Large Woven Wall Hanging, 100 x 90 cm Sphere Grid in Cream

Thick cream yarn wound over ball forms, joined by narrow black yarn bindings. They are wound, not knotted and not moulded.

No depth figure is published, but the spheres are clearly three dimensional in every photograph and this is the point of the piece. It stands proud of the wall and casts its own shadows as the light moves.

No. Cream with black bindings is the only colorway and there is one size, so there is no variant decision to make on this product.

From the slim rod at the top. No hardware is supplied and no method is published. Use two fixings across the width so the rod stays level under a piece this wide.

No weight is published. It is yarn over lightweight ball forms rather than solid material, so it is lighter than its size suggests, but with no figure from us we will not quote one.

Anywhere people brush past: a narrow hallway, a landing, or behind a door that opens onto it. The depth that makes it worth having is also what gets crushed.

They are wound over forms rather than stuffed, so they hold their round shape. Compression in transit affects the tassels rather than the balls; comb those down after hanging.

One that is quite plain. A piece with this much texture does most of the work on a wall, so it looks strongest against a flat painted wall rather than wallpaper or a busy gallery arrangement.

It reads as a fine dark line rather than a block of black, because each binding is narrow and there are many of them. In the room photographs it registers as a grid rhythm rather than as a color.

No. Wound yarn holds damp inside the spheres where it cannot dry, which is a worse problem here than on a flat hanging.

One wall hanging on its rod. No hooks, fixings or instructions are listed.

A flat hanging reads as a surface. This reads as objects on a wall. If you want texture you can see from an angle and shadows that change during the day, this is the one in the collection that does it.

Light pieces on adhesive strips. This one is yarn over lightweight ball forms rather than solid material, so it is lighter than its size suggests, though no weight is published.

About two thirds the sofa width. A three seater is commonly 200 to 220 cm, which calls for 130 to 150 cm. At 100 cm this piece sits under that and works better above a two seater.

Something three dimensional rather than a textured print. A piece that stands off the wall casts its own shadows and changes through the day, which is the effect a flat surface cannot produce.

Something with real depth, because in a tall room you see wall pieces from further away and flatness disappears. A three dimensional piece still reads at distance where a print does not.

One object, centered, with a hand's width of clear wall beneath it. Most headboard walls look unfinished because the art is hung too high and is too small, not because there is too little on them.

Texture over pattern. Wound, knotted or fringed fiber all read boho; a printed botanical does not, however boho the motif is.

Textile, fixed high. It softens a room full of hard surfaces and it moves house with you, where a decal peels and takes paint with it.

Four feet is about 122 cm, so one piece around 80 to 100 cm centered, with breathing space either side. This piece at 100 cm fits that almost exactly.

Soft surfaces and warm light. Rentals feel cold because they are hard and brightly lit; a textile wall piece and a 2700K bulb change a room faster than furniture does.

Cord over a single hook if it has one, or two hooks under the dowel ends. This one is on a slim rod rather than a dowel and is wide enough that two fixings keep it level.

Either cream, so the piece reads as texture, or something clearly darker. What does not work is an off white a shade from the sofa, which reads as a failed match.

Something with presence, if you know the room. This is a large piece and a bold gift; for a flat you have not seen, something smaller is the safer choice.

One piece narrower than the console, hung with clearance above whatever sits on it. An entry is seen in passing, so texture reads better there than detail does.

Textile. It photographs with depth, does not wilt, costs once rather than per event, and goes onto a wall afterwards rather than into a bin.

One piece rather than a gallery. Small rooms read as cluttered when a wall has several objects on it, and a single textured piece gives the same interest without the busyness.

Fiber if you want the wall to have a surface, canvas if you want a specific image. In a room with raking light, fiber wins clearly; in a flat lit room the gap narrows.

Something with depth, hung slightly proud. A flat frame draws attention to an uneven wall behind it; a piece that stands off the surface hides the wall entirely in its own shadow.

Textile, almost always. Large canvases at that price are printed rather than painted, and a large fiber piece gives you scale and surface for less than a large print costs.

One wall piece, or three small ones in a row. Shelves above a bed are a bad idea in any case; anything soft is a better answer in a place you sleep under.

Fix the rod at two points rather than one. A 100 cm rod on a central hook dips at both ends, and on a grid piece like this the rows then stop reading as horizontal.

A large neutral fiber piece. It is the one category of wedding decor that has a second life, which is the whole argument for buying rather than hiring.

Nothing with a hanging cord within reach, and nothing loosely woven at cat height. This piece has tassels at the bottom, so hang it high enough that they are out of jumping range.

It is not, entirely. Fiber pieces travel compressed because that is the only affordable way to ship them. The spheres here hold their shape; the tassels arrive flat and comb out.

Something neither would choose alone. A large neutral wall piece is a decision made for them, which is genuinely useful at the stage where every wall is bare.

Often yes, if you weigh it and choose a rating with room to spare. For a 100 cm rod use two hooks spaced apart, and press each for the full time on the packet before loading.

Comb them down with your fingers when it arrives and let them hang. They settle within a day or two. Brushing hard separates the ply and leaves them fluffy instead of straight.

100 x 90 cm - a meter wide and slightly less tall. Allow about 120 x 110 cm of wall. Above a three-seat sofa it covers roughly half the width, hung centred.

The yarn is wound into solid spheres and bound at the waist with black thread; there is no knotwork anywhere on it.

Yes, and we say so. Untangle any knots first, then use a steamer, an iron or a comb to restore the fibers. If it still looks bent, hang it and leave it - we say one to two weeks for the fibers to realign.

Wipe it periodically with a dry cloth and keep it out of direct sunlight. That is our whole instruction, and it is the right one for undyed cream yarn.

Two, at the ends of the top bar. A meter-wide loaded bar on a single central hook will sag and rotate. No weight is published, so use plugs rated generously.