 4 = slight fading
Grade 1 = high degree of fading

* For complete technical details about AATCC 16 Option 1 or 3 – 2003: https://www.aatcc.org

Source: Association for contract textiles (USA)

What is wet (or dry) crocking in relation to fabric?

What Is Crocking? Wet and Dry Crocking on Fabrics Explained

Crocking is the transfer of dye from the surface of a dyed or printed fabric onto another surface by rubbing. Wet crocking occurs when the fabric is damp or wet; dry crocking occurs when the fabric is dry. Wet crocking is almost always more severe than dry crocking because moisture mobilises dye molecules that would otherwise remain fixed.

Crocking is tested to ISO 105-X12 using a standard rubbing cloth that is pressed against the fabric sample and rubbed a defined number of times under controlled pressure. The degree of colour transferred to the rubbing cloth is assessed against the Grey Scale, with 5 indicating no transfer and 1 indicating severe transfer. Contract upholstery fabrics should achieve a minimum of grade 4 dry and grade 3 wet to be acceptable for general use.

For a complete guide to crocking, colour fastness testing, and what the grades mean for specification, see our colour fastness and crocking guide. For dye types and how they affect crocking risk, see our dye types guide.

Request Samples

Order cutting samples of any fabric from our current collections. Trade accounts only.

Order Cuttings

Match & Cigarette Tests :: Equivalents in USA

Flammability


The measurement of a fabric’s performance when it is exposed to specific sources of ignition.

Note: Association of Contract Textiles (ACT) guidelines specify different flammability tests dictated by the intended end use for the fabric.

Association of Contract Textiles
Guidelines

Upholstery
California Technical Bulletin #117 Section E –
Class 1 (Pass)

Direct Glue Wallcoverings
ASTM E 84-03 (Adhered Mounting Method) –
Class A or Class 1

Wrapped Panels and Upholstered Walls
ASTM E 84-03 (Unadhered Mounting Method) –
Class A or Class 1

Drapery
NFPA 701-89 (Small Scale)* – Pass*NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

QuickTime Movies (click links to play)NFPA 701-99 (Small Scale) California TB #117 Section E

TEST METHODS
California Technical Bulletin #117
Section E* – Class 1 (Pass)
The California TB #117 Section E is a test method of the California Bureau of Home Furnishings and Thermal Insulation. It is a vertical flame test measuring the ease of ignition and the burning rate when a small open flame hits the surface of the test fabric for 1 second. A Class 1 (Pass) rating is assigned if:

1. A 5.0″ section of the fabric is consumed in 3.5 or more seconds (less than 3.5 seconds is a failure). For raised surface fabric, the minimum burn time is increased to 4.0 seconds.

2. The fabric does not ignite.

* For complete technical details about California Bulletin #117 Section E: https://www.bhfti.ca.gov/techbulletin/117.pdf

ASTM E 84-03* Tunnel Test
The ASTM E-84 test is a test method of the American Society for Testing and Materials (ASTM). Commonly called the Tunnel Test, this test can be performed under two different methods adhered or non adhered where the only difference is in specimen preparation:

Adhered: The fabric is bonded to either a CA board substitute or gypsum board. This is the prescribed method for wall coverings whose actual use will be adhered .

Non adhered: If the fabric is a panel fabric or upholstered walls, it is tested in a frame without being bonded to any other material.

In each instance (adhered and non adhered), the fabric is placed in the ceiling of the test tunnel and subjected at one end to a high intensity flame which spreads over the first 4.5 feet of the 24 foot test specimen.

The distance of flame front progression and total burning time are used to calculate a flame spread index . Smoke monitors are used to calculate a smoke developed value. The flame spread index and smoke developed value are calculated from the results of the test fabric compared to the characteristics of cement board and red oak materials resulting in the indexes.

Typically, the code classes are as follows:

Class A: Flame Spread Index of 25 or less and Smoke Developed value of 450 or less

Class B: Flame Spread Index of 26 to 75 and Smoke Developed value of 450 or less

Class C: Flame Spread Index of 76 to 200 and Smoke Developed value of 450 or less

Caution: The ASTM E 84 test is only valid if the textile or vinyl wall covering is used in a sprinklered occupancy. If not, the Room Corner Test (NFPA 265 for textiles; and NFPA 286 for vinyl) is mandated in many jurisdictions.

* For complete technical details about ASTM E 84-03: https://www.astm.org

NFPA 701-89 (Small Scale)*
The NFPA 701-89 (Small Scale) is a test method of the National Fire Protection Agency. It measures the ignition resistance of a fabric after it is exposed to a flame for 12 seconds. The flame, char length and flaming residue are recorded. The fabric will pass the test if all samples meet the following criteria (if one sample fails the fabric fails):

1) An after flame of less then 2.0 seconds

2) An average char length of less than 6.5″ or an individual specimen of 7.5″.

3) The specimen does not continue to flame after reaching the floor of the test chamber

Note: NFPA 701-99 Test #1 is being phased in at this time, but is not yet cited in all relevant codes. Therefore, the small-scale test remains the ACT standard until further notice.

* For complete technical details about NFPA 701: https://www.nfpa.org

Revised October 2003:

Source: Association For Contract Textiles

Business Tips For Interior Designers

English: Maurizio_Duranti Italiano: Maurizio_Duranti (Photo credit: Wikipedia)

Many interior designers are struggling at the moment in face of the economic onslaught. It is fair to say of course that many are doing fine. This article is aimed at small- to medium-sized interior designers who think they need to spice up their sales and marketing efforts to stay in business.

Firstly creative people often don’t ‘get’ business marketing. It IS a pseudo-science but not rocket science. To cut a two-year MBA short, you essentially have to: understand the needs of your target market; and sell and market appropriate products and services, with the correct price/quality/service offering, to that market. And you have to be passionate about it.

Some practical suggestions?

1. Cross Sell

You have just finished a job. Fantastic, well done! Move on to look for the next one? Well, right and wrong. The next job may well be closer than you think. It may be as close as one of the friends of the person whose job you have just finished.

Click To Read More Interior Design Articles
Click To Read More Interior Design Articles

Host a thank you party at the client’s house. Tea-party, ‘cheese & wine’ party it doesn’t matter that much and it doesn’t have to be expensive. You will use the job as a showcase for your work. As your client is agreeing to host the party he/she is implicitly recommending your work and hopefully what you have done visually recommends itself anyway.  At the party DO NOT put business cards on a table and spend the whole time socialising with your client or the best looking/most funny person there. You are a professional, act that way or go the way of the dodo. Network. Speak to EVERYONE, briefly. Exchange business cards or email addresses or get any method of future contact. Work out what you will say in the brief exchange beforehand, work out a few variants of what you will say.

2. Go Fishing

Use your design library as a design consultancy. Offer an hourly service to prospective customers where you will help them design their dream home. This must be a charged-for service. If your clients pays nothing they place little or no value in what they have received (please remember that for all your dealings, very rarely offer freebies). For the fee they get a space, access to a computer and to your library and to your expertise. When they realise they are almost there they will realise the magnitude of the project they have to manage and control and that you are better placed to do that. Of course now the initial fee becomes refundable against your project fee. There are many benefits to this approach; your new client feels like they have contributed to the ownership of the project and also your client has paid you to tell you what he/she likes so you have a great starting point for understanding the route of the project.

3. Use the down-time

You’ve got some more time on your hands. Research a related business or geographic area. Look at new technology – would becoming one of the Twittering Wits (Wittering Twits) on Twitter help you get more business (probably not) but technology can help improve or increase your profile or maybe save you costs internally or maybe help you work more efficiently.

4. Auction your services

No of course I didn’t mean ebay, though you could try. Think about your target market, who and where are they? How do you get in front of them? Try putting your services up for auction at the local private school or at a charity auction; that kind of place is where your clients might ‘hang out’. You know your market better than me. If these are not the right places go and find them. You will end up giving some of your services away essentially for a good cause HOWEVER in return you will get wide exposure and as your auctioned service was paid for the winner places a value in it and as your auctioned service was limited in scope the winner will hopefully go on to expand the scope and pay money to you for a bigger project.

5. Run a business

It’s been really easy over the last few years for many people. All that cash rolling around, all those nice things to buy? If you think back then maybe you could have been more discerning? Anyway that’s water under the bridge. Each time you spend money work out how much profit from client time or sold products is required to buy it – you will probably amaze yourself and realise that your existing Blackberry is good enough for the job and that you don’t really need this year’s model that much of the incremental benefits to your business are limited.

Look at your suppliers, if they have a fancy Chelsea Harbour showroom then you are the one paying for it, albeit indirectly. Showrooms are VERY expensive and companies that have very high cost bases like this might be more exposed to the economic vagaries of the market more than others. The high cost bases also make the products more expensive to you – are there same-quality alternatives available more cost-effectively? Only one plug for KOTHEA’s fabrics: “We do not have a Chelsea Harbour Showroom.”

6. Plan for the future

Many companies are desperately trying to hold onto key staff so that they will be well placed for the recovery if, and when, it comes.

Take a view on when you think things will turn round and plan accordingly.

A summary of my view is that the UK economy has, in the last few decades, been driven by The City of London and Housing and Cheap Finance – they are related to a degree. Many City firms have already started paying good bonusses again. This filters through the London/SE House prices and then that has a knock on effect in other regions and in supporting industries…like yours. Green shoots may well be there.

7. New markets

Think beyond your historical clients and look at economic and demographic trends. The population is ageing, does that present any opportunities for example?

8. Networking…again

This time with complimentary suppliers. Perhaps you could periodically meet up with sales reps from companies you work with to exchange ideas and leads?

9. Gifting

A simple thank you gift to a client can create enormous good will. Ask for a referral in exchange or schedule a 3 months meeting after you have handed over your project to the client. Ostensibly to check they are happy but another chance to ask them for leads.

10. Trend Presentations & Inside Track meetings

If you have a group of prospect clients or some wavering on making a decision. Organise and host a ‘trends evening’ several of your suppliers will presents trends in differing product areas to you and your clients. Whilst you might learn something new yourself you will find that as all the parties interact the big gainers will be your potential clients, who will hopefully become re-enthused about continuing their project and continuing it with you as the lead.

11. The client within

One of your biggest competitors will be the client themselves. Many more people are opting to do the project or part of it themselves. This will always be an issue but more so now than ever before. Work out how you will cope with that. You might want to choose suppliers like KOTHEA who will never deal with the general public only with the trade. This protects your business. You need to have a strategy on  how you want to do this or you will unnecessarily lose business.

12. The competitor

You could partner with ‘trusted’ competitors to manage costs and work together on projects in the short term. Risky, but worth considering as work could be given back to you in your quieter periods.

13. Your products & services

Just read only then next sentence and then do what it asks you to before proceeding. “Write me an email telling me what your business does”.

You cheated! You read on. Anyway I would imagine that your email would have been paragraphs long. You are lucky that you are not accountants as, at a party, you have something that is perceived to be interesting to talk about. But some designers have been known to focus too introspectively at times.

However we are in a time of mass communications and limited attention spans – thank you SMS and Twitter and Facebook. Make sure you can be succint with your prospective clients when the need arises. Don’t confuse passion with effusive verbal dexterity.

14. Bit by bit

Think about selling one single million pound project. Then think about selling twenty 50,000 pound projects.

One approach to client penetration is to just focus first on getting in there and signing any deal. Do that tightly scoped piece of work well and then move on from there. eg just charge for the first phase of the design with the deliverbale being detailed plans for the client or just choose to work room-by-room. Or you could time-box developments for a trusting client who might want to trust you with GBP20,000 to do what you can within a month.

Different approaches with obvious individual drawbacks. Sometimes you may be required to think out-of-the-box. When you are required to so do it would be nice to have already given it some thought.

15. Makeovers

For a client’s forced house sale or for a sale that is tricky because of low levels of activity the appearance of the house is always key. Historically this area has made a difference in terms of the eventual sale price achieved nowadays it might make the difference between a sale or no sale. You could market a range of services here including renting items from your displays for a house open day. You also have the advantage that the seller is probably also soon going to be a buyer and potentially in need of your services for the new house.

If you found this useful there is more information <here> for those of you new to the industry.

Copyright KOTHEA Limited. This is a reworked article based on one produced in September 2007.