Showing posts with label draperies. Show all posts
Showing posts with label draperies. Show all posts

Monday, June 16, 2014

Let's Paper Piece Some Giant Pineapples!


18" Paper Pieced Pineapple Blocks!  Pattern FREE from Fons & Porter, available here
 Okay, so this is not technically on my design wall yet, but it's definitely on my mind.  I want to make a California king sized pineapple quilt.  I'm envisioning this in bright, cheerful colors, with lots of soft blues and greens to coordinate with the drapery panels that I've been promising procrastinating to make for my master bedroom.  (More on that later).  I spent some time perusing my quilting books, magazine clippings, and on Pinterest (you can see the antique pineapple quilts that are inspiring me here on my Pinterest Pineapple Quilt board) and decided that my favorite pineapple quilts were the antique ones with lots of very skinny fabric strips sewn into very large blocks.  I also determined that it will drive me nuts if my seams don't match up very well when the blocks come together, so I'll be paper piecing this. 

Gorgeous Pineapple Quilt from Flickr via Pinterest, Maker Not Identified


Modern Pineapple? Think Again -- Mennonite, circa 1880-1900, Maker Unknown
Now that I've gotten everyone excited about pineapple log cabin quilts, you'll be happy to know that I found a free foundation piecing pattern download from Fons & Porter here, which prints out in six sections that you connect to create one very BIG foundation piecing pattern.  All thoughts of doing this project on one of my vintage Singer Featherweight cuties evaporated as soon as I had taped the pattern pieces together, because this giant block seems to have been created with Big 'Nina 750 in mind.  Look how nicely that block fits under my behemoth of a Bernina!

18" Paper Piecing Pattern Fits Great Under the B 750 QE
Fontenay Vase in Porcelain, F. Schumacher
I am only at liberty to start yet another new quilt because I managed to disentangle myself from having to make the drapery panels that I promised to sew for my master bedroom.  I ordered the fabric six months ago, and then I stuck the bolt of fabric in a corner behind a door and thought of a million other things to do instead of making drapery panels.  In all fairness, it HAS been a very busy spring what with everything going on with the kids, the fundraiser quilt for Anders' fifth grade class, et cetera, but really, I just did not feel like wrestling with yards and yards of drapery fabric (grunt sewing) when I could be blissfully playing with bits and pieces of quilting fabric instead (happy sewing). So I finally dropped that lovely Schumacher linen print fabric (shown at left) off at my drapery workroom last week at my darling husband's insistence.  He said, "Do you even REMEMBER the last time you made drapery panels, or have you blocked it out -- like childbirth?"  ;-) 

Bernie reminded me that my current studio is not set up for working with long, multiple width drapery panels, and he said he'd rather pay my drapery workroom to make them than be forced to live with me while I'M making them.  I had nothing to say to that because I know it's true.  I loathe making drapery panels! 
So I'll make a couple of throw pillows out of this lovely F. Schumacher Betwixt woven geometric fabric instead, and then I'll starting a new quilt (or three).
Betwixt in Peacock/Seaglass, F. Schumacher

Meanwhile, back on my ACTUAL design wall, the nine bear paw blocks are done and they are staring at me reproachfully:

Bear Paw Blocks Finished, but Now What?
I love the blocks, and I know they are going on point like this, but I am kicking around a few different sashing and border options in the back of my head before I commit to a setting.  I just can't bring myself to sew them together just with plain white alternate blocks like I had originally intended.  Stay tuned...

I'm going to go ahead and link up with Design Wall Monday at Patchwork Times, because it's still Monday (barely!).  I can't wait to see what everyone else is up to this week!


Saturday, September 28, 2013

New Draperies for Bunny Mellon's Dining Room: Design Banditry in an Historic NYC Townhouse

125 East 70th Street, NYC, photo courtesy Sotheby's
Ah, yes!  When I think of what it would be like to live in New York City, this is just EXACTLY what I picture. 

So, the Upper East Side townhouse that once belonged to Paul and Bunny Mellon has just come onto the market for a mere $46 million dollars (never mind that the current owners reportedly paid only half of that when they bought the property in 2006, and have not made any changes or improvements).  Baltimore design blogger Meg Fielding featured this property here on Pigtown Design a few days ago, and it immediately caught my fancy.

It's not that I wish I could purchase and live in this townhouse (although I'd graciously accept it if it were gifted to me!); I'd just like to do a little redecorating for the new owners.  This iconic French-inspired townhouse is 90% perfect for a modern family, but I'd like to inject a little more color and energy -- especially considering the home's connection to art collector and benefactor Paul Mellon and his father, former Secretary of the Treasury Andrew Mellon, who gifted the American people with the National Gallery of Art in 1937 -- donating his priceless art collection as well as personally funding the construction of the museum to house it.

I'm really smitten with the cobalt blue glazed walls in the dining room, but the painted floors, pale peach drapery panels and washed-out upholstery fabrics look tired and dreary to my eye.  Perhaps the colors have faded over time, perhaps they were deliberately subdued so the Mellons' art collection could take center stage, but in any case, it's ready for an update now that it's about to welcome a new family.


Thinking about the original occupants of this historic property and inspired by the blue walls, I immediately thought of one of my favorite Scalamandré screen print fabrics, "Stravagante."


Scalamandré Stravagante, $399 per yard
Listerine heiress Rachel Lambert Mellon, better known as Bunny, is an art lover as well with a fondness for Mark Rothko's vibrantly colorful abstract impressionistic paintings.  A horticulturalist as well, Bunny Mellon also redesigned the White House Rose Garden for her close friend Jackie Kennedy, so this vibrant floral pattern flanking windows that overlook Bunny's garden would be an especially fitting tribute to the home's original owners. 


The White House Rose Garden in 1988, designed by Bunny Mellon, photo courtesy The Reagan Library



My Virtual Do-Over: What a Change of Fabrics Can Do
If you click on the picture, you can see more of the room.  In addition to hanging ScalamandrĂ©s Stravagante fabric at the window, I've also virtually reupholstered the arm chair and small bench in a (discontinued) Lee Jofa linen/silk damask.
Lee Jofa Linen/Silk Arundel Damask, $290 per yard, discontinued Flame colorway

...Because there's nothing that makes a fabric more desirable than knowing it's discontinued with no available stock, n'est-ce pas?  With an unlimited budget, we could have this fabric recreated just for this project.

You know, good clients are to be treasured, but there's something wickedly gratifying about a fantasy design project like this one, unfettered by the constraints of budgetary concerns, clients' opinions, and other nuisances.  It's a bit like designing for a show house, except that designers have to beg, borrow, and foot much of the bill themselves for a show house, working under ridiculously stressful time constraints.  No, this was more like Design Banditry -- breaking into a stranger's home, redecorating without their permission (without having to pay for anything or deal with any paperwork or logistical nightmares), and then scampering away into the night.  Great concept for an HGTV series, if they could only overcome the legal hurdles...

Sunday, March 3, 2013

Tips and Tricks: Custom Drapery Sewing Like the Pros

Faux London Shade Valance, Interlined, with In-Seam Bead Trim
These days, I send most of my clients' drapery projects to my wholesale drapery workroom for fabrication, but when I was first starting my business I sewed all of them myself and I still do small window treatments and accessories like throw pillows for clients occasionally.  My workroom experience makes me a more successful designer, because I have a much better understanding of how things are made and how different fabrics and trims behave than designers who don't sew. You will never see me bringing an upholstery chenille to my workroom, asking them to make it into a swag valance!  Since I had just gotten my new sewing machine right before this order was approved, I decided it would be a great first project on my new Bernina 750 QE.  Remember how I was neurotically matching this large-scale botanical bird print fabric a few weeks ago with the help of my machine's dual feed feature?  Now that the drapery valances are finished, out of my studio, and installed in the client's home, I thought I'd share a few tips and tricks for achieving professional results sewing window treatments at home on a domestic sewing machine. 

Rule #1: Beware Drapery Panels!  I know what you're thinking.  Drapery panels are easy -- they're just rectangles with hems on three sides and pleats at the top!  The problem is that they are HUGE rectangles that have to be cut perfectly straight and perfectly square.  If you cut them crooked, they are going to hang crooked.  For a 102" finished length drapery panel, you will be cutting your fabric into 118" lengths.  Single width panels tend to look very skimpy at the window, even if they are just stationary side panels and not operable, so you will need to seam at least one and one half widths of your 54" wide drapery fabric together for each panel.  Now your rectangles measure approximately 80" x 118" (for 1 1/2 width panels) or 107" x 118" (for double width panels).  A professional drapery workroom has huge padded work tables to accommodate projects of this size without anyone having to crawl around the floor, "tabling" the drapery panels to measure for an exact finished length.  Considering that drapery panels are among the most economically priced custom window treatments to have professionally made, I strongly suggest you leave the panels to the pros.  Believe it or not, the more complicated looking valances or "top treatments" are much more manageable to make at home because you will be dealing with much smaller pattern pieces.  My longest cut lengths for these shade valances were 48", so I was able to roll my fabric out on two side-by-side 3' long utility tables, which were clamped together from the bottom to prevent them from moving apart as I was working.

Cutting 54" Wide Drapery Fabric on TWO 72" long Tables


Rule #2: Stay Away from "Big Four" Pattern Company Patterns!  Trust me, that gorgeous swag valance you saw in Veranda was NOT made with a McCall's Home Dec pattern!  I recommend M'Fay Patterns because they include excellent instructions and detailed yardage guidelines.  Pate-Meadows Designs has some pretty window treatment patterns as well, but they tend to be more complicated and, unless you're planning to make your pattern exactly as shown in the picture, it can be much more difficult to calculate how much of each fabric and trim you will need to complete your project with these patterns.  I didn't use a pattern for my valances, because I've made treatments like this many times before, but M'Fay London Shade pattern #9316 would be very similar.

I know people love to see "before and after" pictures, so here you go!  My clients had recently purchased this home when I met with them, and they wanted to get rid of the previous homeowner's window treatments and paint colors in this kitchen:


Client's Kitchen Before: Dark, Heavy and Dated.  And no, that isn't my Starbucks on the counter...
Here's my design proposal for the client (below).  The old treatment, which spanned from window to window across the top of the French doors, felt heavy and oppressive to me, and emphasized the width of the room while visually lowering the ceiling.  I proposed treating the windows individually with mock shade valances mounted above the windows, just below the crown molding, to open up the space and add a splash of color without that visual weight, and to display decorative plates in the space above the French doors.  
My Design Rendering Showing the New Mock London Shade Valances


Eleria in Graphite, from Robert Allen
This young couple wanted an updated, more tailored look that was elegant without feeling fussy, in a color palette of warm cream, pale blue, with darker wood tones and fixtures. The wife really loved birds and already owned quite a few accessories with botanical or bird themes, so the Eleria linen print fabric from Robert Allen was perfect for her.  The wall color is Sherwin Williams Macadamia, SW 6142.  I've used that color several times before; it's a great neutral that works with a lot of fabrics and doesn't go too gray or too yellow on the wall.

These are called "mock" or "faux" London Shade valances because they are inoperable -- they do not go up and down, and they do not even have enough length to go up and down.  The fabrication of fabric shades is very similar to that of drapery panels, with your decorative face fabric, cotton flannel interlining ( to prevent too much light coming through and washing out your fabric), and a cotton sateen drapery lining sandwiched together and blind-hemmed at the sides. 

Blind-Hemming the Shade Panel Sides

For blind-hemming interlined drapery or shade panels on my Bernina 750 QE, I used Blind Hem Stitch #9 with my #5D Dual Feed Blind Hem foot, just like I would use to hem a pair of slacks.  Since I'm dealing with three layers of fabric and a lot more bulk for a drapery panel, I reduce my presser foot pressure, increase the stitch length to 3.0, and adjust the stitch width to around 4.0-4.3.  It's important to test the stitch width on a scrap sandwich of your actual drapery fabric, lining, and interlining, folded back just like the hem on your actual project, to determine the correct stitch width.  If your stitch is too narrow, you will just catch the lining and your interlining and face fabric will not be secured.  If your stitch is too wide, you will see a big ugly stitch on the right side of your hem.  It's crucial that your thread is perfectly matched to the predominant color of your main drapery fabric for the blind hem.  If you don't want to do a blind hem by machine, your other option would be to hand stitch the hems.  NO top stitching!  If your fabric is any kind of a velvet, hand stitching all of the hems is mandatory.

Kravet Strie Ball Trim in Platinum
Because some of the lining is going to show at the bottom of this type of shade, I cut a 9" deep facing for each shade from my main drapery fabric.  I used a Kravet wrapped bead trim for these shades, which I inserted in the seam at the bottom of each panel so only the bead balls would show, not the header -- I think that looks cleaner and more current.  It gives the illusion that each little thread-wrapped ball was attached individually to the shade.  So the bead trim was basted across the bottom of the shade on the right side, with the trim header entirely inside the seam allowance and a LONG basting stitch to reduce the likelihood of puckering (I think the dual feed helped with this as well), and then the facing strip was sewn to the bottom of the shade, RST.  Then the facing was wrapped around to the lining side of the shade, raw edges pressed under about 1", and STITCHED BY HAND to the lining, just like invisible applique, to hold it in place.  I did not want to take the chance that machine blind hem stitches might go through to the interlining or face fabric, even if I attempted to set my stitch width so that only the lining was caught in the hem, because if the three layers stretch or contract with changes in humidity I would get dimples on the front of the window treatment anywhere that a stitch happened to go through all three layers.  If you absolutely cannot bring yourself to stitch this by hand, I suppose you could use that Steam-A-Seam stuff to fuse it instead if you're sewing something for your own home and you're deathly allergic to hand sewing.  I was doing this for a client, so I stitched this by hand with tiny, invisible stitches, thinking ahead to the applique projects I'm planning for later this year!

At this point, the sides and bottom of the shade valances were finished, but I still had raw fabric edges at the top.  I stitched 1 1/2" down from the top for my board line (used to precisely position the treatment when it came time to staple it to a fabric-wrapped dust board), and then I serged the raw edge for a clean finish with no frayed edges.

What next? More hand sewing!  Little white plastic Roman Shade rings were hand stitched to the back of the shade at the sides and in the center of the pleated areas, at 6" intervals, using an off-white jeans thread (for strength) that matched my linen fabric perfectly, going all the way through all three layers.  It took about an hour to an hour and a half to measure, mark placement, and hand stitch the rings for each shade.  It would have taken MUCH longer if this was an operable shade, because then it would have had about three times as many rings going down the length of each shade.

Some people like to stitch their pleats at the top of these shades prior to board mounting, but I like to make the pleats as I'm mounting the valances so I can make any necessary adjustments to get the fabric taut, but not pulling, in the flat sections.  I mark the top of the shade at the center point, and I make little marks at the center of each pleat.  I make corresponding pencil marks on the top of my fabric-wrapped board at the center of the board and at the center of each pleat, and then I staple the center and ends of the valance to my board.  Next, I create each pleat and staple it in place, and then distribute additional staples as needed along the top of the boards.  Additional fabric wraps over the top of the stapled valance edge so that the top of the valance looks neat and tidy, which is especially important in those situations where the tops of the dust board will be visible from above, as in two-story vaulted ceiling great rooms, etc.

Once the board mounting process was completed, I gathered those rows of rings together and secured them with a larger clip ring to form the soft gathers at the bottom of the shade.  Done -- finally! 

Finished and Installed!

I love how these valances turned out, and more importantly, my client was thrilled with them.  Pardon the mess in the photo, by the way -- ordinarily I would have cleared off the table before taking pictures, but it was an early morning installation and we were rushing so my client could get her children to preschool on time. 

This project reminded me of one of the most important reasons that I continue to occasionally sew some of my clients' window treatments: Every time I do, it takes me at least three times as long as I expected it to, and I realize once again just how much time, labor, and skill goes into every successful drapery treatment.  My drapery workroom is a tremendously valuable resource, and knowing that they can skillfully execute any design I dream up is crucial to the success of my design business, as well as to my own sanity.  Because, when I'm sewing window treatments for clients, I don't get to do ANY of my own projects, and I completely lose my favorite hobby for the entire time that a client's project is in progress.  Sharon and Debra, if you're reading this -- the next one is coming your way!

This week, I need to finish that Dresden Plate quilt for my neice's 5th birthday on MARCH 10th.  Enjoy the rest of your weekend, everyone!

Thursday, February 14, 2013

Loving the Bernina Dual Feed for Pattern Matching!

Eleria fabric by Robert Allen, Graphite colorway, 24" repeat
I have a very full schedule today, but I had to share this.  When I set my heart on the Bernina 750QE sewing machine, I was aware that the 7 Series machines had a Dual Feed feature, but I thought it was just a silly gimmick, to be honest.  It wasn't a major selling point for me.  However, Bernina recommends engaging this little dual feed footsie for precise matching of plaids and stripes, or for "taming hard-to-manage fabrics." 

Yesterday I had to seam several widths of a Robert Allen drapery weight linen fabric with a weave just open enough to make it shifty and cantankerous and a large scale, high contrast pattern that would be very obvious and unattractive if it did not match carefully at the seams.  I decided this was a good opportunity to test drive the Dual Feed footsie.

Bernina introduced the Dual Feed feature on the 8 Series line and incorporated it into the new 7 Series machines as well.  It's an extra little "footsie" that comes down just behind your presser foot, like a little baby upper feed dog that tugs the top layer of fabric along each time the bottom feed dogs tug at the bottom layer of fabric, to help the layers feed evenly and to prevent shifting and misalignment of seams.  The Dual Feed only works with special "D" feet that have a groove cut out at the back to accommodate the Dual Feed footsie. 

Now, I should say that, if the seam in this fabric was destined to be in a visible location on the finished window treatment, like if it was a seam on the front of a flat cornice or a flat Roman shade, I would have carefully matched the pattern EXACTLY from the right side and hand-basted this seam before machine stitching it to ensure that it was as close to perfect as is humanly possible.  However, this seam has been plannned to fall inside of a box pleat, so it won't be directly visible -- it just needs to be a close enough match so that the pattern looks balanced from a distance when your eye sweeps from one width of fabric to the next.

So I used the eye of the brown birdie as a reference point, measured from the selvage on both sides of the fabric, and discovered that the pattern match occured 1 1/2" in on this particular fabric.  If this had been a solid fabric, I would have trimmed the selvages prior to stitching the seam, but again -- this linen weave was open and shifty enough that I wanted to keep that edge stable, and I woud be stitching far enough from the selvages that I wasn't concerned about puckering.  After sewing and opening out the seam to verify accuracy of the pattern match, I trimmed the selvages away with my pinking shears.

"Blind" Pattern Match with Dual Feed Function Engaged
I call this a "blind" pattern match, since I just matched up the pattern and pinned carefully at the cutting table, and then sewed the seam without basting it first from the right side.  I attached the metal seam guide bar to my presser foot at exactly 1 1/2" from the needle, put on my 1D presser foot, pulled down the Dual Feed footsie, and sewed this seam fairly quickly, only slowing down when I came to pins so I could remove them.  I am DELIGHTED with how well the pattern matches on this seam.  This is good enough for a drapery panel, in my opinion, let alone for a seam that is going to be hiding away in a valance box pleat where no one can appreciate it.  I almost want to put the seam smack dab in the MIDDLE of the window treatment and decorate it with beads or something, to make sure everyone notices how beautifully the pattern was matched!  ;-) 

Seriously, this is going to eliminate hand-basting in many of my projects where pattern matching is crucial.  I also felt that the dual feed gave my machine a little more muscle to pull the large, heavy fabric pieces through as they stitched.  Compared to my old sewing machine, I felt like the 750QE was doing a lot more of the work of handling the weight of that fabric bulk and I was just guiding it through the machine.  It also seemed to me that the dual feed was helping me get a straighter straight stitch on this 9 mm machine, more like that of a 5 mm or smaller sewing machine.

Have I mentioned lately how much I LOVE my new sewing machine?
Happy Valentine's Day, everyone!

Thursday, November 10, 2011

Once Upon a Dining Room: A New Ceiling Reinvigorates an Ever-Changing Space


Finally, my dining room ceiling is finished!  In person, it looks like a midnight sky; pictures (my pictures, anyway) don't do it justice at all.  The ornamental scrollwork design around the chandelier is barely visible in this picture.  It's subtle in real life, but you can see it much better.  It's kind of like a shadow or an echo of the scroll work on the chandelier, and it's embellished with decorative upholstery nails.  The crown molding has a metallic foil finish selected to complement the gold drapery hardware and accents on the light fixtures.

Tuesday, August 30, 2011

This is Not My Naked Beach House

DeBordieu Beach Community near Georgetown, South Carolina
A few days after returning from our family beach vacation, I attended a webinar on designing for beach homes.  Our week at the beach was perfect, but I admit I was secretly decorating the house we rented in my mind the whole time we were there.  The shelter magazines on the coffee table, existing furnishings and a few framed photographs on the book shelves gave clues to the taste and preferences of the homeowners, so even though I was "off the clock" I couldn't help thinking about how I could help this family to make their home-away-from-home feel even homier (is that even a word?).
121 Steele Beach Rental as it looks today
This is the living room of the beach house we rented last week in the DeBordieu community near Georgetown, South Carolina.  We had a wonderful time at the beach, and enjoyed staying in this beautiful oceanfront home with spectacular views of the Atlantic Ocean from every window...  But the bare-naked walls and windows, let alone the empty bookshelves, gnawed at my soul.  I can't help myself; it's an occupational hazard, I must dress the windows and cozy up this space in my imagination.  Design software to the rescue!

Lee Jofa Jacobean Tree fabric for drapery panels
The first thing this room needs is some color on those stark white walls.  I "painted" the ceiling a pale blue and the walls a pale blue-green to bring in the colors of the ocean and sky.  Next, I replaced the white honeycomb shades (on the wall above the sliding glass doors) with some bamboo shades in the same color as the floor boards.  I know that the owners of my beach rental like homes with a cottage, shabby chic appeal from the magazines they left in every room, so I added drapery panels in Lee Jofa Jacobean Tree fabric, Blues colorway to play up that angle.  I ditched the ceiling fans in favor of a pair of fanciful seashell chandeliers and styled the bookshelves with -- what else? -- plenty of books, a couple of seashells, and a few baskets.  I put an American Girls doll in a vintage bathing suit in the child's wicker chair (the homeowners have a little girl; her picture was framed in the bookcase and her chalk drawings decorated the floor of the garage), and I added a sleeping puppy dog in front of the fireplace.  Every room is better with a dog in it, don't you agree?  I don't know what kind of dog this family has, but I know they have one because of tell-tale scratch marks on the door leading down to the garage. 

Because I was too lazy to remove the one chair and ottoman that I really didn't care for, I just plopped a new chair down on top of it.  Pretend you can't see the other one that's still in the picture.  Oh, and since this is an imaginary project, I chucked the flat screen TV in the dumpster and hung a Van Gogh landscape painting in its place.  The finishing touches: a bowl of fruit, a houseplant, and a fruity drink with an umbrella...  Ta da:
121 Steele Beach Rental as it could be, with a little imagination
Important considerations: This home has a million-dollar view, and I was careful not to cover an inch of it.  The woven wood shades stack on the wall above the sliding glass doors, they do not hang down over the glass when fully raised.  The stationary drapery panels are also covering trimwork and walls adjacent to the sliding glass doors, they are not covering the glass, either.  The floral drapery fabric isn't for everyone; I chose it because of the English Home magazines that the homeowner subscribes to (showcasing English cottage interiors and gardens).  White linen drapery panels would be a crisper, less frilly option, maybe with a blue banding on the lead edges.  Big patterns like this at the window might detract from the view if it weren't for the soothing blue color story.  If the client had her heart set on vibrant reds and purples, I would have used those on the pillow and upholstery fabrics and kept the fabric around the windows calm and neutral.

Of course, if this was my own personal beach house, there would be two Rottweiler puppies lounging in front of the fireplace and an espresso machine in the adjoining kitchen.  There would also be an oil painting of a Star Wars space battle over the fireplace instead of the Van Gogh, painted by a certain 10-year-old artist of whom I'm extremely fond, and Lego scultptures on the coffee table.  Then I'd never want to leave the beach...

Some of my favorite goodies that I used in this design:

Arteriors Strasbourg Seashell Chandelier, available here
Lee Jofa Constanza embroidered linen/viscose pillow fabric
Landscape With Green Corn, by Vincent Van Gogh, 1889, print available here


Note: When Bernie sees this post, he is going to say, "I thought you were WORKING in there!"  Heh heh heh...

Tuesday, June 14, 2011

Tantalizing Tassel Fringe: It's All About Levels

Photo courtesy of Samuel & Sons
Occasionally, someone will tell me, with great conviction, that they "don't like drapery trim."  What they usually mean, though, is that they don't like the drapery trim they've seen at their friends' or neighbors' homes, or at the local Calico Curtains store.  Custom soft furnishings are all about attention to detail, and the best passementerie (fancy French word for trimmings) is like the elegant icing on an otherwise ordinary cake.  Decorative trimmings are available in a dizzying array of styles and price points, and I incorporate some kind of passementerie into almost every drapery panel, Roman shade, or pillow that I design.  However, fine trims are luxury items, and you do get what you pay for.

In this post, I'm going to show you some of the different tassel fringes available at different price points.  Although tassel fringes come in a wide range of styles and colors, I'm going to focus on traditional tassel fringe in a gold/camel color for the purpose of comparison. 

Machine-Tied Fascination Tassel Fringe from Milton Decorator Fabrics

This is a very common type of tassel fringe that you can find at your local JoAnn Fabrics as well as many online retailers.  This particular trim sells for $25/yd at Milton Decorator Fabrics.  This trim is made of synthetic fibers, probably rayon and/or poly, and the tassels are machine-tied rather than hand-tied (if you look closely at the top of the tassels, you can see the machine stitching holding the tassel together instead of a smooth coil of hand-wrapped thread).  If you need 13 yards of trim for your drapery project (enough to trim the lead edges of four 110" long drapery panels), a trim like this will run you $325.  From across the room, no one will see those machine stitches, anyway.

Hand-Tied Fascination Fringe from Milton Decorator Fabrics
...However, decorative trimmings are all about attention to detail.  Decorative trimmings invite the viewer to look more closely, and this hand-tied tassel fringe from the same collection is much more elegant and luxurious.  Also available from Milton Decorator Fabrics, this hand-tied Fascination Fringe sells for $48/yd.  If you need 13 yards of trim for that same hypothetical drapery project, your cost for the trim just bumped up to $624.  However, this is what I consider an entry-level trim collection, like the Honda of passementerie.  When you look through magazines like Architectural Digest or Southern Accents, the trims you're seeing are invariably sourced through trade-only suppliers, and most of them are considerably more expensive.
Robert Allen Scallop Trim in 14 Karat

The tassel fringe at left is available through interior designers from Robert Allen.  It's a rayon hand-tied tassel fringe with an interesting header, and it retails for $99/yd.  Going back to our imaginary drapery project, 13 yards of this trim is going to cost $1,287. 





Robert Allen Velvet Trim in 14 Karat
This Velvet Trim is from the same Robert Allen collection, still made of synthetic fibers, but it has a more elaborate header with a velvet ribbon woven through ladder stitches, and it incorporates a draped rope cord between the tassels as well.  This trim retails for $129 per yard, which translates into $1,677 if we need 13 yards to trim the edges of those four drapery panels.   
Vervain Eliot silk tassel fringe in Camel
 The trim pictured above is exclusive to the design trade from Vervain.  It's a hand-tied tassel fringe, but it's 100% silk rather than rayon.  It's lustrous, soft, and the color is rich and luminous.  No other fiber accepts dye the same way silk does, so I like to use 100% silk trims with 100% silk fabrics whenever possible for the best color match.  Of course, there's a reason not all trims are made of silk.  This tassel fringe retails for $132 per yard, so it would cost $1,716 to trim the lead edges of our four drapery panels.  That's the cost of the trim alone, in addition to the cost of the drapery panels themselves and the labor for hand-stitching the trim in place.
Photo Courtesy of Stroheim
Supposing price is not an issue, and you love silk trim, but you're looking for something more playful and unique?  Look at the impact this silk Pom Pom tassel fringe from Stroheim makes along the bottom edge of a simple balloon shade.    I love how the thread connecting the little pom pom balls is barely visible from a distance, so the little balls seem to be suspended in midair along the edge of the shade.  Here's a closeup shot of that same Stroheim pom pom fringe in a gold colorway:
Silk Pom Pom Tassel fringe from Stroheim
Stroheim trim is also sold to the Trade.  This is an especially beautiful collection from Stroheim, and the coordinating tassel tiebacks and braids are exquisite.  I love the mottled color variation in this collection -- the large drapery tiebacks almost appear tie-dyed, which gives it a Bohemian flair.  This pom pom fringe retails for $232 per yard, so the 13 yards we'd need for our four drapery panels would cost $3,016. 

Now for my favorite tassel fringe of all (favorite today, anyway): the Normandy Ornamental silk tassel fringe from Samuel & Sons, which was shown on a detail shot of a drapery panel in the photo at the very top of this post:
Normandy Ornamental molded tassel fringe in Nuance d'Or
Not only is this a silk trim, but look at the exquisite detailing!  At $290 per yard, this is the most expensive trim I'm showing you today (although it's not the most expensive trim available, not by a long shot).  Trimming those four hypothetical drapery panels with this breathtaking trim would cost $3,770 -- just for the tassel fringe.  As you can see in the photo below, that window treatment also has a coordinating wide braid trim layered next to the tassel fringe, double tassel tiebacks, a decorative hardware holdback, and what appears to be an expensive embroidered silk drapery fabric.
Photo courtesy of Samuel & Sons
Obviously, this look is not going to be practical or affordable for everyone.  If you live in an historic home, or you long for an Old World European flair, there are ways of bringing a little of this in without having to empty your kids' college accounts to pay for the draperies.
  • Look for a similar trim at a less expensive price point.  From across the room, the $100/yd trim may look almost as good as the $300/yd trim.
  • Consider a less expensive drapery fabric to offset the price of the trim.  Gorgeous high-end passementerie can turn a simple solid silk taffeta into an extraordinary drapery treatment, and not only are the solid fabrics less expensive than prints or embroidered patterned fabrics, but you will probably need less yardage since you won't have the waste required for matching the pattern repeat.  This is especially true for swag valances and other top treatments where the same motif needs to be centered on each piece that is cut from your fabric.

  • Remember that sometimes, less is more.  With our example of 110" long single width drapery panels, we can use half as much trim if we apply it horizontally instead of vertically.  An attached panel valance, as shown above, is a great way to showcase a beautiful trim in a horizontal application. 
  • Embellish readymade drapery panels with designer trimmings.  Even if you're working on a tight budget and hiring a designer is out of the question, adding tassel fringe to the edges of readymade drapery panels is an easy DIY project to mimic a custom look. Start with solid silk drapery panels from someplace like Restoration Hardware.  Make sure the drapery panels are lined, preferably also interlined with flannel, or they will hang at your window like limp sheets!  Also, no matter what your sewing machine dealer tells you, machine stitching trim to drapery projects will create a horrible puckering mess. The professional drapery workroom that fabricates my designs always stitches trims like these by hand, but if you absolutely can't do it that way, you'd be better off with a hot glue gun than trying to top apply a tassel fringe by machine. Trust me!
  • Pillows to the rescue!  If you fall in love with an amazing trim that is too costly for your draperies, consider using it for a throw pillow or two, where you'll only need a few yards. 

Thursday, April 7, 2011

Fire Restoration Update: Drapery Installations Begin in the Kitchen!

The project I've been working on for the clients who suffered a house fire last summer has finally started installing this week, and everything looks amazing.  The client's objective was to take this tragedy and use it as an opportunity to make her home "even better than before," and that's exactly what we've done.

Kitchen as decorated by Previous Homeowner

 I'm just going to post a few snapshots for now, just to whet your appetite.  This first shot is of the kitchen as it was when the client purchased this home several years ago.  The drapery treatment was from the previous homeowner, and my client hated these pendant light fixtures with a vine detail that reminded her of serpents.


Same Kitchen, Redecorated Prior to Fire
This is a view of that same elevation after I worked with the client the first time around. We replaced the serpent pendants with Quadralli pendants from Fine Art Lamps, and I designed this kimono-inspired medallion swag treatment to give the kitchen more of an Asian contemporary aesthetic while indulging the client's love of exquisite drapery textiles.

Same Kitchen, January 2011
Now, here's what that same kitchen looked like a couple of months ago, when the custom built, solid tropical wenge wood cabinetry installation began.  The cabinetry was built by Bill Truitt Wood Works, Inc. of Charlotte, North Carolina. 

Same Kitchen, April 6, 2011, 9 AM
...And here's what the kitchen looked like yesterday, when the drapery installations began.  The cabinetry and gorgeous art glass backsplash tile have been installed, all the appliances have been replaced with upgrades, and the remaining bit of crown molding around the new range hood installed later on in the day.  I recovered the client's bar stool seats in Lee Jofa Jasper Velvet, and we have a swivel glider chair for the adjacent keeping room area coming that will be upholstered in the same fabric.  The Fine Art Lamps pendants have been replaced with identical fixtures, and the drapery installations and furniture deliveries are about to begin.

Brian Installs the Iron Drapery Medallions
In this picture, the builder has already installed the remaining crown molding around the range hood, and my drapery installer is putting up the iron Artigiani medallions for the kimono swag valance that was recreated to be identical to the treatment I originally designed.  The Pyramid medallion drapery hardware is from Helser Brothers, the company that sent me to Paris last January to cover the Maison et Objet trade show for their Why Helser? blog.  Just for the record, I loved Helser Brothers' beautiful products and outstanding service even before they sent me jet-setting to Paris.

Debra & Brian Finessing the Swag Valance Installation
...Ta da!  The first of many drapery treatments installed.  After taking this picture, I had Brian turn the medallions so they would be squares instead of diamonds, which I like much better with the new cabinetry.

I'll be posting more photos of this installation over the next few days.