![]() ![]() Items will ship via UPS, FEDEX, or USPS Priority Mail. We pay about forty dollars per package and are absorbing the difference., We apologize for the higher shipping charges. ![]() Please know that our average package price has doubled over the last couple of years. Orders will be charged $25.00 per order to the contiguous USA. This item is offered in the following store categories: Charlotte, Silver, Upholstery, Bedding, Drapery, Contract, Print, Geometric. If we offer a sample, you can get a memo from our site, there are a few brands we cannot sample. If the designer, name, and color are the same as our website you are buying the correct fabric. We always recommend viewing a sample locally thru an interior designer, retail fabric store, upholstery shop, or furniture dealer. Most of our fabrics are suitable for drapery, upholstery, pillows, bedding, and many other upholstered applications. The designer fabrics sold at Fabric Carolina are always first quality and come directly from the manufacturer. Repeat: Horizontal: 3.5" x Vertical: 4.5" and is manufactured in Asia. It is sampled in Ringbook Page #14b and the pattern repeat size is The R290 Slate by Charlotte Fabric is 54 Inches wide and contains 100% Woven Polyester. With well over 6000 fabrics they offer designer fabrics at an affordable price they are one of the few fabric companies that offer a lifetime warranty on their fabrics! So, I love that there’s now a group of people making this more diverse and inclusive.Charlotte Fabrics began in 1952 as a MN based upholstery shop and in its 66th year it has become a third-generation decorative upholstery and drapery fabric supplier. And these are things I wouldn’t have known how to do. That’s because there’s really smart, wonderful women, in the writers’ room, of Indian descent. I mean, the scenes that you see in S eason 2, of the Haldi c eremony, that didn’t come up in a vacuum. ![]() It’s an incredibly diverse group of people. But what you’re not seeing is who’s in the writer’s room, who’s in the director’s chair. We’ve got Regé-Jean Page there and we’ve got Simone Ashley there. That’s the thing about television, it’s such a collaborative process that we can talk all about- Oh, this is so revolutionary. And also, even if I tried, I couldn’t have done it as well. ![]() Overall, the thing I feel most is gratitude, because they were able to do something that, honestly, I didn’t know how to do. I think it’s great, honestly, the way that Shonda has opened up the Bridgerton world. And so, I really thought at the time that it would be disrespectful to try to go into history and pretend that these terrible things had not happened. Because the last thing I ever want to do is whitewash history in a way that removes Black people from spaces where they actually were. I also think that I was under the apprehension, at the time, that in order to really honor Black history-well, I mean, there are obviously many other marginalized groups, but, to your question, Black history-you had to be truthful about the various traumas and the history. It has definitely coalesced into something that’s not entirely accurate, but I certainly was not articulate in my thoughts. So, in 2017, I spoke awkwardly about race. Obviously, this is a boiled-down quote that’s been passed down telephone-style from multiple different sources, so I’d love to hear your side on that. Allegedly, you said that you don’t write Black characters in your historical fiction because you don’t want to write about characters who are suffering. I do have to ask this, because I’ve seen some talk of this online: A paraphrased quote from you is floating around the internet, sourced from people who attended book events in 2017 in which you were a panelist. She knows what she’s doing.” And obviously she did! And she basically did the same thing for me, which was an honor, to be honest, to be a recipient of that trust. Because, I said, “Look, I’m not going to tell Shonda Rhimes how to make television. It was really exactly what happened with Bridgerton, when I retained no creative control. I know how to write a television script.” It was a huge compliment, just the level of trust she had. And I checked in with her a few times, but for the most part, she just said, “You do what you know how to do.” Then she said, “I don’t know how to write a novel. And then I took those scripts and figured out how to turn them into a novel. So she wrote six scripts-two of them she wrote with someone else, but for the most part, she wrote six scripts-then handed them off to me. What we really did was take turns with what we did best and what our expertise is. Well, to be completely frank, I have no direct knowledge of Shonda’s process, because we didn’t work together holed up in a room. ![]()
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