The International Magazine for Custom Home Furnishings Professionals
Volume 11, Number 1
Industry Pricing Units
Partial Undergarment
Upholstery of a Vintage
Camel-Back Sofa
Creating Window Treatments
From Photos
January 2003
The Custom Home Furnishings Trade School
Window and Bed Coverings
2003 Schedule
4 - 5 Introduction to Upholstery 100
4 - 5 Introduction to Window Treatments 100
7 - 10 Upholstery 101
7 - 10 Installation 101
7 - 10 Window Treatment Fabrication 101
11 - 12 Installation 102
11 - 12 Cornice Boards 101
11 - 12 Iron-on Techniques 101
14 - 17 Slipcover Fabrication 101
14 - 17 Window Treatment Fabrication 102
18 - 19 Slipcover Fabrication 102
18 - 19 Creating Custom Patterns 101
21 - 24 Window Treatment Fabrication 103
1 - 2 Introduction to Window Treatments 100
4 - 7 Window Treatment Fabrication 101
8 - 9 Decorative Pillows 101
8 - 9 Laminating Techniques 101
11 - 14 Cornice Boards 102
11 - 14 Bed Treatments 101
2 - 3 Introduction to Upholstery 100
2 - 3 Introduction to Window Treatments 100
4 - 7 Upholstery 101
4 - 7 Window Treatment Fabrication 101
8 - 9 Cornice Boards 101
8 - 9 Tabs, Slouch, and Grommet-Top 101
10 - 13 Installation 101
10 - 13 Window Treatment Fabrication 102
14 - 17 Slipcover Fabrication 101
15 - 16 Installation 102
15 - 16 Creating Custom Patterns 101
18 - 21 Window Treatment Fabrication 103
5 - 6 Introduction to Window Treatments 100
8 - 11 Window Treatment Fabrication 101
12 - 13 “The Client Connection”
12 - 13 Decorative Pillows 101
14 - 17 Bed Treatments 101
3 - 4 Introduction to Window Treatments 100
5 - 8 Window Treatment Fabrication 101
9 - 12 Installation 101
9 - 10 Cornice Boards 101
13 - 16 Slipcover Fabrication 101
13 - 16 Window Treatment Fabrication 102
17 - 18 Slipcover Fabrication 102
17 - 18 Creating Custom Patterns 101
20 - 23 Window Treatment Fabrication 103
3 - 6 High-End Treatments
7 - 8 Introduction to Window Treatments 100
10 - 13 Window Treatment Fabrication 101
14 - 15 Laminating Techniques 101
17 - 20 Bed Treatments 101
21 - 22 Headboards 101
21 - 22 “The Client Connection”
5 - 6 Cushions 101
5 - 6 Introduction to Window Treatments 100
8 - 11 Window Treatment Fabrication 101
8 - 11 Installation 101
8 - 11 Slipcover Fabrication101
12 - 13 Iron-on Techniques
12 - 13 Installation 102
12 - 13 Cornice Boards 101
15 - 18 Window Treatment Fabrication 102
19 - 20 Creating Custom Patterns 101
22 - 25 Window Treatment Fabrication 103
29 - Aug 1 Window Treatment Fabrication 104
2 - 3 Introduction to Window Treatments 100
4 - 7 Window Treatment Fabrication 101
9 - 10 Tabs, Slouch, and Grommet-Top
11 - 14 Window Treatment Fabrication 102
15 - 18 Cornice Boards 102
16 - 17 Creating Custom Patterns 101
19 - 22 Window Treatment Fabrication 103
19 - 22 Slipcover Fabrication 101
23 - 24 Decorative Pillows 101
23 - 24 Slipcover Fabrication 102
26 - 29 Bed Treatment Fabrication 101
30 - 31 Introduction to Window Treatments 100
2 - 5 Window Treatment Fabrication 101
19 - 22 Educational Conference and Trade Show
4 - 5 Introduction to Upholstery 100
4 - 5 Introduction to Window Treatments 100
7 - 10 Window Treatment Fabrication 101
7 - 10 Upholstery 101
11 - 12 Cornice Boards 101
14 - 17 Window Treatment Fabrication 102
18 - 19 Creating Custom Patterns 101
21 - 24 Installation 101
21 - 24 Window Treatment Fabrication 103
21 - 24 Slipcover Fabrication 101
25 - 26 Installation 102
25 - 26 “The Client Connection”
25 - 26 Cushions 101
28 - 31 High-End Treatments
1 - 2 Introduction to Window Treatments 100
4 - 7 Window Treatment Fabrication 101
8 - 9 Headboards 101
11 - 14 Bed Treatment Fabrication 101
6 - 7 Introduction to Window Treatments 100
9 - 12 Window Treatment Fabrication 101
is published monthly by
Professional Drapery Seminars, Inc.
180 Buckeye Access Rd.
Swannanoa, NC 28778 USA
(828) 686-3185
888-4SEWWHAT (888-473-9942)
Fax (828) 686-3186
email: [email protected]
Yearly subscription cost is
$34.95 U.S.
$39.95 Canada
$47.95 All other foreign
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Back issues available from 1993 to date
Periodical Postage
Swannanoa, NC 28778
Cheryl Strickland
Managing Editor
Mary Zellers
Kelly Ross Terry
SewWHAT? motto:
“Sew generously and you will
reap generously.”
SewWHAT?’s mission:
To help drapery, slipcover, and upholstery
professionals with all of their fabrication
and design needs. To eliminate the
unnecessary wasting of time, the frustration
of not being able to find resources, the
discouraging and lonely moments of being a
small business, and the managerial
challenges faced by larger
All featured products, services, or
suppliers are intended for
information-sharing purposes only.
No endorsement or recommendation is
intended by these profiles, which are open
to any companies or individuals serving
the custom home furnishings industry.
Copyright © 2003
Professional Drapery Seminars, Inc.
All rights reserved.
Not to be reproduced in
any form without written
permission from the publisher.
Industry Pricing Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
History of the Sewing Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Memphis Shawl Valance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Crewel Scalloped Valance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Partial Undergarment Slipcovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Triangle Overlay Pillows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Trims, Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Creating Window Treatments From Photos . . . . . . . . . . . . . . . . . . . . 14
Five Basic Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Upholstery of a Vintage Camel-Back Sofa . . . . . . . . . . . . . . . . . . . . 16
Upholstery Starter Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Looking Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Classifieds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Conference Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Introducing Mary . . .
Our new managing editor, Mary Zellers, and I hope you are
enjoying our new color format. I had no idea it would be so
much more labor-intensive, but I am very pleased with our
progress toward better quality and an earlier timeframe. I am
really enjoying working with Mary on this monumental task. I
thought you would enjoy getting to know her.
Mary grew up in a rural town in Virginia, the second oldest in Cheryl Strickland
a family of seven children. After graduating high school, she
moved to Newark, Delaware, to find work and live with her oldest sister. She met
her husband, Jay, at work. After having their first child, Mary chose to be a stayhome mom and began a home-based secretarial/typing service. This business continued over the next several years during which time Mary and Jay had their second
child. Jay accepted a job transfer to Asheville, North Carolina, and the family moved
south. Mary accepted a full-time secretarial position with Union Butterfield Corporation. Her position evolved over the years, as Mary
accepted challenges available to her. She ultimately
designed and produced Union Butterfield’s literature.
This included transforming a 600-page product catalog
from black and white to full color. She was also responsible for managing the marketing activities for the
business and working closely with distributors, sales
force, and agencies to achieve aggressive sales goals.
Mary received an Associate in Science degree from
Montreat College in 2000 and will earn a Bachelor of
Business degree in 2003. We are very blessed to have
Mary as part of our team. I’m sure her talent and
creativity are already evident in SewWHAT?.
~ Cheryl
Industry Pricing Units
By Kitty Stein
hen someone starts a workroom business, the
questions they are faced with include, “What price
should I charge?” and “What unit of measure do I use
for pricing?” The common units in the industry are each, pairs,
feet and/or yards, square feet, running or linear feet, widths, and
hourly. Not every workroom uses the same unit for an item as
other workrooms, but the preceding units are all utilized at some
time or another by all workrooms. Following is an explanation of
the various ways these units have been used.
"Feet or yards"
Pricing by each individual unit is by far
the easiest method. It is routinely
applied to such products as pillows,
bedspreads, tablecloths, napkins,
rosettes, throw pole swags, etc. Some
workrooms also price traditional
board-mount swags this way. Others
price swags by the running foot of the
width of the window. I personally
prefer to charge per swag with limits
for a standard width and drop.
Oversized swags are priced higher.
Anything that is usually sold in pairs,
i.e. tiebacks and cascades, can be
charged per pair. A center panel on a
window that also has a panel on each
outer side, requires 1½ pairs of
tiebacks. Consider that fabricating
only one tieback consumes almost as
much time as fabricating two, especially if only one tieback is required
and no additional pairs. Cascades are
sometimes priced by the running foot
across the top of the board, but this is
not the most profitable way to price
them. I feel that pricing cascades by
the pair according to various lengths
(up to 24", 63", or 84" long, as
examples) and various widths makes
more sense because the longer and
wider they become the more work is
required. For something that seems so
simple, cascades can be very laborintensive!
All types of trim and cording are
usually priced by the yard or by the
foot. Generally, pricing by the yard
will result in more money. The reason
is mathematical. Numbers are usually
rounded UP when pricing. For a
simple example, compare charging $9
for applying one yard of trim or $3 for
applying one foot. If the project
requires 118" of trim, it is more than 3
yards, but not 4 yards. This would
round up to 4 yards and the charge
would be $36. By comparison,
charging by the foot this project would
require more than 9 feet but not 10
feet. This would round up to 10 feet,
for a charge of $30. That’s a difference
of $6 on one project alone. Imagine
the extra gross sales in one year from
selling a lot of trimmings!
"Square feet"
Laminated roller shades and soft
shades–such as Romans, Austrians,
balloons, etc.–are priced by the square
foot. It is necessary to price this way
because there are no standard or semistandard sizes and because there are
far more supplies (cord, rings, etc.),
per square foot than in any other
treatment. Shades also are a good
example of the occasional need for
minimum size requirements for
charging. Many companies start with
a minimum of 9-10 square feet. It
may also be a good idea to require a
4 Copyright © 2003 SewWHAT? Magazine
minimum in width and length. If a shade
is very wide and very short, the cost of
supplies per square foot will rise dramatically. Pricing one wide, short shade
wouldn’t be a problem, but the loss of
profit on shades this size for an entire
house would be tremendous! NOTE:
For a small workroom, it may even be
necessary to have a maximum size limit
for fabricating, as some sizes will be too
large to accommodate in the workroom.
The width limit I set for my in-home
workroom is 72".
"Running/linear feet"
Top treatments–with the possible
exception of swags and cascades–are
priced by the running foot of width.
Many workrooms include the returns in
this dimension, while others do not.
Remember minimum sizes. Consider
charging for at least four or more
running feet.
Running feet can also be used to price
pleated and rod pocket drapery panels.
This may come as a surprise, as most
workrooms price panels per width, but
this is one way to make them more
profitable. Early in my wholesale
fabrication business, I discovered that
many of my clients could not calculate
pricing based on widths for railroaded
panels made out of extra-wide fabrics.
So, to make it easier for them, I used
our current price per width and recalculated a price per running foot.
Offerings by Kitty Stein
~ ~ ~ ~ ~
Over the years, when I raised prices,
each price was raised individually–
not by starting with the price per
width. Eventually I was making far
more profit on railroaded sheers,
pinch pleated, and rod pocket panels.
Now that heavier drapery fabrics are
available in wider widths that can be
railroaded, my suggestion is to
calculate ALL drapery panels in
running feet. It is less to remember
than calculating both ways and it can
result in more money for you!
In past years, the industry standard
has always been to charge rod pocket
and pleated drapery panels by the
number of widths (each piece of
fabric, usually 48" or 54" wide) that
are sewed together. Pricing by the
width also can applied to pleated, rod
pocket, or other simple styles of
valances. However, there is no reason
not to charge by the running foot as
explained above. I recommend
applying a minimum of at least four
running feet of pleated or flat panels.
Minimums can certainly be set higher
if needed.
It may seem that pricing by the hour,
rather than by the size and type of
treatment, would not be acceptable to
designers. Let me just say that it
worked for me! It was not until after
some frustrating years of continually
underestimating my time that I
decided to make this change. Pricing
by the hour is a tool that protects
workroom professionals. Many
interior designers charge by the hour,
because they know that their knowledge and expertise is what the client
is getting. You are selling the same
thing–knowledgable service, not just
window coverings!
Additional pricing factors to
I charged my wholesale clients for
consultation to help them value my
time so that they didn’t ask for estimates for window coverings that they
cannot sell.
I also charged for alternative fabrication. This category covered a wide
scope of ‘sins.’ Basically, if I couldn’t
take a bolt of fabric and cut it as I
normally did, such as a designer trying
to get more panels from the leftover
bottoms after railroading 118"-sheer,
then I tracked how much extra time it
took and charged for that. I also began
charging by the hour to do any kind of
alterations. Nobody likes doing
alterations, and I didn’t need the extra
work or aggravation.
Whenever calculating prices by units
and in doubt about which way to
charge for something, work the math.
Use different units to see which is the
most profitable and the most fair to the
workroom and the customer.
The above information is only suggestions based on what has historically
been done in the workroom industry. It
is perfectly alright to charge by a
different measuring unit as long as the
result is an acceptable profit to you and
your client's budget!
As an experienced
drapery workroom
owner, Kitty Stein is
available for Workroom Consulting. She
answers questions
ranging from
fabrication how-tos
and pricing, to growing a business, and
much more. Contact Kitty for information about a personal consultation to
enhance your business.
P.O. Box 283 Clear Brook, VA 22624
Phone: (540) 667-5939
Fax: (540) 667-3170
email: [email protected]
Price Your Work
With Confidence
The Price List
Order in the
Contract Terms &
~ ~ ~ ~ ~
Custom Home Furnishings Store
180 Buckeye Access Road
Swannanoa, NC 28778
Copyright © 2003 SewWHAT? Magazine
History of the Sewing Machine
By Mary Zellers
Recently while visiting one of the
Smithsonian museums in Washington,
D.C., Cheryl Strickland (publisher of
SewWHAT?) was surprised to find a
sewing machine exhibit that Scientific
American magazine listed in the late
1800s as one of the top three lifechanging inventions. It occurred to her
that even though she had appreciated
her sewing machines, she had never
really considered what it would be like
to be without one. As we
thought about this, our
curiosity was peaked and
here is what we found
out about the hisorty of
the sewing machine.
Walter Hunt, credited with inventing
the safety pin, was the first American
to build a version of the sewing
machine for industrial use, but he
erronously gave it up because he
thought the machine would cause
people to lose their jobs. The first U.S.
patent for a sewing machine was
granted to J.J. Greenborough in 1842.
various designs were being used
The most successful of these inventors
was Isaac Merritt Singer, of the same
Singer brand of sewing machine we
use today. Singer patented his method
of feeding material and regulating the
tension on the needle thread. He
eventually added the fixed arm
structure (still used today), presser
foot, and foot treadle that made
operation easier. Singer also had the
marketing ability necessary for selling
the sewing machine that Howe did
not have. Singer’s was the first
machine specifically designed for home
use. He was able to convince consumers of their need for a sewing machine.
When single families could not afford a
sewing machine of their own, communities pooled their resources to buy a
machine to share. Eventually the
practice of buying on credit became
available and sewing machines
changed from a desired luxury to a
household necessity.
It was Elias Howe who patented the
first lock-stitch sewing machine in
1846 which directly led
to the sewing machine
we use today. Howe’s
machine was difficult
to use. It had no
Before the invention of
mechanism to feed the
the sewing machine,
material into the
virtually everything was
machine. Instead, the
sewn by hand. Every
material was pinned to
Elias Howe, Jr.
piece of clothing, every
a board and was
Patent #4750, 10/10/1846
pair of shoes, all linens,
removed and reposiPhoto used by Permission
window coverings, and National Museum of American History, tioned when the
Smithsonian Institution
upholstery. Everything,
stitching came to the
for everyone–wealthy
end of the board. As
and not so wealthy–required hours of
were all the earlier machines, Howe’s
Howe went to court to fight the
painstaking manual labor. Most
machine was powered by turning a
infringements on his patent, and after
people’s wardrobes consisted of one or wheel on the side of the machine by
many years of legal battles his patent
two good outfits and one or two work hand.
was upheld. Singer was ordered to pay
outfits. When women of that day said
fifteen thousand dollars to Howe in
that they didn’t have anything to wear,
back royalties. Howe also was able to
they really didn’t.
skills to promote his
negotiate a five-dollar
The first crude forms of a sewing
machine. Even though he
royalty for each machine
machine were introduced in the middemonstrated that his
sold in the United States
1700’s, before electicity was invented.
machine could sew faster
by the other manufacturThese early machines were designed to than five people sewing
ers and one dollar for each
imitate the motions used in hand
by hand, he was not able
machine sold abroad. He
sewing, and they were not very
to sell even one machine.
had finally gotten the
successful. During the next forty years
To make matters worse,
wealth he dreamed of.
many great minds worked to produce
his machine was too
However, he died at the
various other improved variations of
expensive for most
age of 48, the same year
the intriguing earlier machine.
household budgets of the
that his patent expired.
Isaac Merritt Singer
time (a whopping $300.)
Patent #10975, 5/30/1853
The first known patent for a sewing
The efforts from all of
So, Howe took his
Photo used by Permission
machine was granted in Britian to
these great minds
invention to England to
History, Smithsonian Institution combined to create the
Thomas Saint in 1790. This patent
sell it there. This venture
was followed by patents to two French was a failure, but when
workable model for the
men (1804-07), and two men from
that we enjoy today.
Howe returned to the United States
Britain (1810-30).
to have an eyehe found that during his absence other
inventors had made improvements to
feeding, a horizontal table, lock stitch,
his machine and sewing machines of
6 Copyright © 2003 SewWHAT? Magazine
a shuttle or bobbin to create a second
thread, overhanging arm, presser foot,
simultaneous material feed and needle
motion, the ability to create curved or
straight stitching, and a mechanism to
carry out these operations in the proper
The invention of the sewing machine
dramatically changed the way people
live. It was the first major timesaving
device for the home. A garment that
could normally take up to fourteen
hours to sew by hand could be sewn in
two hours by machine.
The sewing machine might be singlehandedly responsible for launching the
first home-based business for women.
Homemakers could sew clothing and
earn money to add to the family’s
income, while taking care of the other
responsibilities of their children and
home. If this by itself were not enough,
the industrial sewing machine made
inexpensive, ready-made clothing
widely available to every economic
segment of society.
Isaac Singer sewing machine, produced in the early 1900's. It
was nick-named the "Red Head." During this time, Singer’s
annual sales were 1.35 million machines, and the company
offered 40 different models. Singer, one of the most widely
recognized and established brands in the world, remains a
leading manufacturer and marketer of sewing machines today.
Cover photo provided by Bill’s Sewing Machines and Repair,
Hildebran, NC. Bill's is a distributor of Singer and many other
brands of home and industrial sewing machines. They offer
parts and repair services on all brands. Bill's Sewing Machines
can be contacted at 800-445-5657 or 828-328-2557.
Think about all of the sewing you did
today or have waiting for you tomorrow. How long would it take to
accomplish this work without a sewing
machine? The saving of time is remarkable, without even considering the
consistency of the stitch and the
strength of the seam.
We have become so complacent when it
comes to our sewing machines that we
take them for granted. (Well, at least I
know that I do!) When they aren't
running right, we all become frustrated
and upset. But, after recognizing what
a revolutionary timesaving marvel they
are, I have gained a new perspective:
one of respect, appreciation, and
patience. Thanks, Hunt, Howe, Singer,
and all the rest of you! (I have to run
now. I need to oil and hug my sewing
Footnote: Facts for this article were retrieved
from the following internet sites:
historywired.si.edu, sew2go.com/smhistory, and
This mid-to-late 1800s hand-crank
sewing machine is part of Cheryl
Strickland's collection of antique sewing
items on display at the Custom Home
Furnishings Trade School. Because it is
completely black with no decals or
inscriptions, the brand is unknown. If
you recognize it, give us a call.
With beautiful, gold-leaf decals intact, this
double-arm Wilcox and Gibbs machine (also
part of The Trade School's display) is one of
the earliest electrical models. As you can see,
the motor (made by Westinghouse) is
attached to the wheel that previously would
have had a handle attached to it for handturning. The original manual, which is still
with the machine, lists patents from the late
1800's and 1904. The manual also references that at that time, women already had
been enjoying their machines for over 60
years. Coincidently, "Wilcox and Gibbs" was
the brand of serger that Cheryl Strickland
and her mother first used in their drapery
business. No, it wasn't in 1904!
Copyright © 2003 SewWHAT? Magazine
Window Treatment Workmanship Contest Entry
Memphis Shawl Valance
By Jodi Stanford
his valance is made of toile and is slightly arched on
the bottom to feature the design in the fabric. Halfpleats at each end fall into the cascades, which are
contrast lined with a small checked fabric. The valance is
trimmed with small cording in solid red. Tassel fringe embellished with the checked fabric is attached above the cording
on the lower edge.
This is an extremely versatile treatment which requires
minimal fabric. The valance section can be cut straight,
arched, or scalloped. The half pleats may be eliminated or
more pleats may be added, especially on wider windows so
that seams may be hidden. Seams may also be hidden with
bells or horns. The lower edge may be left untrimmed. Microcording is very effective on the lower edge. If the fabric
design allows railroading, two valances may be cut from one
length of fabric, providing a very economical use of fabric for
multiple windows.
2 yards toile
1½ yards check
yard drapery lining
3¼ yards interlining
½ yard red moire
4 yards " cording
4 yards tassel fringe
1. Determine the finished width of
the valance and the finished length of
the cascades. Also determine the
finished length of the valance section.
In this example the FW is 30",
cascade FL is 34", and the valance is
arched with a FL of 13" to 17". The
board width of 3.5" and seam
allowances are added to the valance
FL for the cut length of 22".
2. The valance and cascades are
constructed in one continuous piece
with 2.5" half pleats at the end of the
board where the valance flows into
the cascades. Cut the center valance
section to include 2" for the seam and
to go into each pleat. For our
example the center section is cut 34"
wide and 22" long and the toile motif
is centered. The cascades are cut
lengthwise of the fabric so that the
pattern goes up and down when the
cascades are hanging. They are cut
the FL plus 6" for the pleat and seam
allowances for a total of 22" wide by
40" long.
3. Lining for the back of the valance
section is cut 22" long by 30.5" wide.
The contrast lining for the cascades
and pleats is cut 22" wide by 41"
4. Join the valance and cascades
with ½" seams. Also join lining
sections with ½" seams. Press. The
lining seams and face seams do not
match up. This is because the
contrast lining must completely cover
the pleats so that none of the drapery
lining will show when the valance is
pleated. At the same time, the seams
in the face fabric must be hidden
inside the pleats.
5. Fold the valance in half and find
the center. With a disappearing
marker draw the shape desired as
shown in the illustration. Use the
valance as a pattern to cut the lining
to shape.
8 Copyright © 2003 SewWHAT? Magazine
6. Lay the face fabric on the interlining face up with the interlining
railroaded. Lift up the fabric and
spray with a temporary adhesive.
Smooth and adhere the face fabric to
the interlining. Cut out the interlining. Trim the interlining out of the
corners to reduce bulk.
7. Cut 1.5" bias strips from a solid
fabric to cover " cording, to go
around the lower edge of the valance
and cascades. This example takes
about 4 yards. Cover the cording.
Sew to the interlined face fabric.
Place the face fabric and the lining
right sides together. Sew together,
leaving an opening for turning at the
top board edge. Grade the seam
8. Turn the valance and press. Drop
in drapery weights, which will fall to
the bottom of each cascade. Close
the opening with iron-on tape.
Window Treatment Design Contest Entry
Crewel Scalloped Valance With Banded Panels
By Diane Preston and Gretchen Johnson
9. Cut 2" bias strips of the contrast
check fabric to make 4 yards and
sew together. Press the seams open
and then fold in half and press to
make a 1" band. Serge the cut
edge. Use fringe adhesive to adhere
the contrast band to the underside
of the fringe, allowing about ¼" to
show above the fringe header. Press
with a hot iron to set the glue.
10. Use fringe adhesive to adhere
banding/fringe to the lower edge of
the valance. When the cascades fold
back, the sewn-in cording will seem
to finish the back side of the fringe.
11. Cut a 1" x 4" board 30" long.
Cover with lining.
12. Find the center of the valance
and mark the pleats with a disappearing marker. Fold in the half
pleats at each end of the board. Lay
the valance on the table with the
back edge towards you. Slide the
board under the valance and allow
the back edge of the valance to lay
on the back edge of the board.
Check the pleats. If there is too
much bulk where the pleats lie,
build up the center section with
interlining. Staple in place. Cover
the staples with gimp.
13. Place the valance on a dressing
stand and dress the cascades. You
will probably need to pin or tack
them until they are trained.
Diane Preston and Gretchen Johnson worked together to design this window
treatment. They were challenged to create two sets of window treatments from
only two yards of German hand-sewn crewel and 13 yards of yellow and white
four-inch checked fabric. They wanted to feature the limited amount of crewel in
the best way possible and use the checked fabric creatively.
Two scalloped sections of crewel were used on the front of each valance, on the
returns, and in the kick pleats. The yellow and white checked material was placed
on the bias to form a strip between each scallop and kick pleat. Red cording was
used to bring out the red in the embroidered flowers and to set apart each individual section of the valance. The trim for the bottom of the valance was made by
stitching a yellow tassel fringe just below the top edge of a flat red fringe. The two
trim colors complimented the treatment perfectly. The panels feature a bias band of
plaid surrounded by red cording placed on each leading edge, which compliments
the valance.
As a result of using as little of the crewel fabric in the valance as possible, there was
enough left over to make a toss pillow for each chiar. This enhanced the room and
tied the pillows and window treatments together into an attractive overall theme.
Jodi Stanford is the owner
of Jodi’s Window Fashions,
a home-based custom home
furnishings business in
Bartlett, TN. Her primary
focus is fabrication of
custom window treatments
but she also offers design
services, bedding and accessories, and
custom blinds, shutters, and shades.
The bold mix of colors in this room evokes much joy and cheer and is surprisingly
successful. Diane and Gretchen were thrilled with the overall result of the project.
Diane Preston owns Diane’s
Interior Creations in Murfreesboro,
TN. She specializes in custom
window treatments, bedding, and
fabric accessories. She a member of
the Professional Design Association
of Middle Tennessee.
Gretchen Johnson owns Gretchen
Johnson Interiors. She specializes in
room makeovers that create a new
ambiance with minimal investment.
She uses the art of creative placement
to use what the client already has to
create a unique look.
Copyright © 2003 SewWHAT? Magazine
"Partial Undergarment" Slipcovers
By Karen Erickson
the chaise had a slight
curve, and when the
slipcover was laid over
the batting, there were
several wrinkles that
would not smooth out
easily. But I continued
with this idea, and
sewed together two
pieces of batting, to
make a cap to slide over
the inside and outside
back. When the
slipcover was placed
over the dacron batting,
the slipcover seemed to
puff up. It was too
cushy, even with the
thinnest layer of batting. Scrap idea #1.
n November 2002, I was called
to do a slipcover job for a
wonderful chaise lounge with a
button-tufted, channel inside back.
The customer did not want the
indentions of the buttons, nor the
channel back, to show through the
natural canvas washable slipcover.
What were we going to do?
I explained to the customer that it
was possible to smooth out the area
that she was concerned about by
making a partial undergarment. I
would experiment and come up with
the best option.
Idea #2: Use
polycotton muslin.
Muslin is one of my favorite fabrics
for making undergarments. The
muslin grips to many different types
of furniture fabrics and helps to
smooth out the under-surface that
the slipcover lies on. I laid the
muslin over the inside back, clipped
it into shape, making sure to leave
enough to tuck in where the inside
back and inside deck meet. A back
piece was sewn to the front piece, to
make a cap to slide over the back, as
in the first undergarment. The
seams were serged to ½", with the
seams facing out.
I came up with four ideas for an
undergarment, and presented each of
the ideas to the customer. The
customer was charged for one hour
of extra work and all materials that
were used in the experimentation to
determine the best undergarment.
Idea #1: Use a thin layer of
Dacron batting. In past projects I
have used thin layers of dacron
batting to cover over the inside back
of a tufted chair. The inside back of
10 Copyright © 2003 SewWHAT? Magazine
I slipped the polycotton undergarment onto the chaise, and then
placed the slipcover over this. The
tufted button indentions could not
be seen, but the channels in the back
were still apparent. Scrap idea #2.
Idea #3: Add bump to the muslin. What if I put something under
the polycotton muslin to smooth
things out? I had some bump
interlining left over from another
project. I cut the bump interlining to
shape, pinned it to the inside back of
the chaise, and then slipped the
polycotton cap over the back of the
chair. Next, I put the slipcover on.
Well, this looked super, but when we
sat in the chaise and got back up the
bump moved under the polycotton
muslin. Scrap idea #3.
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New Moreland Valance from
M’Fay Patterns
This window
treatment design
was inspired by
one of the old
masters of the 19th
century, F.A.
Moreland. The flat
valance hangs from
the rod with rings.
It drapes long on
one side with a
deep tapered pleat.
The other end
attaches to the top
of the pole with
the softness of three shallow pleats. The separate
rosette placed at the top gives the appearance that the
valance is tied to the pole. The short jabot is made and
attached separately to the back of the pole, behind the
valance pleats. Three styles to choose from: #9265:
10" to 16" depth, #9266: 16" to 22" depth, #9267:
24" to 30" depth.
For mor
moree information, phone 704-847-1464.
January 2003 -------------- Let Them Know You Saw Their Ad in the SewWHAT? Magazine! ----------------
(Remove this section and keep for a permanent reference)
Creative Treatments LLC
4003 Perry Hall Road • Perry Hall, MD 21128
Phone: 410-529-0342 • Fax: 410-529-4590
email: [email protected] • website: www.creativetreatments.com
Specializing In Unique Brass, Wrought Iron, Wood & Resin Drapery Hardware
Distributors for:
The Finial Co: Decorative Wood & Wrought Iron Poles.
Creative Design International: Acanthus, Empire, Western Wood, Wood Poles
from 3/4" to 3" Wood Traverse Poles, Decorative Finials, Resina & J.L.Anthony.
Crowder Designs: Decorative Molded Finials, Poles, Rings, & Brackets.
D’Kei Trims: Imported from Germany. Decorative: Nail Heads.
Award Trims & Fabrics: Decorative Trims & Fabrics.
Ona: Wrought Iron Hardware, 5/8” To 1-1/2” Poles 100 Finials 30 Standard Colors.
Made In U.S.A.
Busche: Brass Drapery Hardware & Hold Backs, Rosettes & String Sets.
Representatives for:
Creative Fabrics: Fabrics & Linings.
H.T.Barnes: Conso Trims, Claesson Hardware, Kirsch Hardware, Pillow Forms, Van
Lathem Trims, Raymond Waites Drapery Hardware and All Products By Kirsch.
4 ----------------- Let Them Know You Saw Their Ad in the SewWHAT? Magazine! -------------- January 2003
(Remove this section and keep for a permanent reference)
(Used by Amy Burton and
Other Instructors at the Custom
Home Furnishings Trade School.)
Decimals - Fractions to 1/64th inch
Yards, Feet, Inch, Metric
Other W/R Related Items:
Rollease - Clotilde
Doris C. Graham S.S.
Pearl, MS 39208 • Tel 601-939-9948
Fax 601-932-0055 Email: [email protected]
January 2003 -------------- Let Them Know You Saw Their Ad in the SewWHAT? Magazine! ----------------
(Remove this section and keep for a permanent reference)
6 ----------------- Let Them Know You Saw Their Ad in the SewWHAT? Magazine! -------------- January 2003
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7 --------------- Let Them Know You Saw Their Ad in the 5AMWHAT? Magazine! ----------- January 2003
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8 ----------------- Let Them Know You Saw Their Ad in the SewWHAT? Magazine! -------------- January 2003
Idea #4: Use Bump alone. What
if I tried the bump interlining alone?
The piece that I had originally cut
was too small, but just to see if it
would work, I pinned it in place
with T-pins and slipped on the
canvas slipcover. Wow it looked
great, and it stayed in place when
the slipcover was on top of it. The
bump gripped the chaise really well.
Taking everything off the chaise once
more, I then laid two pieces of bump
onto the inside back. I cut this larger
than the original, allowing for tuckins, and lapping over the top to the
outside back, so the undergarment
could be pinned into place. Satisfied
with the cut size, the edges were
then serged together as a finish.
Undergarment lapping over edges
and pinned in place with T- pins.
Undergarment lapping over the top
to the outside back, and pinned in
place with T-pins.
Decorative Pillow Contest Entry
Triangle Overlay
By Anita Stuckey
½ yd of 3 different fabrics
3 yds of trim (I used beaded trim.)
1½ yd of bullion or other trim for
actual pillow (I used 3" bullion trim.)
1. Cut two 17" x 17" triangles of each
fabric. Taper the points so that they do
not "dog-ear".
2. Sew together the main pillow, using
two fabrics alike, sewing trim in the
3. Turn, press, stuff with polyfil, and
sew shut.
4. Take one of each of the remaining
triangle fabrics and sew together with
trim in the seam.
5. Do the same on the remaining set.
Turn these two triangles right side out
and put a piece of batting, cut to size,
inside each. Sew shut.
6. Lay the one batted
triangle right side down, lay
the pillow on top of this,
staggering the points. Lay
the remaining batted
triangle on top, right side
up, matching the points
with the bottom layer.
7. Tack the top and the
bottom together, 2" in from
the point, with a tag gun.
8. Cover six buttons from
the pillow fabric and sew
where the tacks are on both
sides of the top & bottom layers.
9. Cover six more buttons using one or
both of the other two fabrics. Sew onto
the points of the pillow.
Anita Stuckey is the owner of
Window Watchers, in Fort Wayne,
IN. She is an experienced workroom/window treatment and
accessories specialist who works with
several designers, as well as retail
clients who use her design services.
Copyright © 2003 SewWHAT? Magazine
Trims, Part I
by Jo Woodworth
rimmings–cord, braids, tapes, fringes, piping–
were extremely important to the appearance of
furniture and hangings during the 17th, 18th and
early 19th centuries. “Fancy goods” or “narrow goods”
(as trims were variously called then) were often the
most expensive component of an upholstery job.
In the 17th century there were five major groups of
trims: cord, gimp, woven tape, fringe, and piping.
Master trimming makers used intricate looms designed
especially for different types of trim, along with com-
plex arrangements of wheels and bobbins. Tedious hand
work was done by women working at low wages as piece
workers. Early in the 20th century, the interest in decorative trimmings declined to the point that their use could
be described as taboo.
Now we are seeing the resurgence of beautiful trimmings
to achieve a complementary relationship between covering materials and decorative finishes. Passementeries, as
fine trims are called today, are both functional and
decorative. Many different fibers, styles, and price ranges
Types of Trims
Sketch D—Ball Fringe
There are many types of fringe. They are
generally a narrow or woven textile
consisting of a heading and an attached
skirt. The heading, which is usually ¼" to
1½" wide, looks like a braid or a gimp. The
yarns in the skirt can hang loose as in a cut
fringe, twisted (as in a bullion), or looped.
This ball fringe is called pom-pom fringe.
Sketch A—Fringe
Sketch E—Ball Fringe
Sketch H—Netted Tassel Fringe
For this fringe, the yarns from the heading
are crisscrossed and knotted to form a netted
skirt that gives it a trellis look. Netted tassel
fringes are usually 2½" to 4" wide, however,
some are made wider. They were historically
used as hangings for canopy beds.
Sketch I—Bullion Fringe
This fringe has a skirt decorated with wood
molds attached to a series of braided or
crisscrossed cords. The wood molds are
shaped into ovals, balls, or other curvilinear
shapes and covered with fine threads or
yarns, preferably silk.
This particular ball fringe is called onion
Sketch F—Tassel Fringe
Sketch B—Fringe
This is another type of ornamental fringe,
which consists of a simple header and a
single row of beads. The beads can be wood,
glass, ceramic, clay, or crystal, all of which
are readily available.
This is a typical example of a tassel fringe
with a header that resembles gimp, and a
skirt made of small tassels. The French called
it Campaign fringe, meaning bell or bell-like.
Sketch C—Glass Bead Fringe
Sketch G—Fan or Scalloped
Edged Tassel Fringe.
Yarns or cords that extend down from a plain
header knot together one or more glass
The header for this fringe has a looped
scalloped edge with tassels hung between
the scallops.
12 Copyright © 2003 SewWHAT? Magazine
This bullion fringe is made with cords rather
than yarns. The heading can be plain or have
a rolled top, which is also called a cord. Each
cord used in the skirt is looped at the bottom
and twisted together with itself. The cords
are generally " to ½" in diameter and 2½"
to 12" long. Shorter lengths of bullion fringe
are used on swags, jabots, cascades, and
draperies. Bullion fringe measuring 6" to 12"
can be used as a skirt on furniture.
Sketch J—Moss Fringe
This is a combination of looped and cut
yarns. It is available in a wide variety of yarn
types. Moss fringes are used for pillows,
cushions, table skirts, valances and the
edges of draperies.
are available today to enhance the beauty of window treatments and furnishings.
Many of them are so detailed that they can be considered small works of art.
Modernization has not simplified the complexity of making trims. It is no
wonder that trims can be very expensive. The skillful, subtle use of passementerie
provides the definition and detail that distinguish the finest interior designs.
The following sketches provide the correct names for the many types of trims
that are available today. Next month, I will share uses for these various trims. I
will include applying trims to draperies, valances, pillows, and bedding. I will
cover the dos and don’ts for using different fibers, tips on how to use small
amounts to make great pillows, and more.
Sketch K—Looped Moss
This fringe is similar to the cut moss fringe
except that the yarns at the base of the skirt
are looped back up to the heading.
Sketch L—Cut Moss Fringe
Sketch M—Flat Braid or
These trims are usually woven in satin, tabby
or twill weaves, and generally have geometric
or floral designs.
Looking for
fabrication instructions
and timesaving tips?
They probably already
were in past issues of
Sketch O—Gimp
Gimps are flat, narrow, woven textiles, "
to ½" in width, made in many styles. One or
both edges of the gimp can be plain, cut or
have scalloped loops. They are most
commonly used to cover upholstery tacks
on wood framed furniture. They can also be
used on screens, pillows and lamp shades
for a finished edge. This is an example of a
corded gimp; hand twisted cord sewn onto
a flat gimp.
Sketch P—Cord
This fringe is 1" to 2" wide, with a plain, woven
heading and a very full skirt. The loops have
been cut. Some extra-full moss fringes come
with two layers.
What are
you missing?
Consisting of plied yarns that have been
twisted together, the diameter of the cord
" to 1". This is an example
can range from
of cord that has a flange or tape attached so
that it can be inserted in the seams of pillows
and cushions. It is commonly know as cord
with "lip." It can also be used for drapery,
valances, table skirts, etc. It is often used
in place of fabric welting.
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Sketch Q—Rope
Sketch N - Braid
When the diameter exceeds 1", a cord may
be known as a rope.
Braids or galloons are flat, narrow, woven
textiles, " to about 4" in width, made in
various patterns. The edges of a braid or
galloon can be cut, looped, straight or
scalloped. Narrow braids are used to cover
staples and nails on wall upholstery and
furniture. Wider braids are used to apply to
edges of drapery, to skirts of furniture, table
skirts, pillows, valances, and bed linens.
This example is called a scalloped, fan, or
shell-shaped flat braid.
Jo Woodworth is a
professional speaker
and licensed designer
with degrees in both
Design and Education. She owns a
drapery workroom
and is founder and instructor of the
Academic School for Interior Design.
Copyright © 2003 SewWHAT? Magazine
Creating Window Treatments From Photos - Part 1
The Five Basic Styles
By Margie Nance
ne frequently asked question heard in the
workroom is “can you make a treatment from
a magazine?” Your first thought might be “of
course I can, I do this all the time,” but as you begin to
look at the magazine clipping, doubts may start to
creep in. What happens when there isn't a commercial
pattern available for that treatment? The design has to
be created from scratch, sometimes taking many hours
of trial and error to get it to "look" like the photo.
By following the guidelines in this series, you will
discover that all window treatments consist of a combination of three elements: the basic style, the components, and the embellishments. Some treatments may
not have all three elements but there will always be a
basic style that makes up the base of a window treatment.
After studying pattern pieces over the last ten years, I
discovered one thing that has helped tremendously in
recreating a window treatment from a photo. There
are only five basic styles of treatments: flat, gathered, box pleat, pinch pleat, and swags. I know there
are books out there that show hundreds of window
treatment designs, but they all started from one of
these five basic styles or combinations of styles. Once
the basic design is identified, the rest of the window
treatment can be broken down into the other two
elements, components, and embellishments.
A component is an element that is placed over, under,
or attached to the basic window treatment style. The
major components are cascades, jabots, pelmits, and
horns. Embellishments are all those little extras that
really customize the design, creating a unique look.
Embellishments include trimmings, decorative stitching, cording, banding, ruffles, buttons, knots, rosettes,
This first in a series of articles will explain the five basic
styles and give examples of each one.
Flat styles are treatments that do not have fullness.
Soft cornices, hard cornices, or overlapping triangles are
examples of flat treatments. They are the simplest to
Gathered styles have fullness. They can be created
with a randomly gathered fullness or exact, uniform
tucks. Gathers can be created across the top of the
treatment and can also go down the sides of a treatment, like a balloon or Austrian shade.
Box Pleat styles also have fullness, but the fullness is
folded into flat pleats. Box pleats lie on the front of the
treatment. Inverted box pleats lie on the back of the
treatment. Box pleats can be placed side by side or
spread apart with spacing between.
14 Copyright © 2003 SewWHAT? Magazine
Pinch Pleat styles have fullness stitched on the front
side of the treatment. They can be placed close together or spread far apart. There are a wide variety of
types of pinch pleats, such as goblets, French, Euro, and
Swag styles are identified by their unique U-shaped
curved folds. The folds can be pleated or gathered and
can be placed over the top of the treatment like an
Empire or down the sides like a Kingston.
The next time you go through your collection of
magazine clippings, start identifying which basic style
or styles are in each photo. The more you practice this
analysis process, the faster and more natural it becomes.
Over the next few months, I will be discussing the
elements of components and embellishments. I will be
giving tips on how to recreate any window treatment
Editor's Note:
For terrific hands-on instruction on creating patterns from
photos, attend Margie Nance's "Creating Custom Patterns" class at the Custom Home Furnsishings Trade School.
Margie Nance owned her own successful
workroom with several employees for ten
years. She now owns Drapery Patterns by
Margie Nance, designing a line of
detailed patterns and custom-designed
patterns. Margie is the instructor for the
"Creating Custom Patterns 101" and "Window Treatment Fabrication 103" classes at the Custom Home
Furnishings Trade School. Margie also teaches the onlocation "Artistic Adventure" classes and organizes the
instructors for the Custom Home Furnishings Educational Conference.
Creating Custom Patterns 101 Class:
In this 2-day class, with just a few simple tools and basic tricks-of-thetrade, you will acquire the knowledge to create your very own custom
window treatment patterns from photographs. Seasoned instructor
Margie Nance will walk you through all the steps on how to make
custom patterns from any source, including magazine photos and
client sketches. Each student will choose one sample photograph—
basic to advanced—to use while learning hands-on how to trace the
photo, dissect the components, create a pattern and then actually
make the window treatment! For additional training, attendees are
encouraged to bring their own photographs and magazine pictures to
analyze during an open discussion period.
The Custom Home Furnishings Trade School
180 Buckeye Access Road, Swannanoa, NC
800-222-1415 828-686-3185
The Five Basic Styles
Copyright © 2003 SewWHAT? Magazine
Upholstery of a Vintage Camel-Back Sofa
By Anita Boetsma
Vintage furniture can be a challenge
for the upholsterer. Older pieces are
often very well built and well worth
saving. Sometimes there are hidden
problems with frames and supports
that will need to be addressed. This
old sofa had two broken arms and was
fairly shaky but the wonderful ball and
claw feet and carved trim work were
too special to pass up. A guesstimate
of the age of the piece placed it in the
1920’s. It had been re-upholstered at
least once.
During the tear-down process we
found many broken pieces on both
arms, and the basic frame needed new
structural supports in the back. Putting
each of the small broken pieces of arm
framing back together in the correct
order was like assembling a threedimensional puzzle. The smaller pieces
had to be
cleaned, glued
and clamped
before the next
stage of assembly could begin.
As the larger
pieces were
screws were used to anchor the glue.
It is extremely important to completely remove all old adhesive from
loose joints before new wood glue is
applied. The old and new adhesives
will not interact well together, and the
piece will not hold. The assembly
process could not be rushed; each
segment had to cure completely before
being used. Finally we reinforced the
entire frame unit by taking all loose
joints apart, cleaning the dowels and
sockets, re-gluing and clamping the
corners. Some repaired areas were
with "
wood glued
and stapled
in place.
We added
larger corner
blocks in the
seat base and new corner blocks in the
back. With the additional corner
supports the rebuilt frame was actually
stronger than when it was originally
Cardboard had been used to cover the
inside of the curved arm sections. The
cardboard was discarded and jute
used to
area of
Next we stapled burlap over both
spring units and inside arms.
The finished areas of wood on this sofa
had gouges, scratches and worn spots.
Epoxy mixed with powdered stain was
used to fill the deep gouges. Once
cured, the excess was sanded away.
Stain powder was applied to the
lightly sanded, scratched and worn
areas. Spray lacquer was applied in
several coats and allowed to dry. Some
areas needed additional applications of
both stain and lacquer.
The spring units were originally tied in
an inadequate four-way method and
had loosened from each other, and in
some places, the frame. While the
springs were in good condition, they
needed to be retied completely, in
both the seat and the back. We re-tied
the spring units with an eight-way
pattern, securing the springs firmly to
each other and to the frame.
16 Copyright © 2003 SewWHAT? Magazine
Large jute edge roll was sewn to the
front of the seat spring and small jute
edge roll was stapled to the curved
inside edge of the arm frame. Finally
the sofa was ready for upholstery!
Beginning with the fabric layout, the
pattern was carefully centered in the
middle cushion. Pattern placement on
the side cushions was matched to the
center. An interesting note: the center
cushion is wider than the side cushions
to correspond with the center section
of the inside back. In order for the
cushions to be turned, one of the two
matched top sections cut for the left
cushion must be sewn to the bottom
of the right cushion and vice versa. So,
not only can the cushions be turned
over, they must be switched from side
to side to maintain pattern match
across the seat. The seat cushions were
spring units and, again, were in fairly
good condition. We discarded the
soiled top layer of padding and applied
fresh cotton to add softness. The
cushions were constructed with long
zippers extending approximately 6"
toward the front of the boxing to
Equipment Focus
Upholstery Starter Kit
make stuffing the cushions easier.
Spring units can be difficult to
insert into covers.
Using the center cushion as a
pattern guide, we cut the gusset
section so that the pattern matched
from the boxing to the gusset. The
gusset section was sewn to the
stretchable decking fabric. The
decking and gusset were hand-sewn
to the burlap-covered spring base.
Padding was added to the front and
seat area. The fabric was stretched
and stapled in place along the carved
wood front and the bottom of the
Some of the original sphagnum
moss padding was replaced and
tacked into position with large
stitches using button twine. Fresh
sheets of cotton were layered over
the moss. Again, using the center
cushion as a pattern guide, the
inside back fabric was positioned,
stretched, and stapled into place.
The top corner sections of fabric
were left unfastened until the inside
arms were complete.
Original inner layers of inside arm
padding were positioned and
covered with a fresh layer of cotton.
Fabric panels were then positioned.
Wide pieces of fabric were used to
allow the fabric to wrap the front
“keyhole” area of the arm with crisp
pleats. Welt cord was applied
underneath the arm from front to
back and down the curved front
edge. Fabric panels were fastened
using cardboard tacking strip along
the top edge only. Fabric was then
tacked in place along the bottom
edge and stretched forward to the
curved front welt cord. Excess fabric
was trimmed away from the curve and
fabric was tacked in place with t-pins.
Fabric was
secured by
hand slipstitching
using a
The back
was tacked in place last, to pull out
any slack in fabric.
The fabric left loose on the inside back
corners was then positioned over the
completed inside arm areas and tacked
in place. Next welt cord was fastened
to the outer edge along the top and
sides of the outside back using cardboard stripping. Lining fabric was
stretched across the outside back to
create a firm base for the back padding. Padding and fabric were then
positioned within the welt cord
“frame.” Outer fabric was trimmed
and pinned in place using T-pins. Back
fabric was slip-stitched into place.
Excess slack was pulled downward and
the fabric was stapled under the
bottom edge of the sofa frame. The
final step in finishing this fabulous
vintage sofa was to carefully trim the
fabric along the carved wood trim on
the front and sides and apply double
welt cord to hide the staples. Ready
for delivery…a vintage gem.
Now it's easier than ever!
Add lucrative upholstery services to
your window covering business with
this “intermediate” starter tool kit.
Everything you need to get
Tack Hammer
Staple Lifter
Web Stretcher
Ripping Chisel
Taylor Chalk
3" Upholstery Pins
Set of 4 Curved Needles
8" Needle
8" Regulator
10" Upholstery Shears
Instructional Booklet
(Item # S-168)
Anita Boetsma is a
designer who owns
and operates a
full-time design
center and
funiture store with her husband
on the shores of Lake Maxinkukee
in Culver, Indiana.
Custom Home Furnishings Store
180 Buckeye Access Road
Swannanoa, NC 28778
Copyright © 2003 SewWHAT? Magazine
Looking Up
Praise and Prayer…A to Z
By Anita Boetsma
ome time ago I took a course on prayer. One
of the requirements of the course was to
spend an hour a day with God. That hour was
so long…what could I possibly say to GOD for a
WHOLE HOUR? One day as I struggled to find
things to pray about it came to me…this should be
as easy as ABC! Since that day, when I need to
jump start my prayer life, I thank God for who he is
from A to Z and then I pray for someone or something from A to Z. I hope this helps inspire your
praise and prayer.
Abba, my Father
Bible, my guide
Everlasting life
Faith to move mountains
Almighty God
Holy, Holy, Holy
Infinite wisdom
King of Kings
Lord of Lords, Lover of my soul
Never far away
Alpha and Omega
Prince of Peace
Quick to forgive
Righteousness, my gift
Saviour of my soul
Teacher of all truth
Unlimited love
Victory over fear
Wonderful and wise
The Cross of Calvary
Zookeeper of this crazy world!
"The effective, fervent prayer of a righteous man avails much"
~ James 5:16
18 Copyright © 2003 SewWHAT? Magazine
• Wanted: Experienced workroom Manager. Fastgrowing, high-end furniture and window covering
company with eleven stores, is seeking a motivated, responsible manager for its workroom in
Sterling, VA. Salary depending on experience. For
more information, call Cheryl Strickland at 828686-3185. (Cheryl is their consultant.)
• For Sale: Retail business. Over 100 wallpaper
books and 2 bookcases to hold them. Seabrook,
Sunworthy, Imperial, Brewster. 22 Conso trim
cards. D50 Dofix w/ceiling track. 12' x 5' table,
padded, gridded. Bernina 950 industrial machine.
Full line of Kasmir, RM Coco sample books. All
poles and set-up to hang fabric bolts. All workroom supplies. 2 border racks with borders and 9
cases of sidewall wallpaper. All pillow form stock.
$11,000 for all. Must sell together, will not
separate. E-mail: [email protected] for more
• For Sale: Many 16" x 16" and 18" x 18" cushion
covers for sale. Multiple colors and patterns. Very
beautiful pieces. Price, $7.99 each and up. See
details at www.curtainhouse.com.
• For Sale: Maxant Miracle Buttons for covering.
Size 1 " and 1½" buttons, push on, no prongs.
Great prices. Contact Michelle Stender, Sew
What’s New, [email protected]
• For Sale: Dofix D25 Iron with teflon shoe. Track
package, including bow, balancer and boiler wall
mount. $1,100 (includes shipping) OBO. Contact
Pat at J & J Design Workroom, 952-894-2142.
• For Sale: Singer walking foot, Model 111/153,
with table, motor, accessories. Excellent for heavy
upholstery work, including leather and naugahyde.
$450. Cape Cod, Massachusetts, 508-833-2211.
• For Sale: Lavelle Pinders Homeowners Guilde to
Purchasing Custom Window Coverings. Very
informative and helpful. Excellent condition. $20.
E-mail [email protected] for more information.
• For Sale: One new Hunter Douglas Silhouette
Shade, color Misty Almond. Top of the line
window treatment suitabe for inside or outside
mount. Size, 94.25" x 57.75". Retail price,
$1,373.00. Selling price, $550.00. Photo available
upon request. Please email me at
[email protected]
Classifieds Policy: SewWHAT? will list your products,
services, or needs free of charge. Listings will run for one issue
and can be repeated at the request of the submitter.
Call 888-4SEWWHAT or 828-686-3185
fax 828-686-3186, or email: [email protected]
2002 Educational Conference Videos
Item #V02-5d/6d Growing Your Business
to the Next Step
Item #V02-5i/6i Running an Upholstery
with Sally Tucker ........................ 3 hrs
with Steve Cone ......................... 3 hrs
This class will provide practical information and
creative approaches that will attract more clients
who will pay you what you are worth. Sales
strategies, techniques to become a better “closer”,
setting realistic business goals, working a business
plan that generates repeat and referral business.
In this detailed class “Upholstery Guru”, Steve
Cone, will walk you through all of the typical
situations that a small upholstery business has to
deal with, including how to get started, how to find
a customer base, how to track customers, how to
give an estimate that you get the results you are
looking for, how to make more money with your
estimates, how to build your client base and how to
keep them. This class will even cover how to deal
with too many customers!
Item #V02-5e Marketing Tools for Your
with Patty Pedersen .................. 1½ hrs
Drawing from her own marketing experiences,
Patty will provide the information you need to
design marketing materials and show you how to
develop a logo, business cards, stationary and much
Item #V02-5f Feng Shui Window Treatments
with Jo Woodworth ............... 1½ hrs
Ch’i, the energy force that is all around us,
when directed in the right path, can bring harmony
and well-being into our lives. This Ch’i can be
directed by simple placement of objects in a room
or in our home in general. Feng Shui is based on
using various existing knowledge to choose,
construct, or create the most suitable living and
working conditions that can be. Bring more peace
and harmony in your life.
Item #V02-5g Slipcover Skirts
with Karen Erickson ................ 1½ hrs
Explore the many skirt possibilities when
making slipcovers. The sky is the limit. Review of
the basics and then on to exciting options. Power
point presentation of skirts, and samples will be
Item #V02-5h/6h Building a Chair, Part I
with Anita Boetsma .................... 3 hrs
Start with a bare frame and build a high-quality
upholstered piece. The first class in this series will
cover "bare frame" to "ready for finish fabric." Learn
base and spring systems and how to hand-tie springs
to create a sturdy base. Learn how to “break” the
springs for comfort and types of padding. Learn to
evaluate frames to determine the best finishing
NOTE: These videos of live seminar
presentations were not professionally
filmed and are being sold for
educational content only.
Item #V02-5k/6k Tricks to Making
Unique Treatments
with Ori Katzin .......................... 3 hrs
In this new class, Ori will share, in great detail,
some of his techniques and methods of creating
unique window treatments that are based on basic
styles. The class will also feature some of Ori’s
solutions to specific challenging situations where no
ordinary window treatment will do. The presentation will include: 50 window treatments throughout
the classroom, digital video and photo slideshow,
color printed handouts and more.
Item #V02-6a Drapery Panel Headings
with Ginny Conner ................. 1½ hrs
Fabric is in. Draperies are in. But if you are
looking for something a little different than the
familiar pinch-pleated heading this seminar is a
must. You will see over one dozen actual samples of
stylish headers for side panels and traversing
draperies. You will also learn how to fabricate these
beautiful headers. Increasing your choice of header
styles will enable you to better enhance the beauty of
the fabric, complement the style of the room as well
as match the taste and budget of your customer.
Item #V02-6b Calculating Yardages
and Trade
Class Videos
By phone:
or 828-686-3185
By mail:
180 Buckeye Access Rd.
Swannanoa, NC 28778
By Fax:
with Ann Neel ......................... 1½ hrs
Do you “quesstimate” how much fabric or trim
is needed and then get caught short? Do pattern
repeats make you light-headed? You didn’t get into
this business to do math, but your’re stuck with it
and cringing at any numbers without dollar signs in
front. Come learn the basics of how to calculate
fabric and trim yardages from a math whiz. Ann
teaches you how to calculate everything on the spot
and wrap up the sale in one visit. You will learn how
to figure the number of widths and cut lengths, how
pattern repeats affect the calculations, and how to
calculate with 118" wide fabric.
1½-hour videos are
3-hour videos are
* For a complete list of all 165 Conference videos,
visit the SewWhatMagazine.com website
or request a catalog at 888-4SewWhat or 828-686-3185.
Copyright © 2003 SewWHAT? Magazine