Volume 14 issue 3 by Drapery & Design PROFESSIONAL Magazine

Dr apery & Design

PR OFES SIONAL

Volume 2014, Issue 3

Cover Story: Pate-Meadows

Sew In Sync

Cushion Carryall Figuring

Roll Pleats

Drapery & Design Professional Volume 2014, Issue 3 S e r v i n g t he Home Fa s hion Indu str y s i nce 199 3

Drapery & Design Professional

Volume 2014, Issue 3

From the

Publisher Have you heard the news? CHF Academy has a new location and a new name. We are now located in Roswell, Georgia, just outside of Atlanta and have a charming, plantation-style building with a wrap-around porch. Our new home will be the headquarters for both the Academy and the publishing house. Being in the Atlanta area opens CHF up for greater student access, and transportation is convenient from anywhere in the world. Atlanta has one of the largest hubs in the USA and many cities have direct flights several times a day. Whether it’s trains, planes or automobiles, you’ll find an easy path to get here and begin your education with the only school of it’s kind in the world. Since we are now settling in our new home, we are ready to grow. CHF Academy will now be known as the CHF Academy of Design. This name change is just the beginning and will open new opportunities for educational experiences for both alumni and new students. We won’t be ready to roll out the new classes till next year, but you will notice lots of new and exciting changes about to take place over the coming months.

Khiki Eke-Spiff Publisher, Drapery & Design Professional Magazine

We hope you will join us here in Roswell, and look forward to helping you grow your business as a home fashions professional. You can call Peggy at (980) 254-5385 to find out more about the classes and location. "

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Volume 2014, Issue 3

2014 D&D Professional

Editorial Board Connie Sikora has more than 20 years of experience in the soft furnishings industry as a sales and design consultant doing business in the Chicago area. She specializes exclusively in window treatment design for her own business, as well as Custom Decorators, the largest inhome window treatment consulting company in the country. Connie has served as executive director and instructor at CHF Academy of Design, was the managing editor of this trade publication, and served two terms as president of the Chicagoland chapter of WCAA.

Jill Robson, owner and creative director at Designs by Appointment, has an extensive background in the visual and textile arts and considers custom sewing for the home a facet of this field. As lead instructor for WT301 and WT401 Advanced Drapery Panels for CHF Academy of Design, education plays a significant role in her business (Jill also holds a teaching degree). She regularly attends business focused meetings, industry specific seminars and is a member of several trade associations, including: WCAA, D & D Pro Network, WFCP, and Drapery Pro. Jill feels strongly that education should be ongoing in order to stay aware of design trends, fabrication methods, new products and current industry developments.

Sandra VanSickle is an ardent entrepreneur, continuing education instructor, and life-long learner, with nearly 40 years of experience in the window fashion industry. Sandra’s newest “passions” are technology and social media. Using her technology “tools,” she is always looking for new ways to use mobile apps to optimize her business operations to increase her return on investment (ROI). She is the proud owner of Sew What’s New, a wholesale drapery workroom, and Cuddlebugs-n-Cocoons, an online, international retail business featuring her blanket and bedding designs.

Beuancha Jeffries, operates Sew Cozy Interiors, a custom drapery workroom in Snellville, Georgia. It has served retail/ wholesale clients since 2003. She holds an associate degree in Electronics from Devry. She is a Career Professional in Advanced Window Treatments and Bedding. She is a member of WCAA and Designer Workroom Council. Visit her website at www.sewcozyinteriors.net

Michele Williams is the owner of The Scarlet Thread LLC. She also runs a successful life and business coaching practice, offers business education around the country, and continues to offer window treatment design and fabrication services. Earlier in her career, Michele worked for Dun & Bradstreet Software as a development manager for financial applications. Michele serves on the WCAA National board of directors as president, and is a past president of the Atlanta WCAA chapter. She is also a member of the Designers’ Workroom Council in Atlanta, Georgia. Michele was formerly the communications director of the CHF Academy of Design and editor-in-chief for Drapery & Design Professional magazine. Check out her website at www.scarletthreadconsulting.com

Jo Moore has operated Jo’s Sewing Studio since 2004, but began specializing in home-décor fabrication in 2007. Before she took her business full time in 2005, she worked in magazine editorial for 13 years. She’s a WCAA Certified Window Treatment Workroom, a CHFAD Career Professional in Window Coverings and Cornices, was featured at the 2010 IWCE Alumni Showcase, made Cincinnati Magazine’s Best of the City 2010 list, and serves on WCAA’s Education Committee. This is her fifth year as copy editor for Drapery & Design Professional magazine.

Magazine Advisory Board Karen Barnes, Liz Hawkes, Greg Mohr, Judy Peters, Susan Scholl, Chrystal Younger

Drapery & Design Professional

Volume 2014, Issue 3

Drapery & Design PROFESSIONAL a publication of the

CHF Academy of Design Drapery & Design PROFESSIONAL is a bimonthly trade publication specifically for those who sell, design or create custom window treatments, upholstery, slipcovers and related services. Contributions from readers are welcomed. We look for articles that teach new techniques, inspire readers to tackle new projects, and inform readers of current trends in fabrication and design. To request submission guidelines or a media kit email editor@draperydesignmagazine.com

Table of contents

3. From the Publisher:

Have You Heard? - Khiki Eke-Spiff

6. From the Business Coach:

Are You My Customer? - Michele Williams

8. Outdoor Cushion Carryall Dawn Saunders 14. From Concept to Completion: Part Three - Fabricating Bed Coverlets - Donna Cash 20. My Day With Candice Olson Elizabeth Gerdes 27. Cover Story: Pate-Meadows Sew In Sync- Karen Callaway 32. WCAA Industry Partners: Your Membership Experience - Karen D. Groppe 33. From Clutter to Compact: Vendor Catalogs at your Fingertips - Sandra VanSickle 38. The Blurred Lines of Fashion and Interiors Judi Turner 42. Dating Your Decor Judy Soccio 46. Using Social Media for Your Dirty Work Roger Magalhaes 48. Making a Lambrequin With Swags and Cascades Rosa P. Harvan 52. Figuring Yardage for Roll-Pleat Draperies Anita Boetsma 54. Out of the Workroom Extreme Exercise - Jill Robson CHF Academy of Design 1025 Roswell Rd. Roswell, GA 30076 Phone: 980-254-5385 Drapery & Design Professional

Scan the QR code to receive your master index list. Volume 2014, Issue 3

Are You My

re You My Mother? by P.D. Eastman is a children’s classic. This book is the tale of a little bird that hatched while his mother is out looking for food. Thinking he is alone, he sets out to find his mother ― without the understanding that he is a baby bird. In the course of looking for his mother, he asks a kitten, a hen, a dog and a cow (just to name a few) whether any of them are his mother. As expected, they all say no ― leaving the little bird disappointed and not sure where he belongs. No worries, though, the book has a happy ending because the bird is placed back in his nest just in time (quite by accident) as the mother bird is returning home. He happily finds his mother after much trial and error. Have you ever felt like that little bird looking for your client? “Are you my client?” No. “Are you my client?” No. In a previous article “Who Are You?” (Volume 2014, Issue 1), we covered the topic of who you are in business. If that little bird had known he was a bird ― then he would have looked for a bird to be his mother … not a dog, a kitten or any other animal. A bird. If you’ve done the hard work of defining who you are in business, you will have a much better view of whom you’re looking for to be your client.

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By Michele Williams Alpharetta, Ga.

One of my favorite exercises to help define who my client is (and is not) is the “Velvet Rope Policy” described by Michael Port in his book Book Yourself Solid. This exercise goes through the process of helping you realize that not everyone is meant to work with you, nor you with them. Start by defining the characteristics of your ideal client. Consider a client or two you have worked with before whom, if you could, you would clone. What characteristics made them well suited for you? Often these characteristics are listed by my coaching clients and students: kind, respectful, interested in learning, quick to make decisions, can pay custom prices, on time for meetings, etc. Now, consider the clients who were terrible to work with. It doesn’t matter that these clients can pay you ― they cause your red flags to fly high. What characteristics do they have in common? Many list these: rude, not respectful of my time and talent, cheap, slow to pay, can’t make a decision, and argumentative. If you have not taken time to do a similar exercise, I highly recommend you stop and take some time this week to do it. This small exercise will be extremely beneficial to your happiness and success as you move forward by helping match you with clients who

are meant for you. You’ll get a quick view of the flags that may cause you angst if you continue the working relationship. The earlier in the process of working with a client that you are aware of potential issues, the better. Now, just because a client has a couple of items on the “flag” list doesn’t mean you cannot work with him. Some flags are pink in nature and just mean caution. Others may be deal breakers for you. Knowing what your deal breakers are before getting in too deeply will save you and the client from an unpleasant work experience. Recently I was at an interior design networking event. Some of the attendees were designers, of course, but some were magazine editors, vendors, workrooms and other creative artists. Each of them made mention in our round-table discussion that getting the right clients was very important. One of the vendors who creates custom furniture was bothered by the designers and decorators who constantly complained about having to give her information she needed to make their custom product. They always acted bothered and put out to be called and asked pesky things such as chair height or seat depth. Really? We all asked this custom furniture owner whether those designers/decorators were really her custom client if asking questions about how to perfectly make their product was so bothersome. Maybe not! Sometimes the easier question is this: Does it cost me more to keep Client X as a customer, or to let him go? If it costs you more in time, effort, and energy to maintain a client than the associated income he generates with your company ― it might be time to have a very frank discussion with yourself ― and to cull your client list. This is beneficial both for you and the customer. He can tell that you are not serving him with your best (attitude and product). Please note that it’s much easier to stop working with a potential client before you start than after. I get asked all the time how to cut a client loose (fire, get rid of, quit working with, etc.). Don’t be passive-aggressive, because it could lead to other issues. Don’t say, “I’m sorry, but I can’t fit your

project into my schedule.” This client might decide it’s worth waiting six months or, worse, could pass the word that you’re swamped (when you may not be). And don’t charge $750 for a $125 project. This person might just pay your overly inflated price, and then tell everyone else how insanely expensive you are. I prefer a straightforward ― yet kind ― approach. Before I tell you what that is, however, I need to remind you that you’ll need to stick to your guns. Don’t waffle. Don’t cushion the blow. Don’t make excuses. OK, here it is: “Ms. Client X, thank you for the opportunity to consider your project. At this time, The Scarlet Thread will have to decline this opportunity. We are not the company to meet your expectations within the given timeframe and budget. All the best as you find the right workroom/designer for this project.” Translation: “I am not willing to work with you for any amount in any amount of time.” Once you’ve said that, don’t say anything else. Let that statement stand. Again, the earlier in the project you can make this decision and get out ― the better for everybody involved. Extricating yourself from a terrible vendor/client relationship after working together for a while is much more difficult to do. In Book Yourself Solid, Michael Port asks himself this question, “Would I rather spend my days working with incredibly amazing, exciting, supercool, awesome people who are both clients and friends, or spend one more agonizing, excruciating minute working with barely tolerable clients who suck the life out of me?” Be honest. Ask yourself whether there are any clients you are not really serving well by working with them. If so, cut them loose. Free yourself. Identify who you are and who you are meant to work with ― then go find them. You will be much happier and satisfied in the long run! "

Michele Williams is the owner of The Scarlet Thread LLC. She also runs a successful life and business coaching practice, offers business education around the country, and continues to offer window treatment design and fabrication services. Earlier in her career, Michele worked for Dun & Bradstreet Software as a development manager for financial applications. Michele serves on the WCAA National board of directors as president, and is a past president of the Atlanta WCAA chapter. She is also a member of the Designers’ Workroom Council in Atlanta, Georgia. Michele was formerly the communications director of the Custom Home Furnishings Academy and editor-in-chief for Drapery & Design Professional magazine. Check out her website at http://www.scarletthreadconsulting.com.

Drapery & Design Professional

Volume 2014, Issue 3

Outdoor Cushion

Carryall By Dawn Saunders Smith Mountain Lake, Va.

live on a lake and I get frequent orders to make outdoor cushions. I was taught cushion making by Jeanelle Dech, Anita Boetsma and Leslie Fehling. I have perfected cushion making using a combination of all their techniques. I make cushions starting by cutting the foam with a kitchen electric knife. The fabricated cushions fit perfectly and I have many happy customers. There was something missing, however, so I decided a needed add-on was a way to carry and store the cushions â&#x20AC;Ś a cushion carryall. When my customers see it, they decide itâ&#x20AC;&#x2122;s a must-have to add to their order.

Part I: Measuring and Cutting Step 1 Tie together the cushions that will be stored and carried. Measure the length around three cushion sides; in my case, A=49 inches.

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Step 2 Measure the cushion seat width; B=20 inches.

Step 3 Measure three sides of the cushion edge; C=57 inches.

Step 4 Measure the cushion stack height; D=11½ inches.

Step 5 Make the following cuts: • A+1 inch x B+1 inch = 50x21 inches. The “1 inch” is for two ½-inch seam allowances. • C+1 inch x D+½+3 =58+14. The “½ inch” is for one seam allowance and the “3 inches” is for the closure overlap. Cut two of these. Note: If you are working with a stiff fabric, you may want to add ease allowance to A and C. It can be trimmed to fit in Step 19. • 6x11 inches for the handle • Two 24-inch straps. If covering straps, cut two 4x24-inch pieces to cover 1¼-inch webbing straps. • Hook and loop strips for closing the sides and top of the carryall. The hook piece should be measurement C. Cut two 6-inch lengths of loop for the sides and a 10-inch length of loop for the top. Cut a 5-inch length of hook and loop tape for the handle. If you live in an area where bugs hide out, you can use a zipper the length of C instead of a hook-and-loop closure. Drapery & Design Professional

Volume 2014, Issue 3

Part II: Assembly Step 6 Fold the two pieces CxD in half lengthwise with wrong sides together. Pin along the cut edge. Fold the piece for the handle (lower right corner of this photo) in half to form a square with right sides together. If making a strap cover, fold Â˝ inch over to the wrong side lengthwise on each 4x24-inch piece (top right of photo).

Step 7 Fold the two pieces CxD in half so the D sides meet (left), and cut a notch at the center on the raw edge. Fold AxB in half lengthwise (right) and notch each end at the fold. See the green flags in the photo.

Step 8 Sew the handle on three sides, leaving 1Â˝-2 inches open for turning. Turn and press the opening seam allowance under. Top stitch around all four sides.

Step 9 Stitch hook and loop tape on each handle end on opposite sides.

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Step 10 Sew hook and loop tape to the folded edge of the CxD pieces. The longer loop piece is centered on the CxD length. The shorter pieces are centered on what will be the carryall case side. Mine were centered at 9 inches from the D edge.

Step 11 If you’re covering webbing for the handle, line up one side of the webbing with the raw edge of the strap’s right side. Stitch, using a ½-inch seam allowance.

Step 12 Press the seam open.

Step 13 Wrap the cover around the strap. The long edge with the pressed fold should be in the strap center.

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Step 14 Stitch down the center at the fold edge.

Step 15 Fold the straps in half lengthwise. Stitch in half in the center approximately 7 inches.

Step 16 Stitch the handle to one of the straps along the handle center.

Step 17 Pin the handles to piece AxB along the right side of side B. Mine was placed at 3 inches from side A.

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Step 18 Attach the two CxD pieces to each other.

Step 19 Wrap AxB around the cushions (wrong side out), and pin CxD to it wrong side out. Match the notches. Trim one of the pieces (AxB or the two CxD) if one is too long relative to the other. Continue pin fitting the pieces wrong sides out, matching the notches, until itâ&#x20AC;&#x2122;s just right. Stitch along the pin line. Serge the seams. (Note: An alternative to pin-fitting is to sew the pieces together as if making a waterfall cushion (see article by Jeanelle Dech in Volume 2008, Issue 1.) If using this method, the dimensions of the pieces must match exactly. The pin fitting allows for trimming in case the pieces are not an exact match (similar to pin fitting a slipcover). "

Dawn Saunders, of Smith Mountain Lake, Virginia., started LakeWorks in 2009 after retiring from a corporate career. She holds an advanced degree in chemical engineering, and during her pre-retirement vacations, she attended CHF Academy of Design for several certifications. She also completed the interior design and the landscape design programs at the University of Richmond, and offers clients complete indoor/outdoor

Drapery & Design Professional

Volume 2014, Issue 3

Redecorating a Bedroom

By Donna Cash Flowery Branch, GA

From Concept

to Completion

uvet cover, comforter, coverlet, bedspread ...

Part Three: Fabricating Bed Coverlets

What’s the difference?

• •

•

A duvet cover is an envelope-style cover for a duvet insert. The duvet cover may be sewn on three sides with the forth side closed with snaps, buttons or a zipper. A comforter is a throw-style bedcover with bell-shaped corners at the foot of the bed and square corners at the head of the bed. The long point on a comforter is typically 3-4 inches below the mattress. When using a comforter, you’ll need a dust skirt and pillow shams to complete the bedding ensemble. The difference between coverlets and bedspreads is the finished length. Bedspreads are floor length, while coverlets have a finished length of 3-4 inches below the mattress. Coverlets and bedspreads are very similar and have many custom options available. Like comforters, they may have bell corners.

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•

Other corner options for both include: • split corners with gussets (a separate flap sewn to the underside of the covering used to cover the mattress and box springs); • boxed corners; • waterfall corners. • Coverlets and bedspreads may have pillow tucks or reverse shams. • Coverlets and bedspreads may have separate drops (a seam at the edge of the bed)

It’s very important to understand the above terms, especially when working with a designer. Making sure you understand and can explain the differences ensures you’re fabricating and selling what the end user is expecting.

As a workroom you may be responsible for a remake if proper communication was not used at the time of the sale.

Deep-pocket Mattress

Measure Twice … Proper measuring is the key to a well-fitted bedcover. Even though there are “standard” sizes for Twin, Full, Queen, King and California King mattresses, there are still variations among manufacturers. Furthermore, mattresses also come in a range of thicknesses (see the photos at right). It’s important to measure the bed with all the bedding that will be used under the custom bedding item to get proper measurements. For this article, I’ll show how to make a lightweight coverlet with split corners and gussets, separate side drops, and a flat welt detail at the edges of the bed. As this will be lightweight, there will be no fill ― just a cotton lining along with the face fabric. Start by measuring the bed to figure fabric cuts. The queen mattress shown here ― with all the bedcovers that will be used under the coverlet ― measures 59 inches wide x 79 inches from the head of the bed to the foot of the bed. The measurement from the top of the mattress to the long point for the coverlet is 12 inches. … Cut Once Next, figure your fabric cuts. Because the sides on the coverlet will be separate, our coverlet top cut will need to measure 60x80 inches. I also added 1 inch workroom allowance to the width and length to make the top cut 61x81 inches. Since the vertical repeat on the fabric is 3 inches, no additional allowance was needed as 3 inches x 27 repeats = 81 inches. For the top, make two cuts at 81 inches. The lining will be cut the same size as the face fabric. The cuts for the side drops on the coverlet will be 81x18 inches. There will be two at this size. I was able to get these cuts out of what was left after joining the seams for my top cut. Cut two pieces of lining 81x14 inches.

Thin Mattress

Cut enough 2-inch strips of a contrast for the welt to go around the top edges of the mattress, 81+59+81+ about 20 inches for the small pleats at the two corners at the foot of the bed. I cut these on the bias to follow the curve on the mattress corners at the foot of the bed. Cut 4-inch strips of a contrast fabric to be used as a facing on the side edges of the drops toward the foot of the bed. 4 @ 12 inches (drop measurement) + 1 inch (two ½-inch seam allowances) = 13 inches. Cut enough 4-inch contrast strips to cover the width of the finished coverlet at the headboard end plus hems: 59+12+12+2 inches (for hems) = 85 inches. I cut these facing strips on the straight of grain as there were no curves involved.

The cut for the drop at the foot of the bed will be 61x18 inches. You’ll need just one at this size. Cut one piece of lining at 61x14 inches. Step 1 Sew together the fabric widths for the top and sides. For a perfect pattern match, lay one piece of fabric on the table faceup. Press the selvage of the second fabric toward the back side of the fabric. Lay the pressed edge over the other piece of fabric and match the repeat. Pin in place. Sew on top of the fold. After joining the seams, trim the seam allowances. I serged the edges to keep the fabric from fraying. Repeat for the lining.

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Step 2 Lay the coverlet fabric on the table, wrong side up. Lay the lining over the face fabric, wrong side down, matching all four sides. Fold the lining in half lengthwise over the face fabric.

Step 3 Starting in the center, interlock the lining fabric to the face fabric, every 6 inches or so. You do not need to take the time to measure with a ruler; simply use your thumb and pinky to be your measuring guide. After completing one row, roll the lining back toward the side by about 8-10 inches and complete another row of interlocking stitches. Continue until you get to within about 4 inches of the outer edge of the top of the coverlet. Then fold the other side of the lining back and complete the interlocking stitches for the other half of the coverlet top. Certainly the seams at the edge of the bed will hold the face fabric and lining layers together, but this highend technique will hold the layers of the deck together more securely so they donâ&#x20AC;&#x2122;t shift. Step 4 To attach the flat welt to the top of the coverlet, fold the flat welt strips in half lengthwise and press. Place the raw edge of the welt strips Â˝ inch outside the finished size of the coverlet top. Sew these around the top of the coverlet starting and stopping at the head of the bed. I folded in a few pleats at the corners, just for a little added detail. (Note the extra face fabric to the right of the trim edge. The seam is the finished size of the coverlet top.)

Step 5 After sewing the welt strips to the coverlet top, serge off the workroom allowance. This will also clean up any frayed edges of the coverlet top.

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Step 6 For each of the two side drops and one foot drop, press a 4-inch hem toward the back of the fabric. Fold this in again to make a double 2-inch hem. Place the face fabric on the lining, right sides together. Pin at the 2-inch mark.

Step 7 Sew a 2-inch seam. Press the seam allowances toward the face fabric. Fold the side pieces with wrong sides together. (Note: This is the same way we put the hem in the dust skirt in Volume 2014 Issue 2 of Drapery & Design Professional magazine.)

Step 8 Sew a 4-inch facing strip to each side hem on the foot drop, right sides together. Match the top edges and wrap the extra seam allowance around the bottom edge of the face fabric. Sew a Â˝-inch seam allowance.

Step 9 Open the facing strip out with the seam allowance toward the facing strip.

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Step 10 Wrap the facing strip to the back side of the drop, enclosing the seam allowance. This creates a perfect Â˝-inch contrast band on the front, and a double 1Â˝-inch facing on the back.

Step 11 Blind hem or hand hem the facing to the back side of the drop. Repeat the above hem method for the two side drops, but only for the end nearest the foot of the bed. Do not hem the end near the head of the bed at this time â&#x20AC;&#x2022; that edge will get its own facing.

Step 12 Sew the side drops to the coverlet. With the coverlet center right side up on the table, place the side and foot drops on the coverlet, right side down. Pin in place and stitch the drops to the coverlet center leaving the lining of the drops free.

Step 13 Lay the coverlet on th table, with the wrong side down and the lining side up. Place the lining of the side drops over the seam allowances and hand sew to enclose the seam allowances. Trim into the seam to split the curve between drops.

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Step 14 Just as you did with the 4-inch facing strip at the side hem of the drops, sew a 4-inch facing strip to the top edge of the coverlet, right sides together. This will include the center of the coverlet and both side drops. Fold it to the back side of the coverlet ― as you did with the drops, showing a ½-inch banding to the front, and a 1½-inch facing to the back ― and blind stitch.

Step 15 The gussets for this coverlet are circular with bead chain used to make micro cord (the weight of the chain helps to dress the gusset). These are cut as pie shapes with a 2-inch straight cut at the top. Mark a quarter of a 28-inch circle as your starting point. This includes a ½-inch seam allowance at the top and bottom. Cut the same size lining for each gusset. Cut enough welt strips to go along the bottom curve of the gusset. Sew the welt cord to the bottom curve of the gussets. With right sides together, sew the face fabric to the lining, leaving a space to turn right sides out. This gusset has a finished bottom edge of about 11 inches (not quite the 17 from a full quarter of a 28-inch circle). Make a sample out of lining to see how full you want your gusset to be. Step 16 Press the gussets and close the opening in the method of your choice. Hand sew the gussets to the back side of the coverlet at each corner. In the next issue: Even with the coverlet completed, the bed still looks kind of empty. Next, we’ll create custom flanged shams for the newly decorated room. "

Donna Cash owns Designs by Donna, a soft furnishings design and fabrication studio, opened in 1989. The studio is located in Flowery Branch, Georgia, and serves the Atlanta metro area. In addition to working with wholesale and retail clients, Donna conducts private training on workroom fabrication techniques in her workroom or yours. She also presents group seminars on many workroom, design, and business topics for the home décor industry. Donna is a regular contributor to Drapery & Design Professional magazine and conducts webinars for Window Fashions Certified Professional program. She is a member of the Designers Workroom Council and the Window Coverings Association of America (WCAA). Donna is currently president of the WCAA Atlanta Chapter. Contact Donna at www.designsbydonnaatlanta.com

Drapery & Design Professional

Volume 2014, Issue 3

Elizabeth Gerdes with Candace Olson

My Day With Candice Olson By Elizabeth Gerdes Woodstock, Ga.

’ll admit it. I was excited. I was going to meet with someone I couldn’t get my mind off of. It was a day I would neither wear sweats nor hunch over my sewing machine (at least for a little while). It was a day I would be out of my basement, away from sewing, cutting, pleating, billing, ordering … away from it all. I got dressed up, put on makeup, curled my hair and even shaved my legs. After all, I was going to meet someone I have secretly loved for a long time. I made arrangements for the kids after school, and out the door I went.

who designs the most beautiful rooms. She was here. In person. Right in front of me. Kravet was introducing her new fabric line, but I would have shown up for any event she was attending.

My heart raced. I found myself driving fast and wanted to get there in a hurry. When I finally arrived, I walked briskly through the parking lot and entered the building. I just knew she was there … behind those doors. I knew she was waiting for me to come in. I sat patiently until the doors were opened. I walked in, immediately searching with my eyes. Her tall thin frame was hard to miss. Her low-cut leather boots made her tower beyond 6 foot. She had also let her hair grow since the last time I saw her on TV. Those bouncy blond locks moved gracefully about her face as she talked. I didn’t even know she wore glasses, but she looked good in them.

After Candice was introduced, she shared a little about her background. Design was actually her second degree ― her first was in science. She had gone back to school for design in the ’80s. Due to the contacts she made while going to design school, she was hired by an architectural firm right out of school. She said she’d learned the rules there, though she admitted, “You have to learn the rules in order to know how to break them properly.” Shortly thereafter, she was discovered when she won a competition and a local magazine picked up the story. She was then asked to be the expert on TV and radio calls, and then, she said, “Things rolled from there.”

And then I heard that very recognizable voice chatting away with colleagues on the stage. I wanted to yell to her. I wanted to run to her and ask all sorts of questions, but I didn’t. I was herded with the masses who were all there for the same reason; to see Candice Olson! Yep. That Candice Olson. The HGTV star of Divine Design and Candice Tells All, and

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Finally, the lights dimmed and the microphone came on. The emcee from Kravet Fabrics introduced Candice, and, as an added bonus, Sara Peterson, editor-in-chief of HGTV Magazine. How much better could it get?

When discovered by HGTV and given the option of her own show, she was in a conundrum. She didn’t want to bring her own people onto the show in case it didn’t work out; she needed them to keep working for her. So HGTV took over casting the show, but they just couldn’t find the right fit for the

Everyone in attendance was elbowing their way through the crowd to get through the doors to see Candice. When we were finally allowed in, we saw these bags waiting for us. It was as though we were getting two treats in one! The excitement level rose even more. HGTV treated us to the swag bag with a recent copy of the magazine, lotion, some promo information and a couple of trinkets, like a key chain measuring tape.

her, wanting to be on HGTV, she’ll warn them, “It will be fantastic in the end, but the process is horrible.” She then joked that, “It’s a certain breed that is medicated enough to accept a remodel on TV.” Candice believes that good design comes with expertise and that it cannot be rushed. “Don’t expect instant success. The only thing that doesn’t come instantly is expertise,” she says. Whether on TV or not, when designing for a client, her goal is to create a classic, timeless design with an edge that will resonate with people. “I tell my clients that design is a good investment, and that it’s up to me to give them the classic design they are paying for,” she says. “I spend each client’s dollar as if it were my own. Good value and quality is where it’s at.” electrician. They wanted someone with talent and character. Candice thought for a minute, and then told the HGTV executives, “I have a guy. He has long dark hair, he rides a bike, you can’t understand a word he says, but he’s very talented.” HGTV said, “Perfect!” Candice then went back to Chico to tell him about the job opportunity. He was hesitant at first, and then he said, “OK, as long as it doesn’t air in East LA.” (The crowd roared with laughter, as the way Candice tells the story is very funny.) Candice agreed to his terms, but was a little unsure why. Now, however, the show airs everywhere and Chico is a household name. She stopped for a minute to tell a Chico story: He was once flying to Puerto Rico in business class and Evander Holyfield was sitting next to him. The flight attendants kept talking amongst themselves and giggling, until they finally made their way over. Evander sat up, prepared to sign an autograph. Instead, the flight attendants looked at Chico, asked for his autograph and said, “We love you.” When they left, Evander looked very upset. He asked, “Who are you?” Chico replied, “I am Chico. Who are you?”

When asked what advice she would give someone wanting to break into this industry, she quickly replied, “Marry for money, not love.” Everyone laughed, and then she followed The ladies were asked, “How Bad Is It …” just like in the popular HGTV Magazine column, and then they displayed their choices proudly for this photo opportunity. From left to right: Candice Olsen, designer, HGTV host; Ann Feldstein, senior director of marketing and communications of Kravet; Sara Peterson, editor-in-chief of HGTV Magazine.

Getting back to the design conversation, Candice was asked about Design Star. She said that show is taken very seriously by the judges. They deliberate for hours sometimes. She added that she tells the contestants, “I would never do what you’re doing to get my job.” She believes that designs are minimized on contests in trade for time. “It makes good TV, but not always good design,” she said. If a client comes to

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up with, “Quality never goes out of style. Don’t get stuck on trends. Apply things like shimmers, which can be modern, with classic patterns of yesterday, and you have today. It marries yesterday and tomorrow. It’s an investment of time, energy and money.” After 13 seasons on HGTV, Candice said she still looks back at old reruns and thinks, “That still looks good.” Mission accomplished. Sara Peterson, editor-in-chief of HGTV Magazine, was also a character. Together, the two of them were a delight to watch, as they entertained us all with their back-and-forth banter and differing opinions. For instance, in a short skit called “How Bad Is It …” from the HGTV Magazine column of the same name, the host asked, “How bad are recliners?” As they both flipped through the signs on their lap to find their answer, Sara said, “Well, Lay-Z-Boy is an advertiser …” and the crowd roared with laughter as she pulled out the sign, “They’re fine.” Candice pulled out the “Pretty Bad” sign, but then also explained she has created rooms around this client favorite, and sees it as a challenge. When asked about taxidermy, Sara gave a “Pretty Bad” sign, while Candice gave a “Not So Bad” sign. Again, Candice, having grown up around it, loves to incorporate it when applicable to the design. Though design can be very personal, Sara tries hard to approach the magazine from the perspective of, “I would have never thought of that, but I love it!” She will actually sit under her lamp with a pre-copy of the magazine and flip through it just like a reader. She wants the magazine to have a “flip factor” and wants to be able to see it from the reader’s point of view. Her goal is to show all talents of designers and she continues to be impressed by designers who step out of the box to create something completely new. In addition, she tries to couple this idea with what real people are doing in their homes. “I can’t live without Pinterest,” she said. “I’m always on that.” In addition, she reviews many blogs, websites and designer ideas, and is constantly looking through email submissions. She said the best way to get in the magazine is to email her. She loves Before and After pictures, because they

tell a story. She will also round up designer names and go to them with questions. She likes to go to as many designers as she can for ideas and get as much info as she can to put in the magazine. When asked for advice for up-and-coming designers, Sara replied, “Keep up with the new, don’t forget the old, continue to learn and work really hard.” The seminar ended with drinks, desserts and mingling. Candice and Sara both stuck around as long as they had someone to talk to. It was a great day to seek advice and information from the professionals, but most of all, it was entertaining. They did not disappoint. If they ever come to your area, you must go see them! " Elizabeth Gerdes is the owner of Stitch Above the Rest LLC in Woodstock, Georgia. Elizabeth has worked in the custom window treatment industry for more than 10 years and received much of her training through the CHF Academy of Design and WFCP certification programs. Elizabeth is a member of the local and national chapters of WCAA; she is a WFCP Workroom Certification Online Instructor; and her work has been published in numerous trade and local magazines. In addition, she has won the CHF Alumni Showcase Contest and the Envision Design and Ingenuity Workroom Competition. Elizabeth stays abreast of current standards by attending industry-related trade shows, conferences and webinars. Elizabeth loves a good drapery challenge and prides herself on being able to help clients create their vision. You can follow Elizabeth’s escapades on Facebook by requesting her as a friend or on her Facebook business page at https://www.facebook.com/StitchAboveTheRest. Her website is www.StitchAboveTheRest.com.

While others were jockeying for position in line to get their photo with Candice, I snuck over to get my photo with Sara Peterson, editor-in-chief of HGTV Magazine (left) and Ann Feldstein, senior director of marketing and communications of Kravet (middle). I couldn’t resist meeting Sara, especially considering my first passion was in journalism and I consider her to have my dream job. I found these women very inspirational!

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Cover Story:

Pate-Meadows

Leigh and Caterina, the ideal yin-yang team, have pooled their talents to create a thriving design business. In addition to their own line of patterns and one for Southern Living magazine, the two contribute to a design feature in each issue of Southern Lady magazine.

Sew In Sync By Karen Callaway

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The circa 1897 building that is home to Pate-Meadows Designs is located in the historic downtown area of Bessemer, Alabama, just a stone’s throw from Birmingham. The business occupies the spacious loft space on the top floor, where Leigh and Caterina have turned it into a home-away-from-home for themselves and their precious pooches, Cricket and Sadie (on page 31), who accompany their moms to work each day.

Growing up in Elmore County, Alabama, Leigh Pate fondly remembers going to the fabric store with her mother and perusing the aisles of cottons and corduroys that would become her school dresses. As her mom bent over the sewing machine, Leigh sat beside her, soaking up her expertise and falling in love with the craft. When her school announced a 4-H sewing contest, the 11-year-old jumped at the chance to enter. Her mother, tired from a long day of teaching second graders, directed her daughter to the scrap pile. “I made a skirt all by myself,” says Leigh, “and after that my passion

for sewing was ignited. I made almost all my clothes in high school.” She even entered the Junior Miss pageant as a senior, and her skit that demonstrated her love of sewing by showcasing many of her outfits earned her second place. Ninety miles away in Calhoun County, a similar story was playing out for Caterina Meadows. Though her mother sewed out of necessity, it was Caterina’s maternal grandmother, Gladys Nunnelly, who passed on the joy of sewing to her eager pupil. “The funny thing is, she never really taught me

Before renovation

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After renovation

techniques,” says Caterina. “She just let me have the freedom to ‘get in there and figure it out.’” Gladys occasionally would help her pin a pattern or hook up the buttonhole attachment on her Pfaff machine. Though Caterina had access to her mother’s newer machine — that came complete with a “bobbin monster” that foiled many a project — it was her grandmother’s old Pfaff that earned her affection. She was allowed to use it as long as she gave it the respect it deserved, and when Gladys passed away, it became hers, a treasured reminder of time spent with her beloved mentor. Leigh and Caterina met when they were working at a large law firm in Birmingham. The pregnant co-workers admired each other’s stylish maternity clothes ― a rarity in the days of frumpy frocks and cutesy tops. When it turned out that both had been accomplished seamstresses since childhood and they’d stitched those fabulous wardrobes themselves, a

friendship was born, right along with the babies, who arrived two days apart. With the rigors of raising youngsters, Leigh and Caterina eventually lost touch. Both opted to stay home with their children, and both continued to sew on the side. Leigh made curtains for her home, and when her family and friends got a peek at her handiwork, her hobby turned into a business. “On a whim, I called Caterina to get her opinion on this new venture of mine,” explains Leigh. “And, guess what? She was doing the same thing!” The two worked separately for several years, collaborating on occasion, until they decided to join forces in 1996. They christened the fledgling business Pate-Meadows Designs. Soon after they started their joint business, one of their clients introduced the pair to an editor at Southern Living magazine who was in charge of designing the popular Idea Houses. They clicked immediately, and Leigh and Caterina begin designing window treatments for each home. Before long, readers from all over the country were contacting them about While attending a trade conference with their wives, Doug Pate and Danny Meadows struck up a conversation with a hardware manufacturer that resulted in a line of custom hardware designed by Leigh and Caterina. Pate-Meadows offers an array of knobs, finials, medallions, posts and tiebacks to complement their drapery designs, like these knobs in the Belle Fleur and Cirque patterns.

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After renovation

duplicating the draperies for their own homes. Realizing that it would be difficult to do that long distance, Leigh came up with the bright idea of making patterns. She’d already delved into this area after winning a design contest with Window Fashions magazine (now Window Fashion Vision). With the help of her engineer husband, Doug, and AutoCAD software, she created full-size patterns, as well as the illustrations contained in the pattern. The first pattern for the cuff-top valance remains the company’s top seller. That initial connection to Southern Living resulted in the duo designing a line of window treatments based on those seen in the Idea House program. They also developed their own line of patterns, Show Home Patterns by Pate-Meadows Designs. Along with the 37 patterns, they also carry their own line of hardware that perfectly suits their treatments — thanks to a fortuitous conversation their husbands, Danny Meadows and the aforementioned Doug Pate, had with a hardware company at a trade conference ― as well as assorted notions.

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A 4-H sewing competition prompted 11-year-old Leigh to raid the rag bag for scraps and trims to fashion this adorable skirt that she stitched all by herself. That project fostered a lifelong love of sewing that has served her well. Caterina framed the skirt, and it now hangs in the workspace as a reminder of the humble beginning that sparked a successful career.

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Though Leigh and Caterina initially worked out of Leigh’s basement, the business is now housed in a 12,000-squarefoot loft in the historic district of Bessemer, Alabama., a dream-come-true for the ladies who always pined for such a place. (Pate-Meadows occupies the top level, and they rent out the bottom floor to the Paisley Pig, an antiques and resale business.) Though it took a lot of “sweat equity” to restore the building, the gleaming hardwood floors, brick walls, exposed beams, and wall of windows make the massive space actually feel cozy and homey. Here, the partners follow their design pursuits, with Leigh in charge of developing and maintaining the website — including all the photography — and the drawing and writing of patterns, and Caterina proofing and testing patterns and handling customer support. (Yes, that’s her cheerful voice on the other end of the phone line when customers call with questions.) They both have input on pattern designs, and they have one additional employee, Tracy, who is in charge of customer service and order fulfillment. Leigh and Caterina couldn’t be happier with the way their dreams have panned out. Their talents complement each other perfectly, and their friendship has remained strong, years after those babies have grown up and had their own children. “Our motto has always been ‘Decide what it is that you enjoy doing, and find a way to make a living doing it,’” says Caterina. Adds Leigh, “It doesn’t seem like work when you are having fun.”

Sadie

Cricket

For more information, visit patemeadows.com. "

Written by: Karen Callaway is a Birmingham, Alabama-based freelance writer. She contributes to a number of women’s interest publications, including Victoria, TeaTime, fresh style and The Cottage Journal, in addition to Southern Lady, where she was the former associate editor.

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WCAA Industry Partners and

Your Membership Experience By Karen D. Groppe, PCM Executive Director, WCAA Rockville, Maryland

o you ever feel as if your business’ voice cannot be heard in our noisy world? Wouldn’t it be great to have collective voices come together in order to be heard? That is the point of Window Coverings Association of America ― bringing similar interests or industries together to be heard as one strong, unified voice. And, better yet, the collective voices of WCAA embrace the support of our industry partners. WCAA gives businesses leverage, helping them gain access to cutting-edge business practices, networking opportunities, best practices and discounts to industry partners. Here are some benefits to enhance your experience with WCAA and to support our industry partners: 1. Increased knowledge. Odds are that someone, somewhere, in the industry has already discovered the solution to a vexing problem in your particular niche. Workshops, meet and greets, newsletters, blogs, and forums create opportunities to share those best practices and fresh ideas. Did you know that WCAA industry partners are a wealth of information for members? If you have a question about a product or a trend, look up the industry partner on the WCAA website and send an email to ask! They would love to help you. You can find the industry partner directory at http://www. wcaa.org/members/Industry_Partners/index.html. 2. Enhanced reputation. WCAA follows industry standards, and shares breaking news and industry trends. Associations like WCAA can help build consumer confidence and enhance your professional reputation. 3. Local connections. By participating in WCAA chapters, businesses can network to gain new insights and meet face to face. Industry partners have a chance to work with local chapters to produce exciting programming. For example, a

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social media professional may get ideas and best practices by participating in a marketing association, but generate new business by interacting with members of an automotive trade group. Attending trade shows of certain associations can be very helpful as well. 4. Discount savings. Trade associations often arrange for members to receive discounts on certain products and services ― from insurance savings, office products and other business savings. WCAA members can check out the discounts by logging in and going to the My Partner Discounts page. Industry partners want to be engaged, as well as have members buy from them and ask questions. When WCAA members are engaged with our industry partners, everybody benefits. "

Karen Groppe comes to WCAA with more than 15 years of association management experience. Along with her experience, Karen has a passion and enthusiasm for the window coverings industry. Karen can be reached at Karen@wcaa.org or (240) 404-6490.

From Clutter to Compact Vendor Catalogs at Your Fingertips By Sandra VanSickle Apex, N.C.

don’t know about you, but one of my goals every year is to organize and declutter. Having two offices, the clutter is extra difficult to manage, especially when it comes to my vendor catalogs and price lists. Not only do I have to have two of everything (one for each office) ― half the time I still can’t find what I’m looking for when I need it. Then, about a year and a half ago, I realized that I can actually store PDF versions of vendor catalogs using the iBooks app on my iPad. If you work with other tablets, you can still do this using the Kindle app.

Back at the office, I have easy access to the information stored at my fingertips, making it much easier when it comes time to place orders.

These two apps not only let you read and store vendor catalogs and price lists on your phone and tablet, but they also allow you to store other useful PDFs like order forms, the Kirsch Ripplefold instructions, and even maintenance manuals for your machines. I especially find it convenient to store my hardware catalogs. I know right where they are as I head out the door for a consultation, and I no longer worry that I might leave one behind. On location, I invite the client to view the catalogs as I measure for their treatments. They’re impressed with the crisp images, and they like the fact that they can zoom in on the fine details of an item.

The iBooks and Kindle apps are similar in functionality ― it will be up to you to choose the one that works best with your device. I prefer iBooks simply because I use an iPad.

The usefulness of these two apps will help you come that much closer to having a paperless office. Which would you rather deal with ― the stack of paper or having everything in one place? I cleared one entire bookshelf in each office! In addition, it helps your vendors save on printing and shipping costs.

The iBooks App The iBooks app is free and can be used only with Apple products. OS X Mavericks adds iBooks for Mac to all Macs that are compatible with OS X Mavericks. iBooks for Mac brings the existing features of iBooks on your iPhone, iPad, or iPod touch to any Mac with OS X Mavericks installed. These instructions are for your mobile device.

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Step 1 Download the iBooks app to your mobile device from iTunes. Step 2 Open and save a PDF. You can access a PDF from the website of your choice, or open a PDF file in a mail attachment or from a file in Dropbox. From the website, go to the PDF link you want to save and tap on it.

Step 3 Once the PDF opens, you should see a button in the upper right-hand corner under the address bar that says, Open in iBooks. The PDF will download to the app. If you’re working with an email attachment, simply tap the attachment and then the Open In button, and select iBooks.

Step 4 Once the PDF is stored inside the app, you will want to create a new collection. Creating collections will help you find what you’re looking for faster and more efficiently. On the top left side of the screen, tap on Collections and scroll down until you see +New Collections. Step 5 Assign your collection a name. In this example I will name mine “Hardware Catalogs.” Tap Done.

Step 6 To move your PDF to the newly created collection, tap Edit on the top right side of the screen. Select the PDF to be relocated, then select Move (top left). The collection list will appear; select Hardware Catalogs. Your PDF will now be located in the desired collection.Be sure to store your catalogs in a different collection than your price list so your clients won’t see your wholesale prices.

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Step 7 To open your catalog, simply tap on it. You can now scroll through the catalog. The icons on the top selection bar will allow you to do the following: Top left side of bar Library ― View other PDFs in that collection List icon ― View multiple pages at one time or just the pages you bookmarked Page with up arrow ― Email or Print PDF Center Title of PDF Top right side of bar Sun Icon ― Adjust brightness Magnifying Glass ― Search for an item by typing in a keyword Bookmark ― Bookmark a favorite page.

Step 8 Finally, don’t forget to use your fingers to zoom in on details or to magnify item numbers when it comes time to place your order.

The Kindle App The Kindle App is free and is available for every major smartphone, tablet and computer. These instructions are for your mobile device. Step 1 Download the Kindle app to your mobile device from Google Play Store. Step 2 Open and save a PDF. You can access a PDF from the website of your choice, or open a PDF file in a mail attachment or from a file in Dropbox. From the website, go to the PDF link you want to save and tap on it.

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Step 3 Once the PDF opens, tap just to the right where it says, Open In; there will be a drop-down box where you’ll choose Kindle. The PDF will then download to the app. From a mail attachment, simply tap the attachment and then the Open In button, and select Kindle.

Step 4 Once the PDF is stored inside the app, you will want to create a new collection. Creating collections will help you find what you’re looking for faster and more efficiently. From the top bar, tap on the three little bars. A menu will pop up. Select Collections.

Step 5 The first time you use the app, your screen will display: “You have not created any collections.” Tap the circle with the “+” sign. Type in the name of your collection and click Create.

Step 6 You will now be instructed to add items to the collection you just created. Select your item and tap Done. Be sure to store your catalogs in a different collection than your price list so your clients won’t see your wholesale prices.

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Step 7 To view your catalog, simply tap on it. You can now scroll through the catalog and view the individual pages. The icons on the top selection bar will allow you to do the following: Top left side of bar Three Bars ― View other PDFs in that collection List icon ― View multiple pages at one time or just the pages you bookmarked Page with up arrow ― Email or Print page Center Title of PDF Top right side of bar Sun Icon ― Adjust brightness Bookmark ― Bookmark a favorite page Step 8 Finally, don’t forget to use your fingers to zoom in on details or to magnify item numbers when it comes time to place your order. Reach out to your favorite suppliers to ask whether they have PDFs of their product catalogs. Next time you’re at a conference or vendor show, ask the vendors whether they have PDFs on their websites. I’d much rather download a catalog then carry one around with me. Keep in mind that these apps are also perfect to store order forms; legal documents; school, gym or vacation schedules; recipes; home owners association bylaws; maps; directories; and more! "

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The Blurred Lines of Fashion and Interiors Light and shadow show off the tracery pattern and overlay display, while the crocheted beanie gives off a “stained glass” idea of luminescence.

By Judi Turner Dover, N.H.

f you are what you eat, then are you also what you wear?

My first days at Heimtextl, the international trade show in Frankfurt, Germany, are usually spent getting to know the four new trend groups. Interactive exhibits and lectures help participants get to know the trends in ways that can be communicated. From that point I spend some time shooting detailed photos of displays that help tell the story of the trend and also helps give me a visual reminder in detail form. Something I’ve noticed in the past few years is that I can also see the trend groups reflected in the fashion of the participants. Here are some fun pictures that had me focused on participants about as much as I was focused on the exhibits. "

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This display shows rich earth tones and mineral movement â&#x20AC;Ś much like the printed dress fabric in the same earth tones at right.

This printed shawl is almost identical to the feel of the textile board at right.

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This granny square skirt looks as if it took its inspiration from both the decoupage giraffe (at right) and this modern-day digital montage floor covering.

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Judi Turner has been owner/ designer for Domicil Design in Dover, New Hampshire, since 1992. Starting business in Germany,Â global inspiration continues to be an interest and influence. Domicil Design is a resource for clients looking for custom treatments, slipcovers, DIY supplies and soft furnishings. Judi is the current president of the WCAA virtual chapter.

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Photo 1

Photo 2*

By Judy Soccio Monongahela, Pa.

Dating Your Decor W

e study history because it can be entertaining, provocative, nostalgic. But the history of window treatments is most useful when it’s instructive! In a webinar series I’m doing for WFCP (see the “Window Treatments Through the Ages” sidebar on page 45), I explain how new fabrics and designs are introduced from foreign lands; how amazing and new colors are made possible with advances in chemistry; how the Industrial Revolution brought about changes in printing and weaving that had a huge impact on interior decorating; and how decorators have redesigned, re-imagined, and re-purposed some very basic shapes to dress and transform windows. Photo 3

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Panels, shades, swags, cascades, cornices and festoons have all graced our windows ― sometimes en masse ― for the past 400 years. But unless we’re set decorators for The Goldbergs or Dynasty (see the ’80s heading in Photo 1) as well as the large floral print and plethora of swags in Photo 2, or house museum curators intent on historical accuracy, we usually want to update the look of clients’ windows, not return them to the past. What can make a window treatment look dated?

Photo 4

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Fabrics Some fabrics immediately date themselves. Antique satin immediately says ’50s and ’60s. Moire (one of my faves actually, see Photo 3) vibrates the ’80s. Some fruit-and-flower-basket brocades are passé (see Photo 4). Damasks with big florals, and designs printed on top of the damask weave are old style, too. So are certain tapestries (see Photo 5). Photo 5

whose living room is built around a beautiful and very sturdy sofa covered in a Colonial Williamsburg pink and blue floral has been “deciding” on window treatments for the past three years. She wants a blue fabric on the windows to match the sofa. Meanwhile we’ve made treatments for every other window in the house waiting for mauve and cornflower blue to come back in style. Colors come in and go out of fashion. And clients can still use their own favorite color(s) in decorating. Brighten it, lighten it … add a dash of contrast or soften the intensity. A new twist on an old familiar color is often all it takes to freshen the room. Hardware Hardware can date a treatment just as easily as fabric or color can. Simple oval rodding may be in use forever, but when was the last time you spec-ed a 4-inch Kirsch Continental or Graber Dauphine rod? Or mounted a soft valance on an oval rod grid (see Photo 6) and then stuffed it with plastic bags to make it look fuller? Or draped scarf swags over harp-like fixtures so the fabric could be twisted into poufy “flowers”? (See Photo 7) Or gathered fabric on a PVC rod? (See Photo 8 on the next page.)

Small overall prints, commonly referred to as “calico” are now mostly available in the retro section of quilting stores for use in making Depression-era quilts. But there was a time when rose-sprigged cotton and other small repeats were used in bedrooms, bathrooms and kitchens.

Photo 6

Barkcloth with large magnolias and other big florals printed on a gray background always reminds me of my aunt. She was a woman with a rather flamboyant sense of style who had low-slung bamboo chairs cushioned in gray and chartreuse barkcloth in the Florida room of her house. In Pittsburgh in the 1950s and 1960s this was tasteful with a little zing. Today this combination is right out of Mad Men ― retro but very chic. Colors Color choices are definitely personal and can sometimes be difficult for the client to change. Often the shade or tint that the client requests is no longer available. Even if the rich, dark shades of Dallas and Dynasty can be found in today’s fabrics, they won’t play well with each other. The dark green is too gray these days. The burgundy is more brick. The gold shifts more to brown. The major paint companies regularly produce paint charts that show the changing paint shades through the decades. Share these paint cards and other color trend information when talking with a client who is stuck in the past.

Photo 7

Working with outdated colors or shades is not really a problem unless the client is trying to match something she already has. For example, I had one client who wanted to reupholster two chairs in the living room and had a difficult time matching the new fabric to the 28-year-old couch fabric. She finally decided to pick two companion fabrics and reupholster all three pieces for an updated, coordinated look. Another client

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Photo 8*

Photo 10

Decorative hardware has evolved too. Gone is the bright and shiny brass curtain rod fascia that hid the traverse mechanism (see Photo 9). Gone also are the high gloss wooden 2-inch rod with shiny brass brackets, brass rings and metal collars at the base of the wood finials so reminiscent of fern bars and leisure suits. Photo 9

Do the cascades end partway down the window or are they mere extensions of the valance hem? Do the drapery panels stop at the sill? At the floor? Do they break, or puddle all over the floor like someone left the fabric faucet running? Where is the treatment mounted relative to the top of the window? Earlier designers often placed the top of the treatment even with the top of the window frame. How far onto the wall does the treatment extend? Perhaps because of the preponderance of bungalows and split levels built after WWII, horizontal massing was often featured. The living room wall with a large picture window was dressed with operable sheers and overdrapes that covered the windows and then spread beyond the frame creating a vast wall of drapery (see Photo 11). Today this often seems claustrophobic and can be addressed simply by reducing the amount of wall space covered with fabric.

Photo 11*

Narrow metal rodding is the fashion now with correspondingly sized finials. Finishes are matte ― not shiny ― and 2½and 3-inch diameter wood rods are seen less and less as window fashions trend toward lighter weight fabrics and less formal designs. Proportion The proportions of a window treatment may be the most telling and subtle factor in dating a window treatment. We all follow industry standards when designing a treatment, but these standards gain and lose importance over time. If we’ve been fabricating for any length of time, we’ve seen stacking jabots, spread jabots, swags that fold softly and swags that are almost stitched into precise pleats, jabots on top of cascades, and bows or choux on top of the jabots. I’ve fabricated circular tablecloths with corded hems that ranged from ¼-inch cord on upward to 2-inch cord, and I often shirred the fabric on the welt cord (see Photo 10). But not lately!

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Lasting Beauty Window treatments have long been considered the finishing touches to home décor. And custom window treatments have historically been recognized as big-ticket items that aren’t replaced quickly. Back in the 1700s, window treatments and wall hangings were often resized and repurposed when the home was remodeled or enlarged. Today most homeowners who bought custom 10 or 20 years ago don’t want to repurpose their old treatments; they’re ready for new. They recognize the value of custom and are interested in an updated look. And as their window treatment professional you’ll be ready to assist them.

The old saying that there’s nothing new under the sun is mostly correct. But there are numerous ways we can apply the “old” to today’s lifestyle. Researching period room sets and window treatments ― and attending the history of window treatment webinars! ― helps sharpen your eye to what’s current. " Note: Some of the outdated window treatment photos used in this article are from Marie Mouradian’s blog series “Throwback Thursday ― A Design Blast From the Past”. *She uses these images in her blog to remind clients that even custom design needs to be refreshed every so often. See Marie’s full blog and much more current designs at http://www.windowdesignetc.com. You can also find her on Facebook at https:// www.facebook.com/Windowdesignsetc.

Window Treatments Through the Ages The webinar series “Windows to the Past: The History of Window Treatments” can be accessed at https:// wf-vision.com/categories.php?id=216. Part 1, “The Dark Ages to the Sun King, and a little bit beyond (1100-1800)” aired in February 2014. Part 2, “The Empires ― Napoleon, Victoria, and the Rise of American Style (1800 – 1911)” aired June 11, 2014. Part 3, “20th Century ― Everything Old Is New Again” airs September 20, 2014. The webinars will be available on demand soon after each live presentation.

Judy Soccio has been creating window fashions since 1988. Previous work experience in the theatre and a fascination with classic architecture and historic interiors led Judy to design historically appropriate window coverings for a 1923 Chicago bungalow. She has since draped numerous vintage houses in Chicago, Pittsburgh and southwestern Pennsylvania. Her interest in historical window treatments serves her well even when designing and fabricating treatments for new construction. Recently Judy undertook a historically sensitive restoration and decoration of her 160-yearold Victorian home in southwestern Pennsylvania. She is now hosting exclusive design trunk shows and design/decorating seminars in addition to fabricating beautiful window treatments for interested homeowners. www.facebook.com/SoccioRodriguez Design

Drapery & Design Professional

Volume 2014, Issue 3

Using Social Media for

Your Dirty Work By Roger Magalhaes Franklin, Mass.

s businesspeople, you’ve probably heard something along the lines of “You need to get your company on social media.” Indeed, online platforms such as Facebook, LinkedIn, Pinterest and Instagram are destinations for your current and future clients. Your company must have a “virtual real estate” presence. It’s vital to keep revenue coming in the door. Did you know that social networking sites such as Facebook and LinkedIn also offer other alternatives to increase your bottom line? There are hundreds ― if not thousands ― of groups created and administrated by professionals just like you and me. Some of these groups focus on specific industry related topics, while others can be a bit more casual.

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Volume 2014, Issue 3

The idea of industry-related forums isn’t new. It goes back about 20 years when Rory McNeil, owner of TECH Shading Inc. in the Los Angeles area started Window-Pro ― an email exchange format in which industry professionals would ask questions and suggestions for certain problems they were facing. Now it’s both a website (www.window-pro.org) as well as a closed group on Facebook. Other well-known forums in our industry are the CHF Academy of Design Forum (www. chfindustry.com) with the vast majority of its members being workrooms, and DraperyPro (www.draperypro.com), which was created by Dian Garbarini. Anyone can create and maintain a group, and, as of right now, they’re still free of charge. Let’s take Facebook as

an example. Some groups are called “open groups,” and anyone already a member of that community can add other members. Other groups are a little more restricted (“closed”), and your request to join must be approved by the creator or administrator. The following three groups I talk about are all closed to anybody outside the window coverings industry. Window Treatment Installers (https://www.facebook.com/ groups/installers/) was created by James Holloway from South East Installation Solutions in Piedmont, South Carolina. He’s a full-time window treatment installer, and also writes the TraVerse blog (www.traverseblog.com). His group is open to anyone in the window treatment industry including manufacturers, their reps, interior designers, drapery workrooms and decorators. It currently has almost 500 very active members who share an outstanding amount of information mostly related to installations. “I created this group for a couple of reasons,” says James. “First off, I felt that there was a need for a forum where installers from across the country ― and now even the UK and Australia ― could come together to share ideas and solutions for common installation problems. “I also wanted it to be a way for interior designers, decorators, and other window coverings professionals in one part of the country to find reliable installers in other parts of the country for their out-of-town projects,” he says. “It’s not uncommon to see messages posted from designers or workrooms in Michigan or Florida who are looking for an installer in North Carolina or Texas or California.” I’ve created a closed group called Free Speech Window Covering Pros (www.facebook.com/groups/dealersNinstallers/ ). Although there is some overlap with James’ Installer’s group, my group was created to exchange feedback about products among tradespeople without pressure and/or monitoring from manufacturers. Here’s an example of an exchange: I have a customer who has five arched windows, and they are 341/2 inches wide by 71 inches tall, and she does not want a separation with a bar across. Who does faux shutters like this? And I think I have to do two panels right? I need some suggestions, if you could. Thanks. • • • • • • • •

You can do one panel. Norman would do it with the Woodlore Plus. Without a divided rail? Does anyone else but Norman do it? I am having such problems with them. Norman would do it without a divider. Not sure anyone else can do a faux wood with one panel and no divider. Maybe Hunter. You will probably need to do a wood shutter to avoid the divider rail. Hunter NewStyle can do this. NewStyle needs a divider rail over 60 inches. Hunter is too cheap to make a shutter like that. Only Norman can do it. Norman, Exus, HD, ShutterSmart, San Benito … It's an arched panel.

• • • • •

NewStyle is 72 inches, Palm Beach is 60 inches. NewStyle can’t go 36 inches. Only Norman can. Only Norman can make a faux wood, arched panel 36 inches wide and 72 inches tall as one single panel. NewStyle is 36 inches … Now that is the reason I choose Norman. I am always up for a challenge to do stuff that others say can’t be done. That’s the reason I get a lot of my jobs, because I don’t say it can’t be done. If you don’t have Norman in your arsenal, then you aren’t the best guy for the shutter job.

Michele Williams, owner of Scarlet Thread Consulting, has also created a Facebook group for creative people to talk about custom pricing. The group is Custom Pricing for the Creative Industry. This group features discussions regarding principles and strategies on pricing. Everyone is very open to discussing ways to price and to value their time appropriately. This group is open to people in all creative industries (photography, workroom, design, art, etc.). There is a wealth of information to be tapped in these groups. Members are very open to sharing experiences and ideas. You can learn and benefit from, as well as help a fellow industry professional. The best part is that your client won’t know your dirty secrets ― and you even get the kudos! "

Roger Magalhaes owns Shades IN Place Inc., specializing in window treatment installation and sales. He has been trained by CHF Academy of Design and certified by Hunter Douglas, Somfy and Norman Shutters. Roger is known for his attention to detail and superior customer service. He is a member of WCAA, WAOA and the D&D Pro Network, and can be contacted at roger@shadesinplace. com or visit www. ShadesInPlace.com.

Drapery & Design Professional

Volume 2014, Issue 3

Making a Lambrequin With Swags and Cascades By Rosa P. Harvan Litchfield Park, Ariz.

new client of mine needed window coverings for her dining room. After looking through a series of idea books, she came across the pictures of lambrequins with swags and cascades. “What are these?” she asked. I explained to her that lambrequins are essentially cornices with long legs to cover some or all of the sides of a window. As soon as I knew that she loved that look, I made a scale drawing of the treatment to show her what it would look like on her window, which had inside-mounted wood blinds. The window was 51x59 inches, so I drew the lambrequin 60x48 inches (to give the swag and cascades room without crowding the sides of the window), with the cascades extending 30 inches below the bottom of the lambrequin. The client loved the treatment and I got the job! Here’s how I did it (and how you can, too).

Step 1 Make your pattern. My husband John is my lambrequin maker. He made half of the drawing for the window treatments on construction paper. After a few adjustments the template was ready for the plywood. After cutting the wood with half of the design, he flipped the template over to make a mirror image on the other side.

Drapery & Design Professional

Volume 2014, Issue 3

Step 2 After your board is cut, line the plywood with batting and staple all sides in place. Next, pin the lining over the batting and repeat the stapling for all sides. Place the railroaded fabric over the previous two layers and staple in the same way â&#x20AC;&#x2022; top, sides and bottom. (Note: The white you see on the bottom edge is the lining from the next step that I brought partway to the front.)

Step 3 Cover the back side of the lambrequin with lining, gluing and stapling it in place.

Step 4 Glue Âź-inch welt cord on the inside shaped part of the lambrequin.

Step 5 Cut a 3-inch strip of fabric on the bias, and then use cardboard tack strip to staple it over the welt cord.

Drapery & Design Professional

Volume 2014, Issue 3

Step 6 Turn the fabric toward the back and glue it over the lining.

Step 7 Glue gimp over the raw edges of the fabric for a clean look.

Step 8 Fabricate your swags to fit the shape of the lambrequin. I draped a bead chain to find my size. I interlined both the swags and cascades, then lined the swags with a poly/ cotton lining, and self-lined the cascades with the “wrong” side of the reversible face fabric. I also sewed waistbands onto both ends of the swags, and then loop tape to the waistbands. Next, figure out how you’ll attach the treatments to the lambrequin for easy installation. I decided to use hook and loop tape. Start by mounting a piece of lining-covered 1x2inch lumber to the inside top part of the lambrequin (about 2 inches from the front of the 1x6-inch dust board) with 1½inch angle irons. Staple the hook tape to the front part of the wood to match the finished size of the two tops of the swags, which, in my case, was 20 inches, or about one-third of the overall finished width. Step 9 Staple more hook tape to the sides of the lambrequin to accommodate the other ends of the swags.

Drapery & Design Professional

Volume 2014, Issue 3

Step 10 Attach your cascades. I used the finished width of the cascades’ top edges to figure out the width of the wood that I needed to attach them to, which turned out to be 12 inches. I stapled hook tape to the face of the lined wood, and stitched loop tape to the back top edge of the cascades’ waistbands. Please note the two 1½-inch angle irons attached to the pine boards — these boards will mount directly to the wall behind the lambrequin.

Step 11 Add any final embellishments. I placed a medallion at the center top of the lambrequin by drilling a hole and inserting a custom-made screw for the 3-inch iron medallion. I secured it to the back with a nut. "

Sewing is in Rosa Harvan’s DNA. She was born in Ventimiglia (Palermo), Italy, and has several tailors and seamstresses in her family tree. She moved to the United States in 1969 when she was 17, and started her business in 1988 in Paxton, Massachusetts. Her business, Window Coverings and Slipcovers by Rosa, is located in Litchfield Park, Arizona, and caters to both wholesale and retail clients. In addition to handcrafted soft furnishings, she offers cellular shades, wood blinds, shutters, motorization, roller shades, fabric and trims. Rosa is a member of the Professional Association Window Coverings, a group in Phoenix, Arizona; WFCP; and International Furnishings and Design Association. Her work has been published in Desert Living (2007) and in Window Fashion Vision (2009), and has appeared on Extreme Makeover: Home Edition in 2007. You can find out more about her on her website, http://draperiesandslipcoversbyrosa.com.

Drapery & Design Professional

Volume 2014, Issue 3

This sheer treatment by Connie Krapfl (Befitting, St. Louis) features the Ruffino Track by Helser Brothers. It hangs in the historic St. Louis Union Station building.

Figuring Yardage for

Roll-Pleat Draperies

By Anita Boetsma Mesa, Ariz.

at 60 percent fullness as opposed to the 120 percent fullness that would stack in 36 inches. Privacy ― When using a sheer fabric, you may prefer the 120 percent fullness factor for privacy. 120 percent is the commonly recommended fullness for sheers. Budget ― Because the width of coverage shrinks as the fullness factor increases, you may want to specify the lower fullness factors to save on fabric.

alculating the amount of fabric needed for your roll-pleat draperies (similar to Kirsch’s Ripplefold drapery system) is the first step in the quoting process. The snap carriers are connected at a specific interval for each fullness factor. The fullness factors can be manipulated to increase or decrease the amount of fabric needed, but the amount of fabric is not flexible. In other words, it isn’t possible to “get by” with a little less fabric, and excess fabric cannot be “worked in” to the fullness of the drapery. Therefore the process for determining the amount of fabric needed is also a bit more involved. Determine Your Fullness Factor To determine the fullness factor you plan to use for your draperies, see the chart below.Some of the factors that you’ll want to consider in making this decision are: Stackback ― If the amount of stack back is important because of the view or available space, you might want to consider the 60 percent fullness factor because you can cover more window per “pleat.” For example, a 100-inch window will stack in 27 inches Drapery Rod Width Fullness Multiplier Factor

Carrier Spacing (on Center)

Determine Your Rod Width This can be handled in two ways. First, if there is unlimited space and you want the draperies to stack completely off the glass, multiply the width of the glass by the stack back percentage shown in the chart (Column 5). For example, using a 120 percent fullness factor, 100 inches of glass would require a 136-inch rod to allow the finished treatment to stack off of the glass. A one-way draw would

Diagram of Ripplefold Spacing (Coverage per 25 Spaces)

Stackback Stackback (% of Rod Depth Width)

2-5/8”

60%

1.6

27%

4-1/4"

27%

4-1/4"

31%

4-1/4"

36%

4-1/4"

62-66" 2-3/8”

80%

1.8 56-60" 2-1/8”

100%

2.0 51-54" 1-7/8”

120%

2.2 45-48"

Drapery & Design Professional

Volume 2014, Issue 3

Center Split Stack 120%

18-inch stack 18” Stack

Ripplefold Way Split Draw Stack Split Stack 120% One-WayOne Draw 120%

require 36 inches on the stack side ― right or left ― of the treatment. A center-split draw would require 18 inches on either side of the glass for stack back, as you can see in the diagram above. 36 inches

18-inch stack 18” Stack

Ripplefold Center Split Stack 120%

18 inches

Second, if space is limited, you already know what the width of the rod will have to be. As noted above, you may adjust the fullness factor to manage the stack back. Determine Your Fabric Widths Multiply the width of your rod by the Rod Width Multiplier on the chart (Column 2). For example, a rod width of 120 inches would be multiplied by 2.2 for 120 percent fullness. This number is divided by the width of the fabric you are using. You now have the number of widths of fabric you need for your treatment. 120 inches (rod width) x 2.2 (rod width multiplier) = 264 inches (total width of fabric needed for the treatment) 264 inches (total width of fabric needed) ÷ 54 inches (width of fabric) = 4.89 widths of fabric (round up to 5 widths ― this number is also referred to as WOM (Width of Measure)) Please note that the number above, 4.89 widths, equals 216 inches (4 widths) plus 48 inches of the fifth width. This will leave exactly 6 inches for double 1½-inch side hems. There is no extra fabric width for a complete return to the wall or to play with if you need to pattern match and lose some inches when putting the widths together. Because these draperies are snapped into the carrier at exact 4¼-inch intervals, you cannot adjust the necessary width as you can with pleated draperies. There are two ways to handle this. First, you can slightly adjust the rod width down to stretch the fabric a little. In order to do this, take the width of your rod and divide it by “spaces.” The size of the space is determined by the fullness factor. As you can see on the chart above, at 120 percent fullness, our 120-inch rod will have carriers spaced at 1 7/8 inches (Column 3). 120 inches ÷ 1 7/8 inches (1.875) = 64 spaces. If I cut 2 spaces, 2 x 1.875 = 3 3/4 inches of rod Then I deduct that amount from the rod width: 120 inches – 3¾ inches = 116¼ inches. Then you must recalculate your WOM as we did above:

36-inch stack 36” Stack

116¾ inches x 2.2 = 255¾ inches of fabric. This will translate into 216 inches (4 widths) + 39¼ inches of the fifth width, leaving 14¾ inches of extra fabric for returns and side hems. The second way to handle this is to reduce the fullness factor and refigure the measurements. 120-inch rod width x 2.0 fullness factor = 240 inches of fabric needed for the treatment 240 inches ÷ 54-inch wide fabric = 4.44 widths of fabric 4.44 WOM = 216 inches (4 widths) + 24 inches of fifth width of fabric ― leaving 30 inches of fabric for returns, etc. Determine Your Finished Length Calculate your finished length. Then you need to add 8 inches for hems and 1 inch for the header and 1 inch for “just in case.” 120 inches FL + 8 inches + 2 inches = 130 inches of fabric per cut 5 WOM x 130 inches = 650 inches ÷ 36 inches (1 yard) = 18.06 yards of fabric. Round up to the nearest ½ yard to 1 full yard. It’s never a problem to have a small “cushion” in your yardage. "

Anita Boetsma has been involved in the interior design and window treatment business for more than 26 years. Anita has taught at the CHF Academy of Design. She writes for several industry publications as well as presenting seminars and webinars. Anita is currently the director of education for Helser Brothers.

Drapery & Design Professional

Volume 2014, Issue 3

Out of the Workroom:

Extreme Exercise Compiled by Jill Robson Franklin, Tenn.

ed in triathlons, and, basically, I wouldn’t let him do it without me. He quickly developed a triathlon addiction and I followed right along. We started with “sprint” triathlons (distances are typically a 400-meter swim, 12-mile bike, and a 3.1-mile run) and then worked up to the longer distances.

Lois Roegge finishes her swim and heads toward her bike during her first Ironman event in Panama City, Florida, November 2013.

e all know that we should take regular exercise, hydrate and eat well in order to function efficiently. Many workroom owners do this (and quite a few of us do not!), but a few take it to a whole different level when they leave the “office”! Take a peek into a passion that inspires these two successful workroom owners. A Different Kind of Iron for Lois Roegge Rylie Max Studios St. Charles, Missouri There’s gravity irons, steam irons, boiler irons … and then there’s the Ironman triathlon! This past November I participated in my first Ironman triathlon (in Panama City Beach, Florida). An Ironman triathlon consists of 2.4 miles of swimming, 112 miles of biking, and 26.2 miles of running, totaling 140.6 miles, propelled entirely by my own little arms and legs. All of this must be completed within 17 hours. Becoming an Ironman was never really on my bucket list. I’m not a lifelong athlete; I’m not especially strong or fast, and I was afraid to put my face in the water until I was in middle school. About three years ago my husband became interest-

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Volume 2014, Issue 3

For one year prior to the race, preparing for the Ironman was a pretty high priority. Some form of swimming, biking, running or strength training was supposed to happen every day, and on many days, two workouts. I typically trained between 12 and 17 hours each week during the six months leading up to the race. Sufficient sleep and healthy eating were requirements. In time this became our new normal ― one of us was often getting up at 4 a.m. to get in a workout, as well as spending lunch hours or late nights at the pool. Our vacation schedule “conveniently” centered on races: A weekend getaway was to Panama, South America, where my husband and I raced the Panama Ironman 70.3 race (half the typical distance); we brought our bikes and running shoes to our favorite bed-and-breakfast in Illinois; and for spring break the whole family went to Cabo San Lucas, Mexico, to watch my husband participate in the Ironman race there. After weeks and weeks of training, my first big day had arrived. I was excited but also nervous; mostly about the swim as the water was very rough. I truly hoped I would remember to enjoy the experience no matter what happened … and I did! About 20 seconds into the swim, I realized that although the water was rough, I was going to survive it just fine. I smiled the entire swim, the entire bike, and about half of the marathon. (At that point it had been a very long day and I was pretty tired and sore!) But I really did enjoy every minute. Training for and participating in the race is one of the highlights of my life. So … what do you do once you’ve completed an Ironman? For me, my race was timed perfectly ― as soon as it was over, my busy season in the workroom was in full swing. It was nice to shift gears and have something other than training take priority. I enjoyed sleeping in on the weekends, and I spent plenty of time eating! The other thing I did was … you guessed it … enter my second Ironman race. Ironman Louisville is scheduled for August 23, 2014!

Karen Barnes takes a break during a ride while on vacation in St. George, Utah.

work full time, I’ve found that I can fit cycling into my schedule two or three mornings during the week and every Saturday morning. I live in Arizona, so in the warmer months I start early, around 5 or 5:30 a.m. and I’m able to ride 20 to 25 miles before I start work at 7:30 a.m. During our coldest months (December and January), I leave work at 4 p.m. and head out for a quick ride. Saturdays are reserved for longer rides. I ride at least 35 miles, but usually it’s a 40- or 50-mile ride on Saturday mornings. When I train for a century, I gradually increase my mileage on Saturday mornings so that I’m riding 60, 70 or 80 miles. I wish I could ride longer during the week, but there’s no time for that with a busy workroom! I’m looking forward to my summer vacation this year, when I’ll be cycling through the Canadian Rockies from Jasper to Banff. I hear it’s one of the most spectacular and scenic routes in all of North America! "

A New Century of Road Cycling for Karen Barnes The Elegant Window; Gilbert, Arizona I’ve discovered an outlet from the stress of running a drapery workroom, and it’s road cycling. It started in 2008 when a friend suggested I do a sprint triathlon with her. At the time, I didn’t know there was such a thing as a sprint triathlon, which is roughly a 700-meter swim, a 13-mile bike ride and a 3.1-mile run. I didn’t own a bicycle so I started looking for one on Craigslist. I found one and that was the beginning of my love for cycling. Although I did four sprint triathlons within that year, I found I didn’t enjoy the running or the swimming that much ― but I really enjoyed the cycling. Gradually I phased out the running and swimming, and started cycling as often as time would allow. I upgraded my bike to a carbon frame, which is very light and much more fun to ride (my bike weighs 15 pounds!). I gradually increased my mileage and, before I knew it, I was training for my first 111-mile bike race. I have since ridden four century events (that’s the term we use for a 100-mile bike ride), and several other races of somewhat shorter distance (70 miles). I’m not fast enough to win any of these events; it’s just all for fun and trying to do better than the year before! I work full time running my business, The Elegant Window, a custom drapery workroom to the trade since 1997. Since I

After Hours If you have a passion ― outside of the workroom ― that you would like to share with us in the magazine, please send your short article and photos to Jill Robson at jrdesigns2001@aol.com.

Jill Robson owner and creative director at Designs by Appointment, has an extensive background in the visual and textile arts and considers custom sewing for the home a facet of this field. As lead instructor for WT301 and WT401 Advanced Drapery Panels for CHFAD, education plays a significant role in her business (Jill also holds a teaching degree). She regularly attends business focused meetings, industry specific seminars and is a member of several trade associations, including: WCAA, D & D Pro Network, WFCP, and Drapery Pro.

Drapery & Design Professional

Volume 2014, Issue 3

Drapery & Design Professional

Volume 2014, Issue 3