Curtains For Arched WindowsArched Window CoveringsLarge Window TreatmentsWindows CurtainArch WindowsLarge WindowsLarge ArchedCurve WindowsArch CoveringsForwardPictures of Arched Window Coverings - Browse Window Blinds Project. Need for bathroom so I can see to get ready n morning curve windows are hard to coverGo to Support Center How can we help you today?I’m redecorating in the studio above our garage so I went in search of new window panels – 8 in total – 4 to frame the 72” window, a set for the French doors, and 2 for the smaller windows beside the bed. I wanted panels all in the same fabric for a cohesive feel since the living and sleeping spaces in this studio are open to each other. My approach to dressing windows varies, the first thing that grabs me has to be the fabric, sometimes I’ll design it myself but often it’s a pattern I spy in a fabric store or retail store that I just love at first sight. Over the years, I’ve had curtains , I’ve sewn my own with , but I’ve used simple store bought curtains if the size and price is right and the fabric is good quality.

If unlined, I’ll add $4/yard liner if the window can be seen from the outside. The sale price for caught my eye and to design and print a similar pattern would have cost more than twice as much so instead I ordered 8 of them. I’ll hem them to the proper length and then add rings on top. Funny, the green versions hang and now I have the navy versions too, I just love this curvy brushstroke print! I’ll share the redecorated studio space in the upcoming weeks… I’m drawn to single color or tone on tone patterned curtains which repeat one of the colors in the space, be it a neutral or a colorful hue, it’s one of the simplest way to make a room feel layered and interesting. I rounded up a dozen favorites I spied online, all of them under $50. A word on hanging curtains at the proper length, typically retailers will photograph curtains hung on a rod placed just above the window frame like in all the examples above, but this is a practice I don’t follow. While the patterns are pretty, the panels should be hung at a minimum halfway between window and ceiling.

Any designer will tell you, the closer to the ceiling the better for a more elegant look and to make the space feel taller. elanbach curtainsI hang my curtain rods just a few inches below the ceiling. maybach curtains piano tutorialIn my home where the ceilings are 9 feet I’ll always buy a 108” curtain and hem it to a length between 102 and 104”.waters and noble blackout curtains Finally the issue of fullness, most store bought curtains are not wider than 48 – 50” so on a window wider than 5 feet, I’ll double up the panels for adequate fullness.red eyelet curtains 46x72

What luck have you had decorating with store bought curtains?atlas azure curtainsIn her redefinition of curtain making, Ms. Bright is now nearly a one-woman profession. curtains deptford high street''Is there a school for aerodynamic curtains?'' she said, a statement like others that strengthened the impression that she is not only deeply serious about what she does but also a lost member of Monty Python's famous Flying Circus. blackout curtains ikea singapore Next to her, hanging on the door to her office, was a poster with a quotation by Tristan Tzara, the Dadaist poet. ''I have a mad and starry desire to assassinate beauty,'' it read. ''The old kind, of course.'' Also on the door was a postcard of sculpture by Richard Serra and a zipper, sewn into a swatch of fabric, that makes a perfect right angle.

It is difficult to imagine, in speaking to her, that Ms. Bright hasn't made a note to herself, somewhere on a list, to reinvent the wheel.Ms. Bright, whose studio of three, including Mr. Paskin, is working on curtains for New York residences for Christy Turlington, the model, and Janice and Billy Crystal, is not an interior designer, though she understands what gives style and life to a room. And she is not an architect, though she has introduced much of architecture's discipline and invention into her craft.She is, in a weird 19th-century sense that won't go away, simply a curtain maker, here in the 21st century. The studio, with its eight sewing machines, two wall-mounted grommet makers, chart-size samples and 30-foot-long worktable with a battery of yardsticks, looks like a war room where what is being waged is drapes.''She's a curtain maker, O.K.,'' said Terence Riley, chief curator of architecture and design at the Museum of Modern Art, who has worked with Ms. Bright on two projects, including installations for the ''Mies in Berlin'' exhibition last year on Mies van der Rohe.

''But she isn't good at it because she's a good seamstress. It's architectonic -- there's poetry of building. She takes an activity that in any other circle is quite mundane, and makes it an art form.''Mr. Riley compared Ms. Bright to Lilly Reich, who ran the interior design workshop at the Bauhaus in Berlin in the 1930's and who collaborated often, and often without credit, on furnishing designs with Mies.''You have to have a strange and obsessive love of curtain making that it can be this interesting,'' said Mr. Riley, who mentioned Petra Blaisse, the Dutch designer, as the only other person he could think of who was investigating Ms. Bright's type of fabric constructivism.Ms. Bright, slowed but not humbled by sickness, showed examples of work under way in her studio, as a CD of Abby Lincoln, the jazz singer, smoothed the air like a fabric being softly steamed. There are many things that she doesn't like to talk about, including velvet, her mother, her years as a child at a convent and being the daughter of a doctor with National Health patients, which confounded her ambition early on to be a snob.''

I'm a happy expat; you can put that down,'' Ms. Bright said.Ms. Bright does like to talk about curtains. ''I'm not a boop-te-boop,'' she said, speaking of swags and swoops and other traditional curtain configurations, employing one of several comic faces -- big eyes, mouth pucker -- she calls in like staff when she seeks help making a point.''Fabric has a memory,'' she said. ''Push it into a shape, wet it, let it dry in that shape. See what you've got.''What Ms. Bright can produce ranges from controlled chaos -- a crinkled polyester curtain for a New York apartment that looks alive with the electricity of an approaching storm -- to a flatness as tranquil as a flat sea.For a new house in Colorado, designed in 1999 by ARO, a New York architectural company, Ms. Bright conceived and executed panels of sheer wool for a 35-foot-wide window with a mountain view that look more like a rolling mist than curtains. To further the effect, the curtain track was hidden inside the ceiling. The fabric is suspended on stainless steel rods that reflect like bits of sun in the windows.

The curtains are slit at the bottom like cheongsam or Chinese hostess dresses, letting transom windows at the floor slip a breeze into the room without displacing the curtains.Ms. Bright considers mechanics and hardware a part of the job.''I invent,'' she said. ''The way it's hung, the way it's hooked. I labor over hiding things.''Like an architect's, Ms. Bright's work is also specific to the site.''You would think doing curtains would undermine the view,'' said Stephen Cassell, a partner in ARO. ''But it was Mary who connected the window to the sky, using the small gap at the top of the curtains to let the space flow out of the room, even when the curtains are closed. It's a detail that would have occurred to an architect.''Mr. Cassell acknowledged that Ms. Bright's greater achievement was the unlikely circumstance of a curtain maker getting architects, notoriously self-important by nature, to come to her. ''She designed what I wish I knew how to design, if I had the skill,'' he said.

Ms. Bright has also explored materials as an architect or artist might. She has sewn a curtain from Teflon-coated nylon, a feat that quite possibly makes Ms. Bright unique in any sphere.''I use a lot of synthetics,'' she said. ''Cotton, linen -- you know what's going to happen. You know what it's going to do with an iron. Synthetics -- you can put an iron on it, and it will not be there when you take the iron off.''She also experiments, as a poet would, with language: the techniques of sewing, like making a blind stitch, typically invisible, show up as a detail of a design. Ms. Bright will as quickly seam a fabric horizontally as vertically, or engineer a novel pleat to produce new behavior in a curtain as it hangs, or in a shade as it is raised and lowered. Though she describes what she does as ''couture,'' in its level of attention, she has an aversion to being compared with avant-garde fashion.''I mean, Miyake uses pleats,'' Ms. Bright said, registering with an uncomic face the dark suspicion that she would again be aligned in print with Issey Miyake, the Japanese clothing designer.

I use pleats for different reasons.'' Ms. Bright wore a Miyake dress at her wedding.In 1980, Ms. Bright was a hatmaker living in the East Village. ''I had to start somewhere, so I started with hats,'' she said nonchalantly, as though it were a rabbit she was expecting and not a career. Ms. Bright apprenticed briefly at Lanvin in Paris, learning the exotics of millinery, and at Gélot, where she sewed men's hats.''The man that I worked for liked me a little . . . too . . . much,'' she said ''I think he wanted me to be his, ah, protégée.''Ms. Bright met a lighting designer at a party in Chelsea who was wearing a plastic bow tie. Ms. Bright was wearing a plastic bow tie, too, with matching plastic cheerleader's cowboy boots and a cowboy hat.They bonded -- go figure -- and the lighting designer sent her to Alan Buchsbaum, the architect, who was a colleague. Mr. Buchsbaum hired Ms. Bright to make a 60-foot curtain, to be used as a room divider in a loft, for his client, Ellen Barkin.''

Five hundred and fifty yards,'' Ms. Bright said. ''A dollar a yard. I hemmed it there.''The door opened, she recalled. Ms. Bright was sitting at her sewing machine wearing men's thermal underwear.''It's wonderful!'' a voice shouted. ''It was Bette Midler,'' Ms. Bright said.''Did you sew this all by yourself?'' ''Yes,'' Ms. Bright replied, ''And I designed it.''Ms. Midler, working with Mr. Buchsbaum, later became a client. Ms. Bright never stopped making curtains.''I design curtains, and sort of landed into it, and learned to love it,'' she said. ''I'm doing something that nobody else does, that's for sure, and there's no end to the pursual of it. But I'm very driven. People have no idea -- they think I'm happy as a lark.'' Ms. Bright sucked on a small lollipop, a pain medication.''You know that this whole thing is colored by my health,'' she said. ''I'm in quite a lot of pain.''Sickness has made being an iconoclast harder work, but Ms. Bright has discovered her own methods, as she always has.