Ripple to Pattern

Once Pleat-to-Pattern draperies became an industry standard, Ripple-to-Pattern wave draperies were soon to follow, thanks to a variable wave tape developed by Forest Group. 
This graphic drapery, recently fabricated for Denise Wenacur Design and Decor, illustrates perfectly the striking effect possible when rippling to pattern. 

A few weeks later we used the same technique to fabricate geometric ripple-to-pattern for Cottages to Castles, installed by Scott Berniker who kindly provided photos.

All ripplefold begins with the rod.  We template the master carrier by fitting translucent snap tape to the actual hardware, using a fabric stapler.

 

This ensures a perfect fit on installation day.

We make a template of the header and plot out the placement of the pattern.  I make sure to include every detail during this step.

The header template is one reason to always order a little more fabric than the project strictly requires.  With the widths joined on the template, we can be sure the seams fall to the back of the ripples rather than show on the front.

After the drapery is on the table, we align the template to be sure everything is where it should be.

In our workroom, we prefer to fabricate with no stitching visible on the front- a huge change from the old way in which one of two rows of stitching were considered inevitable.

Our method for fabricating begins with a lock-stitch (basically an interlocking stitch which itself is actually a long, loose blanket stitch) to hold the lining and face fabric together, just past the crease on the heading side.  

Translucent 2" Dofix buckram is fused right at the crease line.

Easy-flex tape from Forest Group is secured with a narrow strip of Jewel tape down the center.

Our template show exactly where to position the 3 snaps.

The doubled heading is folded under, and the Easy-flex tape is staple-basted on both sides, through the heading only.

The ends are finished neatly (and hand-sewn after the tape is applied).

The header is opened up flat, and the Easy-flex tape is sewed on both sides.

All that remains is to hand-sew the ends, and insert the Easy-flex Hooks.

The only thing that varied between the two projects: the orange drapery is blackout, and we did not use buckram, concerned that it might not fuse securely.  Instead, we opted to hold the header down with a double-sided adhesive tape.

Did you read all the way to the end?  One thing that really super thrilled me, for the second time ever, I made pleat-to-pattern draperies AND a shade for the same room!  If you're a workroom nerd too, you'll totally get it :)

A pleat-to-pattern natural

Pleat to pattern, pleat to pattern, are we tired yet of pleat to pattern?  UMMMM...... NO!

At least not on this project for Crosstown Shade and Glass.

Pleat to pattern just keeps getting more fun.  This applique stripe is such a cool fabric, OF COURSE it had to be pleated to pattern.

The homeowner's original idea was ripplefold draperies with this fabric.  I made mockups to help the client and designer choose how to best show off this pattern and address the practical issues.

With ripplefold, half the fabric goes to the front, half to the back, just like grommet draperies.  A workroom sample like this helps everyone visualize the effect.

I did a mockup with buckram on a string to simulate the profile. 

We also made a mockup of inverted pleats, so the client could compare styles.  This creates a wave effect, which visually is very similar to ripplefold, except instead of a backward-projecting ripple, that fabric is pleated to the back and stitched down flat.

Guess what, inverted pleats were the choice.

The pleats are sewn to the back, instead of to the front as they are with pinch pleats. 

Since these draperies were unlined, we French seamed the widths together, so there were no raw or serged edges.

The pleats were flattened out and "stitched in the ditch" on the front.

The pleats lie flat, but once they're hung on a rod, the flat part rolls forward like a wave.

Everybody was happy with this project!

Getting comfortable with oversize

At last I can post photos of the 173" long and 156" wide ripplefold panel!  35 yards each of 100% linen and napped cotton sateen lining went into the panel, valance, and tieback.  After fabricating this treatment for Crosstown Shade and Glass, I am feeling pretty comfy with oversize.  Jeff and Steve thought through every detail to ensure a perfect fit and smooth installation.

I hinted at this project in my last post, which was a whole month ago.  To backtrack and fill you in on that month- my friend Rosemarie Garner and I were co-presenters at the NJ WCAA chapter's annual Windows to Success event.  Organizing all our material and samples was an exercise in down-sizing!- we had so much to choose from and had to edit carefully.  It was a fantastic experience and we're both grateful to the Chapter for inviting us.  The preparation ahead of this presentation kind of ate into my blogging time, but now- I'm back!

The huge ripplefold fabrication began with the 156" motorized rod.  We insist, for good reason, on having ripplefold tracks in the workroom before cutting the fabric.   Crosstown Shade and Glass ordered the track and delivered it to the workroom. 

This project provided a great illustration of why it's so important for the workroom to have the track.  For starters, the manufacturer had rigged the master carrier backwards, as a left stack instead of right stack- not at all difficult to switch, but what installer wants to do that on-site on installation day?

For another thing, the return had removable snap pieces that I might not have known about if I hadn't had the rod.  Lastly, the master carrier on the lead edge was unlike any master I'd ever worked with before, and because it's essential that the tape be fitted, cut, and re-joined so the snaps fit perfectly, it was a good thing I had it in the workroom.

I leave nothing to chance with ripplefold.  I cut the tape and snap it on all the way across, labeling the forward and backward "ripples" in order to plan seam placement.  Seams must go alongside the snaps, not halfway between them, so they'll be the least visible when the curtain is hung.  

This curtain used 7 widths of fabric, and with 185" cuts, it was a monster to handle.   We joined pairs of cut lengths, then joined those; that way I didn't have to handle all the weight quite as often. 

Keeping the grain true and achieving the correct finished length took discipline.  For each cut I pulled a thread to be sure I cut on grain.  Jen and I made the curtain in stages, starting at the bottom.  After hand-sewing the return side hem, we worked the panel across the table, basting both vertically and horizontally.  The horizontal basting line became the reference line from which to measure the finished length after the bottom of the entire 7 widths was tabled.

Photos of massive amounts of basted fabric are pretty boring, so here is the last stage when we finally reached the lead edge!  The vertical line you see there is the estimated lead edge of the panel- it isn't going to be cut and finished until after the ripplefold tape is sewn on.  The reason?  The tape will most likely "walk" a bit as it's sewn onto the fabric, so it's important to leave a little leeway and finish the curtain where the tape actually winds up.

Jen daisy-chained the hems together every quarter-width to keep the layers from billowing apart from each other.

After the bottom was done, we shifted the whole curtain downward to work on the top.  We measured up from the basted reference line and basted the top fold line.  Then we turned the panel to run the top along the length of the table.  We trimmed, folded, pressed, then basted yet again.

 The top edge was finished neatly even though it was going to be covered with ripplefold tape.

Since our sewing machines are on glides, we were able to slide the straight stitch over to the table, instead of dragging the curtain over to the machine.  I wanted to be comfortable while sewing the ripplefold tape!

 

Eleven yards of snap tape later.....

It came out to within an inch and a half of the projected lead edge!  Do you know how happy I was to see that???

NOW we finish the lead edge.  Using nice long John James needles with silamide thread, this was a peaceful and relaxed ending to the panel fabrication.

NEXT UP: HOW ABOUT THAT FITTED VALANCE AND GIGANTIC SHAPED TIEBACK?
TUNE IN TOMORROW!

Oversize Ripplefold

Oversize seems to be a "thing" in our workroom lately.  We made 34' of ripplefold in December for Nicole Gray of Suite Dream, and now the room is complete, with sleek, modern cornices in place.

WITH CORNICES

Please note, Leatherwood Design Co DID NOT make the cornices, but I can't resist showing how they finish the treatment.

BEFORE CORNICES

On Wednesday another large ripplefold project will be installed: 173" long and 13' wide on a motorized rod.    Wielding needle and thread, Jen and I succeeded in taming 70 yards of fabric.  I'll be posting about the fabrication process and how we managed this large product. 

 Back in October, we had our first truly long panel project- 168" panels ranging from 1 width each to 3 widths. We're certainly getting comfortable with oversize :)

 Can't wait for the next!