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. 

 

Re-purposing

We've spent considerable time in the house with the huge hobbled shades for Denise Wenacur, and last week it was time to go upstairs to the master bedroom, where we re-purposed the homeowners' existing window treatments.

Crown molding was added, so for two windows, the draperies needed shortening. 

And the turret had a full set of draperies until the seating area was built, so they were re-made into Roman shades, the band and rope lead edge detail transformed into bottom shade detail.

Ribs ensure that the folds do not need dressing, a helpful feature in shades that are mounted high and are not so easy to reach.  We sew, rather than glue, ribs onto interlining in between the rings so the folds will have some rigidity.

Dofix 6" fusible buckram provided support for the bottom banding.

Re-purposing generally involves some improvisation, to make the existing materials work for the new application.  In this instance, we had to fiddle a bit to make the banding work.  Although we usually make a double bottom hem, the banding was just wide enough to create a single hem, so Dofix Bortenfix was used to secure the hem below the weight bar pocket......

then Dofix fusible gimp covered the raw edge.  The rings were sewn through all materials so the stitching would provide extra security for  the band and the gimp.

After the weight bar was inserted into the pocket, the gimp end was tucked in and secured....

Then the bottom pocket ladderstitched closed.

Dofix 8" fusible buckram gave body to the topper, which I wanted to be somewhat supported but not quite as rigid as a soft cornice.  We mitered the top and fused Dofix velcro to the back edge so the topper could be mounted easily on installation day.

Fabric staples secured the fabric layers at the top......

and because these shades are reverse mounted, Dofix fusible velcro was added to the front.

The shade snaps off of the headrail for easy installation, then just as easily snapped back on.  The lift system is the Rollease SS38 from Designers Resource, chosen for its awesome gear ratio that allows this shade to be nearly fully raised with just one pull of the continuous bead loop chain. 

The little toppers behaved just as I wanted them to.

Ta-da!  (and yes, we fabricated those cushions, too.)

Stationary wool shades

Susan Marocco chose beautiful Holland and Sherry wools for two stationary Roman shade valances in the same home as the wool ripplefold draperies I wrote about in June.

Both shades were trimmed around the perimeter with Samuel and Sons tapes.  We mitered the corners, and the blue shade featured two layered tapes.

From past experience with wool shades I knew the layers needed to be interlocked internally to support the wool and keep it from sagging.
First the interlining was interlocked to the wool face.  We used the seam in the face fabric and then interlocked in alignment with where the rings would eventually be sewn.

 

Ribs were sewn to the interlining to provide additional structure.

Above the board line, the interlining was serge stitched to the face fabric.

The lining was interlocked at the board line.

The ribs were secured to the lining, then the rings sewn in between the ribs.  These little tack stitches are visible on the back, but they lie on the column line with the rings so they're not noticeable.

The side hems were sewn by hand, and the bottom finished as per my usual method, with buckram in the hem.

To miter the trim corners, we first basted by hand to make sure the pattern was well aligned.   The corners were then sewn by machine, cut, clipped, pressed, and the little fiber ends stabilized with some tight little stitches and a dot of glue.

The mitered trim was sewn by hand to the outer edges with a ladder stitch.  How the pattern falls on a pattern like the Greek key is a matter of math and luck; for this shade, we had pretty good luck!

Because in both rooms the underside of the boards are not easily visible, we did not need to make returns, but we did use a bit of trim to cover the ends of the boards.

The time we spent on steps to support and stabilize the wool were well spent.

Hand-sewing showcase

When wool drapes beautifully, it is because the panel has the internal structure to give it the freedom to hang naturally.  For this Holland and Sherry wool blackout-lined and interlined ripplefold, my biggest concern was giving the header reinforcement and support without impeding the drop of the wool face.  The ripplefold tape had to be sewn by machine, but all other sewing (apart from joining the widths) was done by hand.  We got to use a full complement of hand stitches in this project for Susan Marocco Interiors.

As I showed in the previous post, we carefully plotted out the ripplefold tape placement after testing it on the track.

After joining the widths, hand-hemming, and hand-sewing sewing the trim on, we prepared the header before layering in the linings, even though this mean two tablings.  We fused 2" buckram to the back of the header, and sewed the ripplefold tape through the fabric and buckram by machine.  Back on the table, the linings were layered in, and the interlining was held in place with a "basting stitch" at the top.  These steps gave structure to the header that was invisible from the front.

The lining was folded back up and the header gently pressed in place.

The header was secured by hand with a "back-stitch," one of my favorite hand stitches.  It can't accidentally pull and cause a pucker.  For this purpose, I could make half-inch stitches.  (When I sew seams by hand, right sides together, I use a very tiny back-stitch.  If I sew seams together while the fabric is flat on the table, I use a ladder stitch.)

At that point the panel was well-enough secured that the basting stitches could be removed.  But really, they rolled slightly to the back and didn't show anyhow.

I did not want to risk having light peek through the holes in the blackout lining made by the stitches, so the last step was to fuse Dofix blackout tape over the sewing.  This was probably unnecessary, but I preferred to be safe rather than sorry.

I took a similar precaution on the back side of the machine-sewn hem in the blackout lining.

 Working our way across the table was a little crazy!  Here is one panel partially assembled, and neatly folded to come back to the next day......

We used a lot of hand-sewing techniques for this drapery project.  The trim was hand-sewn down both sides using a "ladder stitch."  Unfortunately I forgot to photograph the stitching used to invisibly secure the interlining to the face at the side hem fold.  We used a long, loose variation of the "serge stitch" which provides security without risk of puckering.

Internally, the layers are loosely joined at the seams with an "interlocking stitch."

The versatile "ladder stitch" was also used for the side hems.

The layers were daisy-chained at the seams at the bottom.
This is a correctly made daisy chain:

And this is not: (hahahaha!)  (Guess who did this one?)
And lastly, here you can see that the bottom hems were hand-sewn with a variation of the "interlocking stitch" to keep the stitches from pulling on the fabric.

A lot of work, and time well spent to create a sublime drapery for a lovely homeowner.