Layering sequence to feature the "Important" side

In this Master Bath renovation, different wall finishes required a fabric that would complement both.  Susan Marocco chose a traditional motif, Martinique by Cowtan and Tout, in a fresh colorway that worked with both the painted and tiled areas.  Variegated lip cord from Samuel and Sons defines the lower edges.

We were able to raise the valance over the tub without drilling into the tile by mounting on wood extenders for the L-brackets.

A toned-down, straight kick-pleat valance out of Schumacher's "Woodberry" was an understated treatment for the Guest Bath window.  Rather than divide the width into three equal sections, we instead left the motifs whole by slightly rearranging them and making a barely wider center section.

Sewing patterns are available for shaped box pleated valances- this is the "Sheffield Valance" from M'Fay- but after planning, cutting, and joining the individual sections, I usually just draft the shape directly onto the fabric, free-hand, with erasable pen.  This allows me to customize the long and short points of the treatment.  (In the years before drafting onto the fabric, I probably fabricated 5000' of Sheffield valances, so I had a feel for how to draw those curves!)

After the first return, horn, and scallop are cut, I flip the fabric to repeat the silhouette across the pieced fabric.  To do this, it's essential to cut the sections accurately and straight at the top, because the top line is the reference point.

I layer the interlining and interlining, and cut around the valance.

Very importantly, I notch all three layers before moving the layers, so there are reference points in case the layers start to drift during sewing.

Now I rearrange the layers so the right sides of the face and lining are together, and the interlining on top of the face.  The notches help me re-align the curves.  When turned right side out, the order of the layers will be face, interlining, lip cord or welt, then lining.  This sequence helps eliminate any bulge from the lip cord trim on the right side- the "important" side. 

 

The layers are all pinned together; the lining is held back so the lip cord can be basted.  (Yes, I'm using a zipper foot.  Many people use a cording foot, with the welt to the bottom during sewing.  Sometimes I do, too.)

The lining is folded back into place and all layers are sewn together.  The seams are graded, the corners and curves are clipped, and the valance turned right side out, pressed, and mounted. 

 

The interlining smooths out the front of the valance so no seam allowance is detectable.  I learned, years ago, from reading M'Fay patterns, to determine the "important side" of the treatment, and layer accordingly. 

 

Heavy-weight French blackout shades

Upholstery fabrics make stunning shades, and I have a few techniques for working with the extra bulk.

These shades are extra bulky because they are lined with French blackout.

Double side hems, the default standard, would've been really thick, so I improvised to create a single hem.

 For French blackout, interlining and dense black cotton sateen are layered between the face fabric and white sateen lining.

I fold the layered lining, then cut while still folded, to grade the layers and avoid a blunt, thick edge.

To reduce bulk, instead of a double side hem, I sewed twill tape to the edges, then hand-hemmed.  (I always hand-sew side hems when I use interlining.)  One of the two shades was just 3" less than the width of the fabric, so I didn't have enough to make a good hem anyhow, without piecing it, which would've been even bulkier.  I kept the selvedge and sewed the tape over it.  For the other shade, I trimmed down the side hem and added twill tape to create a single hem.

  In this picture you can also see how severely I graded the bottom hem to keep the white lining from bubbling up from the bottom fold.

It looks pretty cool, I think!

I baste the layers before stapling bulky fabrics to a board.  This helps them grade themselves as they fold over the board edge.  Since a shade is flat all the way across, I don't cut out the inner layers of interlining as I would with a treatment that is pleated onto a board, where thick layers build up and look lumpy.

I'm loving the new grey lining.  It's available from both Angel's and Hanes.