A large square in a woven teal and charcoal, piped and backed in the same fabric. There is no print here, just colour and weave, which is exactly what a group of patterned cushions needs beside it.

55 x 55cm, handmade in my Devon workroom with tapered corners, overlocked edges and an invisible zip along the bottom edge.

Cut from a limited length of fabric, so very few are made.

This was made to go with the hand printed Florence Broadhurst cushions in the same collection and it does that job well. It also stands on its own as the big square at the back of a sofa, where a pattern would be wasted anyway.

Care: dry clean recommended. Due to the handcrafted nature of the fabric, slight irregularities and shade variations are characteristic and not considered faults. Exact colour matching to previous orders cannot be guaranteed.

The Cranes comes from the Florence Broadhurst archive, hand printed in Australia by Signature Prints using her original screens. This is the teal colourway on a biscuit hopsack, a coarser and more textured ground than her prints usually sit on, which suits the drawn line of the birds. Backed in plain teal chenille, with no piping.

40 x 40cm, handmade in my Devon workroom with tapered corners, overlocked edges and an invisible zip along the bottom edge.

Hand printed fabric comes in short lengths, so this is a small run. There are other sizes and designs in the collection that mix and match with it.

A square this size sits well at the back of a sofa with a smaller rectangle in front of it. Keep the rectangle plain and let the birds carry the pattern.

Use a feather insert two inches larger than the cover for a full fit. Cushion pad: 100% duck feather.

Care: dry clean recommended. Due to the handcrafted nature of the fabric, slight irregularities and shade variations are characteristic and not considered faults. Exact colour matching to previous orders cannot be guaranteed.

The Cranes comes from the Florence Broadhurst archive, hand printed in Australia by Signature Prints using her original screens. This is the teal colourway on a biscuit hopsack, a coarser and more textured ground than her prints usually sit on, which suits the drawn line of the birds. Backed in plain teal velvet and piped in plain.

40 x 50cm, handmade in my Devon workroom with tapered corners, overlocked edges and an invisible zip along the bottom edge.

Hand printed fabric comes in short lengths, so this is a small run. There are other sizes and designs in the collection that mix and match with it.

A print this large works best given room to itself. Put it against plain linen or velvet and let the birds be the only thing happening.

Use a feather insert two inches larger than the cover for a full fit. Cushion pad: 100% duck feather.

Care: dry clean recommended. Due to the handcrafted nature of the fabric, slight irregularities and shade variations are characteristic and not considered faults. Exact colour matching to previous orders cannot be guaranteed.

Nora in vintage. A velvet with a deliberately worn surface: the pile is short and slubby rather than smooth, so the rust catches the light unevenly and the cushion looks as though it has already lived somewhere. Deep terracotta from one angle, warmer and almost copper from another.

Self piped in the same velvet, which gives a clean edge and lets the colour do everything.

40 x 50cm rectangle. Corners are tapered, fabric edges are overlocked and there is an invisible zip along the bottom edge. Handmade in my Devon workroom, available with or without a feather pad.

There is one cover only in this size, so once it has gone it will not be repeated. The same velvet is also made up as a 50 x 50cm square, and the two sit well together.

A rectangle is the more useful of the two shapes if you sit on the sofa rather than just look at it, because it lands in the small of your back. Rust works against cream, oatmeal, olive and navy.

Care Instructions

Exact colour matching to previous orders cannot be guaranteed. Dry cleaning recommended.

A chunky woven chenille in burgundy, ribbed horizontally, with finer threads of rose, plum and cream running through the weave so the colour is broken rather than solid. It has real weight in the hand and the ribs catch the light the way corduroy does.

Self piped in the same fabric.

45 x 45cm square. Corners are tapered, fabric edges are overlocked and there is an invisible zip along the bottom edge. Handmade in my Devon workroom, available with or without a feather pad.

There is one cover only, so once it has gone it will not be repeated.

Burgundy is easier to use than people expect. It sits well with cream, camel and olive, and on a dark sofa it is a warmer choice than navy.

Care Instructions

The irregularities and shade variations are characteristic of the fabric. Exact colour matching to previous orders cannot be guaranteed. Dry cleaning recommended.

Nora in vintage. A velvet with a deliberately worn surface: the pile is short and slubby rather than smooth, so the rust catches the light unevenly and the cushion looks as though it has already lived somewhere. Deep terracotta from one angle, warmer and almost copper from another.

Self piped in the same velvet, which gives a clean edge and lets the colour do everything.

50 x 50cm square. Corners are tapered, fabric edges are overlocked and there is an invisible zip along the bottom edge. Handmade in my Devon workroom, available with or without a feather pad.

There is one cover only in this size, so once it has gone it will not be repeated. The same velvet is also made up as a 40 x 50cm rectangle, and the two sit well together.

Rust is the easiest of the warm colours to live with. It works against cream, oatmeal, olive and navy, and it does more for a grey sofa than almost anything else I could put on one.

Care Instructions

Exact colour matching to previous orders cannot be guaranteed. Dry cleaning recommended.

Nemesia in burgundy by Casamance. Close up this is not a plain at all. It is a dense basket weave flecked with tan, gold, cream and black, with the odd spark of magenta and olive, and only from across a room does it settle down into a deep burgundy. It is the sort of fabric that looks different every time you properly look at it.

Backed in Nora vintage, the rust velvet, and left unpiped, so the two textures meet edge to edge and the corners stay soft.

40 x 50cm rectangle. Corners are tapered, fabric edges are overlocked and there is an invisible zip along the bottom edge. Handmade in my Devon workroom, available with or without a feather pad.

Only a small number of covers were cut from this length of fabric, so once they have gone they will not be repeated. The same Nemesia is also made up as a drum floor cushion in the collection.

A flecked weave is more forgiving than a flat colour, both in wear and in the eye. This one sits happily with cream, camel, olive and the rust velvet on its own back.

Care: dry clean recommended. Due to the handcrafted nature of the fabric, slight irregularities and shade variations are characteristic and not considered faults. Exact colour matching to previous orders cannot be guaranteed.