Den Drapes Makeover with Valences and Celtic Applique

What??  ME have a little time on my hands and just enjoy the moment?  Rare!  This was just the dangerous situation I found myself in last week.  After all, there are so many projects at home needing to be done.  For one thing, the drapes in my den have needed a makeover for some time.  They are too long for a recessed area two of the windows are in.  And they let in too much light around the top for this room, which we watch TV in.  And they were hard to open and close because they were gathered on the rod.  I have actually thought about what I wanted to do for a long time, and decided to just take care of it this week.

My solution was to cut off the drapes to the correct length and use the cut off part to make a valence.  I'll just describe this part because I should NEVER be trusted to be the one that takes pictures of everything that needs pictures, and I'm afraid I fell down on the job again this time.

I knew I would have about 13" to cut out.  To preserve the existing hem of the drapes and lining, I took this 13" out at the bottom edge of the rod pocket at the top.  After cutting out the piece and putting it aside, I attached the long bottom piece to the rod pocket heading.  I knew that piecing seam would not be noticeable there.  At the same time, I inserted interlining to give the drape body and add insulating qualities -- this room tends to get cold in the winter.

After attaching the lower drape to the header, I put in pinch pleats so the drape could be opened and closed easily and retain evenly-spaced gathers when closed.  I did not use a header tape because I wanted it to be soft and stay open when opened.  Plus, the pinch pleats themselves will not show under the valence and did not need to be so crisp and perfect.

The drapes finished, I hung them using cafe rings on the same inexpensive sheer rod they were on before.  The cafe rings and sheer rood will not show under the valence.

To make the valences, I planned to hem the strip I removed from each panel and staple it to a 1x4 board, and mount it above the drapes.  But I felt the valence needed some decoration or interesting feature.  I had heard about appliqueing Celtic designs or monograms using bias tape and decided to be my own guinea pig so I would be experienced should a client request this feature. 

I went online and found what is a fairly typical Celtic design.  I printed it out, enlarged it to the size I wanted, and made a pattern.  After completing the valence, I positioned the design in the middle. 

I punched holes in the key turns and used a fabric marker to mark the design and then connect them to form the entire design.

 Next I prepared the bias tape.  I had wanted to take the easy way out and find a packaged bias tape, but could not find one in the color I wanted.  I couldn't find cotton either, which would have been the easiest fabric to make bias tape with.  I did find a really pretty gold heavy satin.  The satin was a beautiful choice for this, but not friendly for making bias tape!!  I eventually figured out a method that worked for me and got busy applying it to my prepared valence.

I used a mini-iron (shown here) because I needed something small to work with this 3/8" wide tape.  The mini-iron I purchased - the Clover Mini Iron II - is really the only choice out there.  And it is a piece of junk!  (Not to put too fine a point on it!)  Within 20 minutes, the metal rod coming out of the handle (inside the plastic guard you see on the left) came loose and wiggled around in the plastic housing!  It was not usable that way.  I discovered the rod does not go all the way down the handle but is "anchored" only about a 1/4" inside it!  After much frustration, I found a way to have it held centered inside the plastic guard and was able to keep working.

The finished design!!  I thought it turned out well after all the frustrating twists and turns.








This picture shows the updated drapes.   By the way, I added blackout lining inside the valences so light wouldn't come through and interfere with the look.  I'm sorry I don't have "before" pictures, because this is a 100% improvement!

I'm starting on a baby nursery for a client this week.  I'll keep you posted!

Sheer window and bed curtains

This project was to create the window and bed curtains for a soft, "marshmallow" guest room.  All of the treatments were to be hung from ceiling height (10') and made with white voile - nearly 50 yards!

There were two tall windows, with the sheers to be hung just under the crown molding and puddling slightly below.  There was to be a panel on each side of both windows.  The queen size bed was to be surrounded with sheers hung from the ceiling, two panels of sheers per side.  That is a total of 12 panels of sheers!  Yikes!  

The window panels were hung slightly lower that ceiling height, but needed to puddle.  The bed panels were to go from ceiling to floor.  The window panels were going to be pinch pleated with a 5" header, using tabs behind to go over the rod; the bed panels were going to have a sleeve go over the rod, with a ruffle at the top. The first step was to cut all of the panels, the window panels just a couple of inches shorter than the bed panels.  I marked and numbered each piece with a bit of masking tape.  One complication was I lacked enough fabric to cut two of the panels to their full length.  I ended up suggesting these could be the bed header panels, where the pieced part would not show.  My client agreed and we purchased some additional fabric.  I cut the pieces so that both header panels would be pieced at the same level - which was about 24" above the floor, then pieced the two panels, using a French seam.  This saved several yards of fabric!

The hems came next.  All were 6" double hems.  Since voile is so slippery slidey, I started with just pinning at the 12" mark.  Then I folded hem up where the pins were and ironed that edge.  Then I folded the 12" inside the fold all the way to the bottom fold and pinned and ironed.  Much easier said than done with this loosey goosey fabric!  Final step was stitching along the very edge of the hem fold all the way across.  By very edge, I mean ideally within one thread of the fold!  

After the hems, I cut the selvages off the sides (because they pinched slightly and would show through the hem) and turned in a double 2" hem.  This was done just like the bottom hem, but I didn't pin first, just turned 4" over and pressed.  In turn, I folded the edge inside, pinned, pressed, and stitched to give a 2" wide side hem.






With all hems and sides done, I addressed the window panel headers.  They were to be pinch pleated, and be able to open and close, with a tab on the back so that the panels hid the rod.   Since these were to have a very soft feel, I decided not to use a header tape or buckram.  I simply folded the header over 6", folding the last inch under again and sewing close to the edge.

After marking the gaps and pleats and sewing the pleat seams, I took an extra step to give the pleats support, as well as a place to sew the tabs on:   I folded the header around the each pleat seam and stitched about 3/16" from the edge.  This created a ridge behind each pleat.

To finish the pleats, I pinched each one and tacked at the top and bottom.  Then I sewed a strip of selvage I had cut off the sides to the ridge behind each pleat (shown to left and below).

Now to the bed curtains.  Originally they were to be pleated and hung from rings, but the new plan called for them to be threaded over the rods with a sleeve, with a 3" ruffle on top.  This not only softened the look, but saved purchasing nearly 100 rings!  This required a little extra length, so I purchased a little more fabric and pieced extra length to the tops of the panels so that the piecing seam was along the top fold, where it wouldn't show.  The two panels at the head of the bed were going to stay closed, but the other sides needed to open and close.  When the panels were closed, it was desired the panels retain even gathering.  I solved this by making a tack at the top of the sleeve every few inches, just like the spacing would be if they were pinch pleated. Pictures above show the opened and closed look.

The installation was somewhat time-consuming, since it involved ironing each panel before hanging.  And let's not forget dealing with the ceiling rods over the bed!   Let me tell you, threading on panels, cutting gaps for the brackets, tacking the corner edges together, and doing the other arranging needed was not easy with a 10' ceiling!  I am tall, but still had to stand on the 2nd step from the top of this ladder.  Fortunately, I made it through without any injuries!  And so did the chandelier!










   

Here are the finished window sheers.  Very full, with two panels per window.  The panels open and close with 60" clear plastic batons attached to the inside tab of each panel.  Works very well.

Why is one picture mellow yellow and the other white?  Ask my phone!  Maybe I'll bring my nice camera next time.









I'll include several pictures of the bed curtains, since the room is a little small for a comprehensive picture of the entire thing.  The first pictures are before the bed was put inside.

 A good picture of the ceiling rods.

 A pretty chandelier in the middle.

As close as I could get to floor-to-ceiling shots.

The bed is purchased and put inside.  Lovely!  At some point, the client plans to complete the look with a headboard.

                     

Living Room/Dining Room Drapes

In this post, I describe the drapes that go with the valences in the previous post.  Same fabric, a beige stripe damask, and accent fabric, a beige satin.  These drapes are 109" long, with the accent fabric forming a band along the center edge.  We chose goblet pleats to give an elegant look, wrapping the bottom of each pleat with the accent fabric.  The drapes are lined and interlined, but do not have blackout lining as the valences did.  There are two 41" windows; we will use one width per panel, 4 panels total.  

 Ok, I'll apologize up front for not having pictures of all the steps - I'll just do my best to describe them!  Starting here--- After cutting the 4 panel lengths out of the main fabric, I cut one length of the accent fabric and divided it into four long strips of about 12" (having used some of the width previously for piping on the valences).  I attached a strip of accent fabric to one edge of each panel.  I had to keep in mind that there are two "left" panels and two "right" panels!  Oh boy, would that have been a disaster to have made four identical panels!!  You can see in the picture to the left the accent band at the far end.

The next step is to turn up a double 6" hem, press, pin, and hand sew.  It wasn't too bad - it's easy to pick up a single thread with this fabric.

After preparing the main panels, I cut and prepared the lining and interlining.  With the band added to the main fabric width, I needed to piece the interlining as well, since I wanted the interlining to back the main fabric completely.  So I cut another length of interlining and divided it into four strips.  I attached the strip and serged it to prevent fraying. On the left is the pieced interlining, showing the 2" double hem pinned, ironed, and ready to sew.

I did not piece the lining, but planned to use a single width.  The band will wrap around to form a nice edge in the center of the window.  In it, as well, I made a 2" double hem.








I wasn't taking any chances the two linings would wrinkle or have pulls, so I laid the pieces down and smoothed it out until it was perfectly positioned.  The lining fabric is face up on the bottom layer, the main fabric is face down on top of it, and the interlining is on the top (no right or wrong side).  The interlining had been pieced, but not made the exact width of the pieced main fabric.  Instead, I lined up the piecing seams for the main fabric and interlining.  I trimmed the excess interlining on the non-banded side, as shown.  There is still some excess on the other side, but I will deal with it later.

To sew the side hems, I decided to match the edges on the banded side, shown here.  I pinned, sewed, and pressed.  You can see here the bottom edge of the panel with the different layers - face-up lining, face down main fabric, and interlining.  The hems are staggered so the lining is above the main fabric and the interlining will be hidden above that.

I serged the side hem seam, trimming the excess interlining at the same time.








The other side hem needed to be sewn so it matched the other side hem exactly.  I kept the panel wrong side out and laid it on the work table with the un-sewn edges of the other side seam lined up.  I worked to smooth all the layers and make sure the band wasn't pulled in any way.  What will be the final band edge for the center of the window has not been pressed - I will do that after this.  So, I pin the other side seam, stitch, and serge.

With both side seams stitched, I turn the panel right side out and determine the exact with of the band to show on the front and press a crease there, then, smoothing all the layers just right, press the other side, which will indent about 2", as shown on the left.

Side seams and hems done, it is time to finish the top of the panels.  Here I am measuring the exact length from the bottom of the hem to the top edge and folding over.  I also tuck in an additional inch or two to make the header section 5" wide, and pin and press.  I will hand sew the bottom edge to the lining.  I am not using any header tape because the fabric is thick enough already here, and leaving out the header will allow the drapes to softly open.  (I will use a stiffener in the goblet pleats as you will see.)





With the header ready for pleating, I put down a piece of masking tape on my work surface and mark pleat and gap spacing.  I will reuse these markings for all four panels.  To mark the panels, I lay the panel down, matching the ends with end markings, and pin every pleat beginning and end.






I stitch each pleat 5" down plus a little more to get just past the folded header edge.








Here are the sewn pleats  I pressed the seam areas but not the folded edge of the pleats, because goblet pleats are rounded at the top.  They look pressed in this picture, but that is just because they were folded there for sewing.













I experimented with different ways of attaching the "choker" to the bottom of the goblets.  This picture shows pre-stitching the choker to one side of the pleat seam.

The lower pleat has been "choked."  I took the pleat, pinched the lower end like a pinch pleat and hand sewed the other end of the choker so the choker holds the pinch.











To make the upper part of the goblet hold its rounded shape, I cut a piece of buckram about 4" long, rolled it into a tube, and inserted it in the top.  In this picture you can see a panel of completed goblets with the buckram giving them shape.

 Last but not last are the standard drapery pins behind each goblet and on the ends.

 To transport these panels with minimal wrinkling, I folded them lengthwise several times and rolled them up.  To keep the goblets from being flattened, I held off on the buckram tubes and inserted them just before hanging.

 A set of panels hung in the living room.

 My client wants the drapes to be just off the floor.  We hung these a little high so that when they stretch out hopefully they will be just right.  If not, I'll move the rods up or down or adjust the drapery pins, as needed.

To close in the outside edges of the drape, I put screw eyes in the wall and hooked through them the drapery pins at the end of the panels.

  In the dining room.

Closed.  We are using 60" clear batons to aid opening and closing the drapes.  The batons are attached to the center-most ring of each panel.

Besides making the drapes feel luxurious, there is an additional benefit to the interlining:  It adds insulation to the windows.  My client plans to keep the drapes open most of the time, but in the winter may want to consider closing them at night to keep out the cold air.

Well, goodbye beige striped fabric!  It's been nice knowing you for these few weeks, but time to move on to a different project!

Living Room/Dining Room Valences

In July, I posted a blog about a valence mock-up made out of muslin.  That mock-up was about 45" wide.  The first windows my client decided to tackle with this valence were 82" wide!  So -- do we add more swags and chevrons or do we make the same design, only larger?  

The answer was clear when I saw the dimensions we needed.  The valence was to be attached at about 107" from the floor, several inches above the window.  And the valence needed to come down long enough that the top of the window was not visible, even more length needed because the viewer would be so far below the valence.  We ended up with 37" length on the ends and 23" for the swags.  This actually fits a guideline I have seen - a valence should be about 1/3 the length of the window.  To add swags the size of the mock-up, but with the new length needed, would make the valence look stretched from top to bottom and would have taken much more fabric.  We went with enlarging the original design.

The scale settled, I made new patterns of the size needed.  There are three types of pieces:  The center chevron, the cascade for the ends, and the swag.  All pieces are made with four layers in this case:  The main fabric on the front, lining (with an accent band) on the back, and interlining and blackout lining in the inside.  The interlining gives the valence a luxurious feel and the blackout lining keeps light from coming through and interfering with the look of the folds and creases.

On the left is the back of the center chevron.  The lower edge is a band made of the accent fabric (a beige satin).  When the chevron is folded, the accent fabric will show on the front side as seen in the next picture.  To create the band, I simply cut off the bottom of the lining and sewed on strips of the accent fabric.  The cascades on the sides and the swags also have a border of accent fabric on the lower edge of the back.  

  

This is the cascade.  The picture on the far left shows using a ruler to ensure the accent piping is applied in a straight line.  I used lots of pins to keep the bias-cut fabric from stretching and slipping.  (I also used a ruler and lots of pins on the chevron since its edges are cut on the bias.)  You can see in the picture with the folded cascade how the accent band on the back shows through the front at each fold.


The piping for all the pieces is made using sausage bead weighted cording.  The piping is made from accent fabric, with a narrow layer of interlining between it and the sausage bead weights to cover the bead "bumps".  This type of piping gives the pieces extra weight so they hang well.


The swag pieces were very large - with too much width to cut on the bias as would have been done if possible.  Swags cut on the bias hang a little better than swags cut on the grain.  But even if we had gone with narrower swags, the width needed would have prevented cutting on the bias.  It took a little work, but the grain-cut swag had a nice form in the finished valence.

Each valence will have a cascade on each end, a chevron in the middle, and two swags, all hung from a 1" x 4" board.  To prepare the board, I took a piece of lining fabric and stapled it so it covered all the wood.  I used a wide enough piece of lining so that there was enough left to cover the stapled valence pieces at the end.


The next step was to staple on the chevron in the center, then the cascades on each side.  To prepare those pieces, I folded them on my work surface, pinned the top edges, and ironed very well, pinching the weighted piping at the folds.  As I stapled them to the wood, I was able to make any adjustments needed so they hung nicely.  The stapling itself was very easy since I use an upholstery staple gun powered by an air compressor.  The only way to go, in my opinion.

Getting the swags on the wood was challenging as it involved working with the folds to make them hang just right.  I adjusted some of the folds, which required cutting the top edge.  The finished product, then, was not the same as the original cut pattern!

 

 Here I have finished attaching the pieces to the wood and have brought over the flap of lining, folding it at the edges and stapling all around.

One last bit of preparation was to tack the folds in the chevron and cascades so they hung flat, but in a natural way.  As you may be able to tell, I had the board clamped to my work surface, and fortunately had enough height for the pieces to hang without touching the floor.

Here are the installed valences.  To hang them, I attached 3 angle brackets to the wall at the desired height, then laid the valence on top.  With someone holding one end in place, I was able to screw the angle brackets to the bottom of the wood (using a cordless drill with a screwdriver bit attached of course!).


 
One final detail - to keep the edges of the cascades close to the wall, to keep sunlight from shining through, I pulled the bottom of the cascade tight and nailed a tiny brad through the piping into the wall.





I have to tell you about my perfect drill - the Bosch PS10-2A 12V Max I-Driver.  It's cordless, not too heavy, slim and sleek, has plenty of power, and has good balance.  But best of all, I can rotate the head to different angles, including straight up!  This was great when screwing the brackets to the wood on these valences.

I gave my previous one like this to my daughter, and right away went to buy a new one.  But the stores I searched do not carry it!  I bought it online.