When considering sheers for window treatments it is often worth bearing in mind that there are many double-wdth sheers available from many suppliers including, of course, ourselves. Double width sheers are worth special consideration as they offer:
1. Cheaper make up costs as there can be less work involved in using a wider fabric;
2. The ability to improve the overall aesthetic look – as there are fewer seams; and
3. The ability to be railroaded (ie made up with the pattern going the ‘other’ or the ‘wrong’ way. A width of 300cm or thereabouts is often sufficient for many drops (lengths) and this can eliminate the need for any seams.
If you are unfortunate enough to have created beautiful curtains that are plagued by static problems then please read on.
Fortunately static is rarely noticed when curtains are hung, this is partly because of the chosen combination of materials and partly also because the weight of the material overcomes the weak power of static electricity. However if you do have this rare problem then you have already invested a lot of time, effort and money into buying curtain material and having them made up and hung. Do you have to start again?
Before answering that dreaded question it is important to understand what causes the problem in the first place. There is little point in re-making the curtains if the same problem is going to happen again.
Static is a natural phenomena. The main way in which static is created is when two materials are rubbed together causing an excess electrical charge on their surfaces. It is not, however, caused by the friction itself and it is not caused because a material is synthetic/man-made.
All materials differ in their propensity to cause static. It takes the properties of TWO materials to cause static; one must be good at giving up ‘electrons’ and the other good at receiving ‘electrons’. The better that each of the materials are at giving/receiving ‘electrons’ then the more static there will be. For any scientists reading, you might remember that this is measured by The Triboelectric Series.
On the Triboelectric Series; hair, wool, glass, nylon and fur are good at giving up electrons. Whereas silk, paper and cotton are at the other end of the scale and are bad at giving up electrons. Conversely; wood, metals, polyester and styrene are bad at attracting electrons whereas at the other end of this side of the scale polyurethane, polyethylene, vinyl/PVC are good at attracting electrons.
Thus a combination of PVC and hair would produce the most static whereas cotton and wood would produce the least. If you think about combing your hair then this should ring true.
Polyester is very similar to gold, platinum, brass, silver, nickel and copper in its static generating properties. Whereas, cotton is one of the lowest materials on the scale.
So the first lesson, bearing in mind the above, is that the choice of materials ie the curtain and the lining are critical. Also any surface that the curtain comes into contact with is important. So the second lesson is to consider the location.
Let’s turn now to how the curtain is made up. An experienced, professional curtain maker should know how to avoid the static problem.
Taking an example of a mixed composition fabric. Let’s say 40% cotton, 40% viscose and 20% polyester. And let’s also say that the material is loosely woven and has movement. Looking at such a fabric an experienced curtain maker would say that the fabric ‘needed taming’ and that a light cotton inter liner should be used. In addition to that the following details should be followed:
• The interlining should be locked in with 3 inch stitches. This should not be knotted;
• At the leading edge the interlining should be serged and locked in;
• The hem should be herring bone stitched. The stitches should not be too large and should not catch the face fabric; and
• Because of the nature of the fabric, the hem should slightly break on the floor.
These are not generic solutions to all curtain static problem. But they should be considered by the curtain maker.
So we have seen that: the choice of material; how the design works when hung; and how the curtain is made up, all have impacts on the creation or dissipation of static.
Some farbics beautifully arranged from our Spring 2015 Collection. A vey nice (we think) staged image in a set full of light diffused from some white souble-wodth sheers. 3 differing and contrasting cushions arranged off-centre on white contempoary seating
Here are some additional pointers to consider when you are making a curtain using a velvet. Remember that a velvet is just a type of fabric and the fibre(s) that the velvet is made from is important.
So for example, we would always recommend that you line a curtain. This gives a superior appearance but also reduced the amount of light going through the fabric hence limiting as much as possible the effect of any fading.
If the velvet has a pile that can be flattened in one direction then we would recommend that you have the pile going downwards for SHINY velvet fabrics and PATTERNED VELVETS.
If however you make up the curtain with the pile upwards then this will deepen the colour so you could make the curtains this way for cotton velvets and Trevira Velvet and Mohair velvets.
These are general guidelines and it is not necessarily wrong if you make up the curtain ‘the other way’ just so long as you understand the implications to the finished look and performance of the material.
You’ve just ordered a new velvet and unrolled it to admire your purchase. But how do you re-roll it?
When you roll almost any fabric you should have the face on the inside. With a velvet this is the pile so you have the pile on the inside.
Some, but not all, velvet piles stand straight up others will ‘lay down’. for the former it does not matter which way you then roll the fabric (provided the pile is on the inside). However for typically longer pile which lays down (ie you can brush it flat with your hand in one direction only) then you should roll the fabric down the pile as you return it to its roll.
What Is Sanforisation? Sanforised and Sanforising Explained for Interior Designers
What it is: A mechanical pre-shrinking finishing process applied to woven fabric before it leaves the mill. Named after Sanford Lockwood Cluett, who patented the process in 1930. Which fabrics: Most commonly applied to cotton and linen. Also used on some cotton-blend upholstery and shirting fabrics. Why it matters: Fabric that has not been sanforised may shrink when used in curtains or upholstery that are subsequently washed or exposed to moisture. Sanforised fabric has been pre-shrunk to defined limits at the mill, reducing but not eliminating subsequent shrinkage. On the label: Sanforised is a registered trademark. Fabric labelled Sanforised has been tested and certified to shrink no more than 1% in either direction. Sanforised-Plus is the rating for fabrics with even greater dimensional stability.
Sanforising is a mechanical finishing process applied to woven fabric to reduce the shrinkage that would otherwise occur when the fabric is exposed to moisture or heat after making up. Interior designers encounter the term on fabric data sheets and labels, most commonly on cotton and linen upholstery and curtain fabrics. Understanding what it means and what it does not guarantee is a practical specification consideration.
How the Process Works
Sanforising passes the woven fabric through a machine that compresses it mechanically in the warp direction — along the length of the fabric. A rubber blanket is stretched and then released, and the fabric is carried through this process so that the yarns are forced into a more compact arrangement in the warp direction before they are set by steam. The result is a fabric whose yarns have already been displaced into the position they would naturally move to if the fabric were washed. When the finished curtain or upholstered piece is subsequently washed or exposed to moisture, the fabric has less remaining tendency to shrink because the displacement has already occurred.
The process addresses warp shrinkage — shrinkage along the length of the fabric. Weft shrinkage — shrinkage across the width — is controlled by a separate process called tentering, in which the fabric is held to a defined width during drying and heat setting. Sanforised fabric has typically been through both processes.
What Sanforised Means on a Label
Sanforised is a registered trademark owned by Cluett, Peabody and Co. Fabric carrying the Sanforised mark has been independently tested and certified to shrink no more than 1% in either the warp or weft direction when washed. This is the residual shrinkage after the sanforising process — fabric may still shrink by up to 1% in each direction, but no more.
Sanforised-Plus is a higher standard, certifying residual shrinkage of no more than 0.5% in either direction. It appears on some high-quality cotton fabrics and performance linens.
Fabric described as pre-shrunk rather than Sanforised may have been through a similar mechanical process but without independent certification to the same standard. The level of residual shrinkage permitted under a pre-shrunk claim is not standardised.
What It Does Not Guarantee
Sanforised certification applies to shrinkage caused by washing. It does not address all the dimensional changes that fabric may undergo in use. Natural fibre fabrics — cotton and linen in particular — absorb and release atmospheric moisture as humidity changes. This hygroscopic behaviour causes minor dimensional changes that are distinct from washing shrinkage and are not addressed by sanforising. In environments with significant humidity variation — a room that alternates between very dry and very damp conditions — even sanforised linen or cotton may show minor dimensional change over time.
Sanforised certification also does not address the relaxation shrinkage that may occur in curtains hung under their own weight over time, particularly in heavy cotton or linen fabrics. This is a tension-release effect rather than a moisture-induced shrinkage and is unrelated to the sanforising process.
Relevance for Upholstery Specification
For upholstery fabrics that will not be washed — most contract upholstery is dry-clean or spot-clean only — sanforised certification has limited direct relevance to the face fabric performance. Where it matters most is in curtain fabrics that will be laundered, and in loose covers and cushion covers in domestic settings where machine washing is planned.
For linen upholstery fabrics, the dimensional stability of the fabric during making-up is more practically significant than its washing shrinkage. A fabric that relaxes or distorts during the tension applied in upholstery construction will affect the alignment of the finished piece regardless of its sanforised status. Confirm dimensional stability under tension with the supplier for any linen or cotton fabric being used in tight upholstery applications.
BS 5867 Part 2 Type B is the contract fire retardancy standard for curtains.
As an interior designer you do not need to understand the technical details of the test. However you are responsible for the project and must:
Confirm what standard is required for your project.
Specify fabric that meets that standard.
Prove that the fabric installed complies.
Here is what to do:
1. Determine the fire retardancy standard required. This may involve contacting the local fire officer. Confirm what documentation you need to provide.
2. Confirm with your fabric supplier whether the fabric inherently meets the standard or requires treatment.
3. On purchasing the fabric, specify the treatment required. Say to the fabric company: treat this fabric to BS 5867 Part 2 Type B and provide documentation confirming this has been done.
4. A treatment certificate confirms the fabric has been treated to the standard. It does not confirm the fabric has passed the test. For larger projects, arrange for your specific batch of fabric to be independently tested after treatment at a UKAS-accredited testing laboratory (not the treatment house). At the end of that process you will receive documentation confirming the fabric meets the standard.
A sample of the fabric, vertically held, is exposed to a small flame. For Type B (hotels and similar) the ease of ignition is observed. It is noted whether the flame reaches any edge of the specimen and whether any burning pieces fall. For Type C (NHS environments) the fabric is further assessed for behaviour once the flame is removed but when the fabric may still be smouldering. The fabric is tested before and after laundering: Type B requires 12 wash cycles at 40 degrees; Type C requires 50 wash cycles at 40 degrees.
Type B performance criteria: The edges must remain completely intact and no burning debris should fall.
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Order cutting samples of any fabric from our current collections. Trade accounts only.
Finally! Our summer collections have been decided and we will begin to introduce the new designs and colourways throughout the remainder of this year. We have been inundated with new work in the first part of this year causing our blog posts to be curtailed and our ‘spring’ collection to nearly be an autumn/fall collection. Not that we really do seasonal collections in any case.
I will return later in another post to KOTHEA’s awesome sales figures for the financial year just finished. Most surprising, especially considering we are in the midst of a recession. We had our best ever year and by quite a large margin.
We expect some coverage of the new collections in World of Interiors and Elle decoration but, again, more on that at another time.
Where can you see our collections? Well, we are as elusive as ever but we are starting to digitize some images to our flickr feed (click the images on the right or here). The flickr update is ongoing, there is information on flickr now but some of the images are not final and some images do not have full associated descriptions / product details but we are woking on that this week. Our usual clients will receive the new collections in due course starting in late summer; if you need them more urgently for pressing projects of course we will be happy to oblige. Please get in contact in the usual way.
Curtain fabric from KOTHEA provides the most beautiful and opulent textures and colours combined with technical characteristic making the fabric directly suitable for curtains because of its light fastness or suitable when interlined. KOTHEA never compromise on elegance in design throughout their extensive range of collections that encompass many silks and sheers and other beautifully coloured fabrics. Much more information can be found about our products and company elsewhere here in The Fabric Blog.
Try searching for particular technical characteristics like ‘light fastness’ or ‘ the specific type of product like ‘silk’ or ‘curtain fabric’ or ‘double width sheers’.
Alternatively ask a question by commenting on this page and it will be answered.
Finally! Our summer collections have been decided and we will begin to introduce the new designs and colourways throughout the remainder of this year. We have been inundated with new work in the first part of this year causing our blog posts to be curtailed and our ‘spring’ collection to nearly be an autumn/fall collection. Not that we really do seasonal collections in any case.
