How to Make Draperies and Slipcovers - Including Bedspreads, Curtains, Lampshades and Their Use in Home Decoration

MARINSKY

SECTION ONE

SLIPCOVER DESIGNS

SLIPCOVERS have come a long way since the time they were first used. Then they were simply lengths of inexpensive material draped over furniture like shrouds to frighten away both dust and people. They were practical, that was all!

Now practicality really comes second, and decorating glamour, first, because today slipcovers are frequently more attractive and unusual than the upholstery of the furniture.

However, the expert tailoring and intricate trims which have made slipcovers so desirable also have resulted in sewing difficulties. To eliminate these bugaboos, we have created designs which eliminate the fitting and sewing problems yet live up to the demands for attractive tailoring and unusual trimming. We include designs for all types of furniture, suited for use in all of the more popular decorating styles. Some of the designs are made in a more standard or conventional manner, and for them we give a few new shortcuts to cut down the sewing hazards. Others are just hemmed lengths of fabric wrapped around the furniture pieces; they are professional-looking nonetheless.

You will have no problem finding a design to fit both your home and your sewing skill.

CHAPTER 1

ARMLESS CHAIRS

Design Nos. 1-A to 1-D—Four Pinafore Covers for Pull-Up Chairs

How They’re Made: All four styles (1-A, 1-B, 1-C, 1-D) are variations of the same basic method. They range from Style A, which just covers the front of the chair, to Style D which covers the entire chair. No matter which style is selected, the slipcover is made in the same manner: cut lengths of fabric to fit, hem them, and wrap them around. Tuck-ins, hooks, tie-bands are used variously to hold the lengths in place and to minimize sewing. The skirt sections wrap around to hook in the back. The entire cover opens out flat for laundering. For full instructions, see Design Nos. 1-A to 1-D, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. The trimming may be changed to any other shown on last page of Chapter 22.

Design No. 2—Wrap-Around Tailored Slipcover for Lounge Chairs

How It’s Made: Cut and hem lengths of fabric to fit each section, and wrap them around. One piece covers the back, starting at the outside skirt line, runs over the top down to the seat and includes the side panels. The skirt is pleated, sewed to a band and wrapped around the seat to hook to itself in the back. The seat cover tucks into the skirt band. Large center buttons which can be made at home are sewed in. The entire slipcover comes apart to launder in flat sections. For full instructions, see Design No. 2, Chapter 25.

Decorating Hints: This style is suited to any eighteenth century or contemporary room. The simple fabric treatment creates a smart tailored appearance. If additional trim is desired, see the selection on last page of Chapter 22.

Design No. 3—Conventional Slipcover for Lounge Chairs

How It’s Made: This slipcover is cut, fitted and sewed in a conventional manner. Although this type of seat is usually fitted with difficulty, we have developed a simplified method. For full instructions, see Design No. 3, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. The design is purposely simple to emphasize the classic lines of the chair. Additional trim may be selected from those shown on last page of Chapter 22.

Design No. 4—Conventional Slipcover for Channel-Back Chairs

How It’s Made: This slipcover is cut, fitted and sewed in a conventional manner. Although the back of this type of chair is usually difficult to fit, we show you how to do it easily. The back is outlined in ruching trim. For full instructions, see Design No. 4, Chapter 25.

Decorating Hints: This style is suitable for any traditional or Victorian room. A patterned fabric may be used to contrast with plain color, using one on the skirt to match ruching, the other on the upper section.

Design No. 5—Slip-on Slipcover for Boudoir Chairs

How It’s Made: One side of the back cover has a closing which permits the cover to slip on over the back and hug it tightly. The back also has a bustle-flap which stands out saucily over the skirt top. For the skirt, merely gather a length of fabric on tape and wrap it around the chair. The seat pad is separate. The front and seat are padded with pompons made of brush fringe pinned in. Very easy to make and very decorative. For full instructions, see Design No. 5, Chapter 25.

Decorating Hints: This style can be used in any Early American or eighteenth century room.

Design No. 6—Button-On Slipcover for Modern Lounge Chairs

How It’s Made: The cover is cut, fitted and sewed to fit the chair. Do not stitch the back or front corners where the buttons are placed. Regular closings are put in and the finished slipcover is buttoned in place. When laundering time comes, it opens out flat. For full instructions, see Design No. 6, Chapter 25.

Decorating Hints: This style is suited to any contemporary room. The welting on the front edge of the back section may be in a matching or contrasting color.

Design No. 7—Slip-On Cover-All for Barrel Chairs

How It’s Made: The back section is cut, fitted and sewed to slip on snugly, the bottom is left open. The little cover-all seat is simply cut to fit inside the arm posts, hemmed and tied into place. The quilting may be made or it can be bought by the yard. For full instructions, see Design No. 7, Chapter 25.

Decorating Hints: This style can be used in any contemporary room. The brush fringe trim may be changed to any other shown on last page of Chapter 22.

Design No. 8—Suspender Cover for Modern Pull-Up Chairs

How It’s Made: The back section for this cover is cut, fitted and sewed to slip on snugly, hooked-closed underneath. Brush fringe center suspenders are wrapped around to hook to themselves. Outside bands are sewed to the cover at each side. The seat is made in a conventional manner. For full instructions, see Design No. 8, Chapter 25.

Decorating Hints: This style can be used in any contemporary room. It is effective in a simple modern print or plain, textured fabric.

Design No. 9—Laced Pinafore Cover for Modern Webbed or Upholstered Chairs

How It’s Made: One length of fabric actually makes this cover. It is attached with lacing through eyelets along each edge. The eyelets are put in with a few taps of a hammer. For die webbed chair, tacks inside the frame of the chair catch and hold the lacing. For the upholstered chair, large hooks are sewed in underneath in place of the tacks. For full instructions, see Design No. 9, Chapter 25.

Decorating Hints: This style can be used in any contemporary room. To be most effective a plain-colored or textured fabric should be used.

Design Nos. 10-A to 10-E—Five Slipcover Designs for Classic Lounge Chairs

How Style A Is Made: Each section is cut to fit. The seam allowances are turned back and the sections are then whipped together by hand with heavy thread in a contrasting color. It can be made conventionally, too, with the whipping put in after the seams are sewed.

How Styles B, C, D and E Are Made: These covers are all made conventionally, each with its own skirt treatment and trimming. Style B has whipped front edges whipped after seaming. C has a double tier of ruffling and D has the classic welted seams and inverted pleats. Style E is a pinafore style, made with one length of fabric, wrapped around the back and seat and held in place with bands. For full instructions, see Design Nos. 10-A to 10-E, Chapter 25.

Decorating Hints: Each style is appropriate for a certain decorating scheme. Styles A and E may be used in contemporary or informal eighteenth century rooms. Styles B, C, and D are more suited to Early American and eighteenth century rooms.

CHAPTER 2

WING CHAIRS

THE wing chair in all its variations is still one of the most beautiful types of chairs today. It combines graceful lines with great comfort, to make it a very practical and lovely piece of furniture. However, when we try to slipcover it we find that it is a difficult task. In developing designs for wing chairs we faced the problem squarely and eliminated as much of the difficult fitting as possible. We have simplified the instructions for making the conventional type of slipcover, which is sewed to fit, and have also created some which require no fitting.

Design Nos. 11-A to 11-C—Three Slipcover Designs for Classic Wing Chairs

How Style A Is Made: This is a classic cover, cut, fitted and sewed in a conventional manner, with an inverted pleated skirt and welting at all front edges. Although this type of cover is usually fitted with difficulty, we have developed a simplified method described in the instructions.

How Style B Is Made: This style is also a conventional cover but in this case several rows of brush fringe trim the bottom.

How Style C Is Made: This is a cap cover, with a dainty little fitted cap which covers the top of the back section and buttons to the upholstery. An attached inside back panel tucks under the cushion. To make arm cap cover, one narrow length of fabric buttons to the upholstery, runs over the arm and under the seat, finishing over the opposite arm. The seat is made with another narrow length of fabric, hemmed and wrapped around it, which hooks in the back. Gimp braid is sewed to all of the edges. For full instructions, see Design Nos. 11-A to 11-C, Chapter 25.

Decorating Hints: All of these styles can be used in eighteenth century rooms. The trims may be varied, as shown on last page of Chapter 22.

Design No. 12—Conventional Slipcover for Curved Wing Chairs

How It’s Made: This slipcover is cut, fitted and sewed in a conventional manner. Although a curved back is usually difficult to fit, we have developed simple methods, described in the instructions, to make this easier. The shirred band wraps around the chair to hook to itself in the back. The shirring may be made or it may be bought by the yard. For full instructions, see Design No. 12, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. A printed fabric may be used to contrast with the plain in the balance of the cover. A trim other than the brush fringe shown here may be selected from those shown on last page of Chapter 22.

Design No. 13—Cap Slipcover for Maple Wing Chairs

How It’s Made: This is a cap cover for the back section only, since this style of chair usually has its own skirt. The cap is cut, fitted and sewed to slip into the wings like a button-back blouse. Ball fringe is sewed to the bottom edges. For full instructions, see Design No. 13, Chapter 25.

Decorating Hints: This style can be used in any Early American room. A plain or textured fabric may be used to contrast with the upholstery on the chair.

Design Nos. 14-A, 14-B—Two Slipcover Designs for Maple Wing Chairs

How Style A Is Made: The cushions are wrapped with lengths of fabric that have been cut and hemmed. Eyelets are put in (with a few taps of a hammer) and the edges are laced together. Crisp pleated edging is sewed to side edges. The arm covers are little padded cushions which are tied in place.

How Style B Is Made: The cushions for this cover are cut, fitted and sewed in a conventional manner. The gathered skirt is made in two sections; the front section is put on separately, extending from arm post to arm post and snapped directly to the wood with wood-snaps. The back section is snapped around the back from arm post to arm post. For full instructions, see Design Nos. 14-A, 14-B, Chapter 25.

Decorating Hints: These styles can be used in any Early American room. The trim may be varied, as shown on last page of Chapter 22.

Design Nos. 15-A, 15-B—Two Cap Slipcover Designs for Wing Chairs

How They’re Made: The back sections of both designs are made the same way. A tiny cap is fitted to the top of the back section, extending down to the first row of ruching shown in Style A. Bands continue around the back to hold the front in place. The arms have the same little caps; the fabric for the inside section tucks down under the seat cushion. Style A has a short three-inch fringed skirt which wraps around the chair and hooks to itself in the back. Style B has a ruffled skirt which wraps around the chair and hooks in the back. For full instructions, see Design Nos. 15-A, 15-B, Chapter 25.

Decorating Hints: These styles can be used in any eighteenth century room. The skirt may be box pleated or other trimming may be used, as shown on last page of Chapter 22. The little ruching pompons are pinned in and should be made of whatever trim is selected for the balance of the cover.

Design No. 16—Conventional Cover for Lounge Wing Chairs

How It’s Made: This slipcover is cut, fitted and sewed in a conventional manner. Although it is usually difficult to fit around the wings, we have developed a simple method, described in the instructions, to make this process easier. For full instructions, see Design No. 16, Chapter 25.

Decorating Hints: This style can be used in any Early American or eighteenth century room. Because the chair is so heavily overstuffed, it is wise to select the type of pattern which runs up and down, to create the illusion of a longer line.

Design No. 17—Conventional Slipcover for Host Wing Chairs

How It’s Made: The slipcover is cut, fitted and sewed in a conventional manner. Although it is usually difficult to fit around the wing and arm sections, we have developed a simple method, described in the instructions, to make this easier. The skirt is gathered on a draw string, wraps around the chair and hooks to itself in the back. For full instructions, see Design No. 17, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. The welting on the front of the arms may match or contrast with the colors in the balance of the slipcover. The skirt may be made in a printed fabric, if preferred.

CHAPTER 3

LOUNGE CHAIRS

THE lounge chair is second only to the sofa as the most important piece of furniture in the living room. It is important both from a decorating standpoint and from a useful standpoint. For this reason its slipcover must fit into the decorating scheme yet must be able to take steady wear and tear.

We have created slipcover designs to fit all of the more common chair styles and wear problems. Although many look as though they are made in the usual manner, we have developed new ways of sewing them together so as to eliminate complicated fitting, and in some styles we’ve almost eliminated sewing entirely! Because lounge chairs usually are so large and laundering their bulky slipcovers is difficult, we have worked out a number of designs in come-apart sections to allow the covers to open out flat for laundering.

Design No. 18—Button-On Slipcover for Lounge Chairs and Ottomans

How It’s Made: The front of the back and the tops of the seat cushion and ottoman are separate pieces of fabric which button to the balance of the slipcover. The front piece tucks in under the seat. The other sections are cut, fitted and sewed in a conventional manner. For full instructions, see Design No. 18, Chapter 25.

Decorating Hints: This style can be used in any Early American or eighteenth century room. To be most effective a plain-colored or textured fabric should be used.

Design No. 19—Pinafore Cover for Platform Rockers

How It’s Made: A minimum of sewing is involved in making this slipcover. Cut lengths of fabric to fit the back and the cushion, hem them and wrap them around. The front piece tucks under the seat. Tie-bands hold all lengths in place. The arms have tiny panels encircling them to snap together at the outside edge. Gimp braid is sewed to all edges. For full instructions, see Design No. 19, Chapter 25.

Decorating Hints: This style is appropriate for any early American room.

Design Nos. 20-A, 20-B—Two Pinafore Covers for Club Lounge Chairs

How Style A Is Made: Each section of the chair is wrapped with a length of fabric cut to fit and hemmed. Eyelets are put in on all edges with a few taps of a hammer. The slipcover is laced into position with cable cord lacing running through the eyelets. The box-pleated skirt is sewed to a band and wrapped around the chair. How Style B Is Made: This cover is made the same way as Style A, except that the back is laced down to the bottom. The seat cushion has two panels of fabric cut to fit and hemmed, then laced into position. Pompons are made from brush fringe and pinned into place. For full instructions, see Design Nos. 20-A, 20-B, Chapter 25.

Decorating Hints: These styles are appropriate for any contemporary room. Any plain-colored or textured fabric is effective with the lacing in a contrasting color.

Design No. 21—Pinafore Cover for Queen Anne Lounge Chairs

How It’s Made: This is a partial slipcover made in separate sections. The back is a panel cut to fit and hemmed, tucked into the seat and held in place with tie-bands. Little caps cover the tops of the arms, and a band wraps around the base of the chair to make a finishing trim. Tassel fringe is sewed to all edges, as shown. For full instructions, see Design No. 21, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. The trim may be varied, as shown on last page of Chapter 22. Any dignified floral print or plain-colored fabric which harmonizes with the tipholstery of the chair will be effective.

Design Nos. 22-A, 22-B—Two Conventional Slipcover Designs for Lawson Lounge Chairs

How Styles A and B Are Made: Style A differs from Style B in the skirt treatment only. Style A has an inverted pleated skirt, Style B has a deep skirt with a scalloped trim which begins directly below the seat cushion. Both styles are cut, fitted and sewed in the conventional manner. Although fitting around this type of arm is usually difficult we have developed a simple method, described in the instructions, which make this easier. For full instructions, see Design Nos. 22-A, 22-B, Chapter 25.

Decorating Hints: These styles are appropriate for any eighteenth century or Early American room. The fabric selected decides the decorating style. For an Early American room, select a provincial print rather than the large floral shown in Style A. Welting should match the background of any printed fabric used.

Design No. 23—Conventional Slipcover for Club Lounge Chairs

How It’s Made: This cover is cut, fitted and sewed in a conventional manner. The slipcover extends to the floor without a separate skirt being sewed in. The classic band is wrapped around the chair over the finished slipcover, to hook to itself in the back. Welting is attached to the front edges to outline the design of the chair. For full instructions, see Design No. 23, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. It has a classic look which makes it more effective in a subtle pattern or plain-textured fabric.

Design No. 24—Conventional Slipcover for Club Lounge Chairs

How It’s Made: This cover is cut, fitted and sewed in a conventional manner. To give the unusual-looking skirt effect, the main section of the slipcover is extended below the skirt line. Rows of stitching with a heavy thread in a color to contrast with the fabric are put in as shown, after the corners have been cut out and hemmed. For full instructions, see Design No. 24, Chapter 25.

Decorating Hints: This style can be used in any eighteenth century room. A floral print can be used in place of the striped under skirt.

Design No. 25—Tie-On Slipcover for Lounge Chairs

How It’s Made: The back is made up of two separate panels, one cut to fit the inside, the other the outside. They are tied together with tie-bands hidden under the shirred edging. The lower part of the back section is tied to the arm panel with two bows, as shown. Each arm panel is one length of fabric cut to fit and tied in place under the front shirring.