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These ranges have been designed as coordinates for a complete mix and match story throughout the home so customers can keep a consistent look and color scheme in a mix of curtains and shades. Fully stocked in our New Jersey Warehouse. phone: 908 994 1700 email:


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09/10.15 Volume 36 / No. 5

Color advice, information and trends starting on page 24.

THIS ISSUE /Annual Color Issue THIS ISSUE 14 Certification Program Finalized by WCMA “Best for Kids” cord-safe testing now offered.



30 A Fresh Coat New products in paint. By Amy Goetzman

The Fastest Way To Win Big-Budget Clients Build trust by starting small. By Maria Bayer

18 Think, Decide and Act Break out of the decision loop. By Gail Doby 20

New Challenges Call For New Strategies Big companies dominate the Internet, but there’s still ways to win new clients. By Steve Bursten


The Magnificent Speech- less Language Without words, color conveys worlds of meaning. By Cindy Gapter, CMG


Shedding Light on Color Understanding lighting is key to better color specification. By Kate Smith

On the cover: 4


Choosing the Right White A three-step process for a more harmonious interior. By Maria Killam

34 Passionate Pursuit Jackie Jordan presents the 2016 Sherwin-Williams color trends. 38 Just Luxe Hilde Francq unveils a decadent new design direction.

60 Pattern Play  Julie A. Wood helps Renee Rucci open a colorful new retail space. 62 Going for the Bold  Diane Leone reimagines a stodgy model apartment. 66 Headboard Basics  Jill Ragan Scully’s how-to. 68 The Key to Success  Rosemarie Garner demonstrates a complex Greek key design.


40 Innovation and Impact 6 Viewpoint: Leatrice Eiseman discusses the Recent highlights from our 2016 Pantone home trends. contributors’ Facebook pages. 44 Feeling Blue A classic makes a comeback.


52 The Beauty of a Colorful Life  Deborah Main transformed a love of textiles into a new career.

10 Viewpoint: InfoBar Houzz interior design business barometer.

56 Pretty as a Picture  Elizabeth Benedict designs an art-filled home.

12 Viewpoint: Officially Obsessed Susan Schultz on found color

Viewpoint: Our View President/CEO Grace McNamara

72 What’s Next

A top down/bottom up cellular shade from Lafayette Interior Fashions, made with the company’s Accu-Rise child safe cordless operating system. The draperies, pillows and floor pouf are are created with fabrics from the Select Masterpieces program.

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WF-VISION.COM Looking For Online Inspiration?

Check out these great Facebook pages from our regular contributors… and our own page as well!

New product news, design ideas and more.

WINDOW FASHION VISION MAGAZINE President & CEO • Grace McNamara • Vice President/Circulation Director • Peggy Yung • Editorial Director • Susan Schultz • Managing Editor • Lynn Thompson • Shannon Flaherty • Education and Events Director • WFCP Director & Trend Specialist • Deb Barrett • WFCP Workroom Certification Director • Jill Ragan Scully • Business Manager • Gabriela DesRochers • Office Manager • Belinda Pasquale Hanson• Megan Dummer • Special Events Coordinator • SALES Director, Sales & Marketing • Susanne Young • CONTRIBUTORS IN THIS ISSUE Maria Bayer, Steve Bursten, Gail Doby, Hilde Francq, Cindy Gapter, Amy Goeztman, Maria Killam, Jill Ragan Scully, Kate Smith

Color information and inspiration from Maria Killam.

FEATURED DESIGNERS & WORKROOMS Elizabeth Benedict, Rosemarie Garner, Diane Leone, Deborah Main, Julie A. Wood SPECIAL THANKS TO Leatrice Eiseman, Cindy Hodnett, Jackie Jordan, Renee Rucci, Denise Schenck

Amazing posts on all aspects of color and design.

2015 EDITORIAL ADVISORY BOARD Donna Elle, Donna Elle Seaside Living John Fitzgerald, Comfortex Neil Gordon, Decorating with Fabric Joyce Holt Susette Kubiak, Drapery Connection Rory McNeil, TechStyles Window Covering Products Inc. Tom Perkowitz,Horizons Window Fashions Inc. Jane Shea, Blinds Unlimited SUBSCRIPTIONS 877-344-7406 •

Stylish pillow talk from Deborah Main.

We’re on Facebook twice! and

Window Fashion Vision magazine makes every attempt to credit each person involved in the process of creating a window covering and will not be responsible for crediting any person whose name, company or participation did not surface during the informationgathering process. Crediting disputes between parties other than Vision magazine are solved at the discretion of those involved.

Keep up with all the IWCE 2016 Las Vegas tweets @IWCEVISION

Window Fashion Vision® (ISSN 0999-7777; USPS 708930) is published six times a year, by AIM Communications LLC, 4756 Banning Ave., Suite # 206, White Bear Lake, MN 55110; Tel 651/330-0574; Fax 651/756-8141. Visit our website at Periodicals class postage paid at St. Paul, MN and additional offices. Postmaster: send address changes and subscription correspondence with mailing label to Window Fashion Vision, PO Box 15698 North Hollywood, CA 91615. Allow 60 days for address change. Subscription rates: $22/yr. U.S. and possessions; $29/yr. Canada; $90/yr. Foreign (includes airmail postage). Single copies/ back issues $6 each, except for special issues, which are individually priced. (Payment must accompany order.) Copyright ©2015 by AIM Communicaations LLC. Reproduction in whole or in part without written permission prohibited. Canadian Publications Agreement Number: #40036514. Canadian Return Address: Station A, PO Box 54, Windsor, ONT N9A 6J5

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Explore a World of Color

ur annual color issue brings you inspiration from a variety of sources and angles. As interior design professionals, we know how important color is in a client’s home. Even though the majority of window coverings sold are neutral, particularly variations of white and off-white, they are an important backdrop for the entire room’s palette. Manufacturers of window coverings need to add the right mix of neutrals with colors that are trending in the home to give their products the variety and punch they need, even if the ultimate decision will be white. So our color stories in this issue give you the following perspectives: •C  indy Gapter speaks to the emotion that color evokes on page 24.

•K  ate Smith speaks to how light affects color on page 26. •M  aria Killam helps us select the right white on page 28. •S  herwin Williams and Pantone share their 2016 color forecasts. Plus we have several great projects in this issue that demonstrate how exciting color can be at the window. Don’t be afraid to step out of the neutral zone—understanding color means you can provide your clients with the best possible options. To help with that, check out the WFCP Color Certification course developed for us by Kate Smith! Become the color expert in your area; visit wf-vision/ education to register.

We’ll be moving into fall redecorating season before you know it, which also means it’s time to start to setting goals and make plans for 2016. Yes, believe it or not, it’s right around the corner! You can really ramp up your business by attending the International Window Coverings Expo, January 19-21 in Las Vegas. A reminder to register in September for the best rates. Take advantage of special pricing this month only. Have fun with this issue and happy fall decorating! V

Grace McNamara President and CEO

I attended the wedding of one of my niece’s the weekend we put this issue to bed and I had just had to share some of the colorful images we took that day. That “confetti” dress is a favorite of mine and, who knew, it was a wonderful match with the bridal party’s flowers!



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Houzz Interior Design Business Barometer According to recent research from Houzz, the vast majority of professionals are bullish for 2015 and expect revenues to grow, with more than two-thirds of firms stating revenues met or exceeded their initial expectations. 28%



Firms reporting below, at or above expectations, 1Q 2015

71% 61% Firms reporting number and scale of new projects/orders, 1Q 2015




Firms reporting changes in proposal-to-business conversion rates, 1Q 2015 decrease

no change


66% 67% Firms reporting profit and revenue increases, 1Q 2015

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Learn about some of the more challenging aspects of designing window fashions窶田alculating yardages, offset pairs and multiple draws, figuring comparable fullness, specifying unique decorative headings. Acquire tips on sketching and visualization and explore new ways to present alternatives and options to your client. The fastest, most comprehensive and now even more convenient way to become a Window Fashion Certified Professional Design Specialist.

Get the details at Or call the WFCP Office at 651-762-2002



FOREST INNOVATIONS for your best view on the world

MOTORIZE NEW OR EXISTING BLINDS! The most durable and functional roman blind hardware on the market can now be motorized. Use in your new roman blind design or motorize an exising RBS system. The 24 volt tubular motor lifts up to 10 lbs and comes with a 10-Year Warranty.

This COMPLETELY NEW motorized track system makes it possible to create longer tracks. Mount to the wall or ceiling or with the recessed profile for a clean look. Powered by either the Forest Shuttle or Eco Shuttle, activate drapes with a gentle tug, remote or wall switch. Motors include a 10-Year Warranty.

An ELEGANTLY SHAPED TRACK, use DSXL as a standard hand draw system with RipplefoldŽ or pinch pleat carriers. When paired with the Forest Easy Flex System it is simple to adjust fold depth. Install the DSXL track without any visible brackets – works with both klick ceiling brackets and swivel wall brackets. Ripplefold is a trademark of Kirsch




Susan Schultz on found color

Officially Obsessed With I have a lot of photographic obsessions—signage and lettering, found patterns, oddly cropped details, doorways and windows and found color. What I mean by that is color cropping up in unexpected places. So for this issue I decided to dig into my photo archives and pull out some examples of this to share. To narrow it down, I decided to focus on one color—green. I have hundreds of beautiful greens shot in nature, in gardens, in rainforests, etc. but I thought I’d share a mix—art, architecture, natural processes and more. I keep telling myself that “when I have time” I’ll do something with all these images, but for now, whenever I walk out the door, I’ll just keep adding to my photo obsessions. V



Susan Schultz At IWCE 2016 OPPOSITE PAGE, CLOCKWISE FROM TOP RIGHT: Doorway in Syracuse, Italy. Ceiling detail from the Château de Chenonceau, France. Plants growing into an abandoned mausoleum, Recoleta Cemetery, Buenos Aires, Argentina. THIS PAGE CLOCKWISE FROM TOP LEFT: Gleaming emerald tiles seen in a Sydney row house, Australia. Traditional wooden balconies in Malta. Crumbling pastels in Colonia, Uruguay. Packaging business, London. Mineral greens from underground gases, Mount Etna. Natural camouflage on a plane tree, Paris.

Susan Schultz will be presenting her popular trend seminar “Wonderlands: Interior Design Trends for 2017 & Beyond” on Tuesday, January 19, 2016. Find out more at



“Best for Kids”launched in July

Program Finalized by WCMA n May 2015, the Window Covering Manufacturers Association (WCMA) announced that it was in the process of developing a certification program that delineates between products so as to help consumers identify those products best suited for use in homes with young children as they make their purchase decisions. The new ‘Best for Kids’ program will require products that manufacturers want to be part of the program to meet stringent criteria, and to submit those products to a WCMA-recognized third party testing laboratory. Certification Program Details To be eligible for the program, window coverings must be submitted for evaluation to one of the qualified independent, third-party testing labs selected by the WCMA. Bureau Veritas is one of the two test labs that can be used for this certification program evaluation. If product is determined to be in compliance with the program rules, that product can be labeled and marketed with the “Certified Best for Kids” logo. Currently window coverings must be manufactured in compliance with ANSI/WCMA A 100.1-2012. The ‘Best for Kids’ certification is an effort to make it easier for consumers with young children to choose the correct product for their application. Using a detailed set of criteria that will be applied via third party testing, the certification program will make it clear that the products labeled 14


with the official ‘Best for Kids’ logo are manufactured to these criteria. WCMA believes that this certification program will provide the recognizable assurance that consumers seek,

What Can Be Tested Products including curtains and draperies, horizontal blinds, cellular shades, pleated shades, roller shades, Roman-style shades, vertical blinds and plantation shutters. Schedules and Rates Testing time frame: 3-4 days Rates: Vary from $100—$200 depending upon the compliance path Sampling One sample per item being tested Eligibility testing for the program is available Who Can Test Any complete window treatment from any manufacturer or producer based in the U.S. or Canada, including non-members of WCMA

allowing homeowners, designers, landlords and child care facilities to easily identify certified products. It is important to note that this certification program in no way diminishes the requirement that all products must comply with the most current version of the ANSI standard. Test Eligibility Per the program, a window covering must meet one of the three test evaluations in order to be eligible to bear the certification logo. These three compliance options are listed as follows: Test 1: It shall have no cords.  est 2: The product shall not have T operating cords and the inner cords shall not be accessible in accordance with Appendix C of the current version of ANSI/WCMA A100.1.  est 3: If accessible inner cords are T present in products with no operating cords, the accessible inner cords cannot create a hazardous loop in accordance with Appendix D of the current version of ANSI/WCMA A100.1 Products that meet these criteria via the third-party test will be eligible to be listed and labeled on packaging and materials as “certified,” and companies can use this designation on their marketing materials. To maintain eligibility for the program, the WCMA has established that labeled product must be submitted for evaluation annually. V


Start small to win big

The Fastest Way To Win Clients by Maria Bayer

o you get wide-eyed when you see a prospective client with a big budget? If you're like most people, you're probably calculating in your head how much money you'll make as soon as you hear that big budget number. A large budget can be a big lure, but most people approach these situations in a way that takes more time, nets less money, and exposes them to unnecessary risks. Has this happened to you? You go through a lot of hoops to try to win a client. You make assumptions about the project and give the client a fixed fee vs. charging them hourly (because you don’t want to scare them away). You’re blinded by the budget instead of evaluating the client rationally and whether you’d be a good mutual fit. Then, if you do win, you end up eating a lot of fees, or the client ends up being a nightmare client—or both. Let’s face it, it’s happened to all of us. But I’m about to share one of my favorite ways to win big budget clients while maximizing your profits and minimizing your risk. And your competition won’t see it coming. They’ll be busy crafting a lengthy proposal while you’re beginning the project. It’s simple. Start small. Tell your client that you understand this is a big project, and that they’ll probably want to make their deci16


sion deliberately, and with a designer they trust. The problem is, how do you trust someone with whom you haven’t worked before? Remember this: The bigger the sale, the more time and trust required to win it. That’s the inherent problem with winning a big project. You have no track record with the client, and the bigger the investment, the more concerns they’ll have. And they’ll take more time to make a decision, too. After all, they have more at stake. There’s more risk. And here’s the key: If you don’t address all of their concerns, the client will either choose another designer, or they’ll make no decision at all. The best way to avoid that is to start small. Tell your client that you’ve worked with similar clients before. And the way to make them comfortable is to start with a small project. There’s less risk to the client, and they can ensure they love the finished result before committing to an entire project. Why is this a brilliant strategy? • Because clients make smaller decisions faster than bigger ones, because there’s less risk. • You’ll build trust because you’re not trying to sell them the entire project. • They’ll want to hire you more than other designers because you’re

so confident in your designs that you’re willing to start small. •M  oney spent is money forgotten. It‘s so much easier to grow a project by doing one piece at a time than having the client commit to a large budget up front. • I t will make it infinitely easier for them to hire you for the next project. And the next. • You end up making more money in the long run. • You’ll take on less risk. • I f you find that you’re not a good fit, it’s easier for both parties to part amicably before investing a lot of time and money. So the next time you meet a potential client with a big budget, remember this strategy to winning to a very profitable and life-long client. V Maria Bayer, the Authentic Sales Coach for Design Success University, teaches interior designers how to win ideal clients quickly and make more money without being “salesy.” If you enjoyed this article, I invite you to register for my free online training series where you’ll learn more savvy strategies to win clients you love:

As a family owned business in our 65th year, we understand that family comes first. That’s why all products from Lafayette Interior Fashions are designed with safety in mind. For the sake of our children’s safety, we offer several lifting systems on all window coverings that are especially appropriate for families with young children. From cordless and motorized operating systems, retractable lift cords, wand controls and cord tension locks, you will find a wide array of lifting system options to reduce the risks of potential hazards from window coverings.

Call us today to learn more! In addition to our everyday commitment to child safety, we are currently running a “For KIDS Sake” Fall Child Safety promotion for all Advantage Partners from September 30th to November 7th. During this period, many of our cordless options on our most popular products are being offered at a 20% cost savings to our partners.


Commit to being more decisive

Think, Decide and by Gail Doby, ASID

ave you ever been caught in an endless loop of indecision​or unfinished projects​? Don’t be embar​r​assed to admit it, we​’ve​all ​been there at one time or another. It’s easy to say, “I’ll think about it​later,” but that means that you have to start the process of ​reading, reviewing and ​ deciding all over again. When you do things twice or more, you’re choosing not to do something else that might be ​a better use of your time. ​ ecome consciously aware of tasks, B projects and decisions that are “on the back burner” and keep floating through your head. Unfinished projects, tasks and decisions are keeping you from accomplishing your dreams. Make a commitment of time and effort to make the decision​s, or complete the tasks or projects by a specific date.​You’ll feel more relaxed and less stressed when you get the toughest decisions and projects behind you. Procrastination doesn’t make the decision easier later. ​Here is another trap: ​​asking for more and more information to make a decision. Do you really need more information, or are you stalling so you don't have to make the decision? When you postpone decisions, ask yourself what is keeping you from making a decision at that moment. You probably have all of the information you need, so just do it. Be resourceful vs. looking for more resources. Prioritize what is currently on your plate and ruthlessly say “no” to any 18


Then organize all current and future projects in order of priority.

new projects that will overload your team. Tell clients when you’ll be able to start their projects rather than piling on the work because it is available. Your clients will understand if you can’t start immediately as long as you give them a timeframe for the project and a possible start date. I​ f you like to start things and have other people finish them, be sure you’re not starting too many projects that will never be finished. Think about the stress that puts on your team when you keep adding projects that seem like a great idea but are delaying the completion of your current in-house projects. If you keep adding to the list of work without explaining why the project needs to be done and what can be put off to allow space for the project, then you’ll quickly frustrate your employees and they will either get burned out or quit. ​ earn to insert a “pause” button before L sharing new ideas with your team— it will save a great deal of time and prevent frustration. If you are in a constant state of idea creation, a great strategy is to do a “brain dump” by writing everything down on a list with a project name on the top of each page and short bullet points to represent the activities that each project requires. Decide if each project will bring you closer to or further away from your goals. Figure out how long each project will take. List the resources that are required. Consider what must be postponed to make room for the new project—how will that impact your current clients or team members?

Only share new projects or ideas with your team if they are likely to come to fruition. Spend time thinking and planning to complete current projects before getting sucked into the vortex of the shiny new object. ​ Decide quickly and get in action quickly, and even more importantly, finish things. Your ability to decide quickly is a valuable skill to nurture. Set time limits​for yourself​and get more done. V

Gail Doby, ASID, is the co-founder of Design Success University (DSU), whose mission is to help you earn six figures doing what you love. Visit the new coaching and consulting website,, to find out how you can grow your income and learn to be the CEO of your business. DSU just launched the new Business Assessment tool on its website. Click on the link in the upper left corner of the site and you’ll get instant answers to common problems mentioned in the annual DSU survey. DSU also offers free webinars on business fundamentals, as well as ongoing coaching for more in-depth assistance.

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Adapting to change

New Call For New Strategies by Steve Bursten

he world is changing. Cell phones and texting make it easy to stay in touch with customers, installers and suppliers. Websites show your work online 24/7. Social networking builds awareness at low cost. But three converging factors are uniting to threaten your business by changing the rules for repeat and referral sales. You can no longer play by old rules, but there are winning ways to ensure survival and success. Three Sources of Change For a half-century, we learned the power of word-of-mouth success. Give customers good service, quality products, and appealing designs, then rely on repeat sales and referrals to steadily grow. But this year the ageold rule is crumbling. You may not yet sense the impact, but you already know the sources of change:

Money: SEO (Search Engine Optimization), PPC (Pay Per Click), and “Content Marketing” are far too costly for a personal business.

and make friends. Get your smiling face out in public. Be in a high potential neighborhood when the homeowners are ready to buy window coverings.

Time: listing on Internet directories, posting to dozens of social networking sites, and blogging soak up hours every week. Oh, how we long for the simple days of placing a Yellow Pages ad once a year!

As always in marketing, it will take a little time and a little money. But you can beat big business competitors if you remember this: “Tried and true and a little bit new.” Say it to yourself over and again. Then put it to work in your business. Talk to colleagues. They may have some good ideas. For now, here are time-tested winners:

Small business can’t afford the money and time to win on the Internet, but big business can. National brand competitors can afford top-drawer, full-time Internet engineers. They have the money to research and make mistakes. Small business is lucky to get two appointments a month. Big business is garnering hundreds.

3) Changing consumer buying trends as homeowners search the Internet before calling a consultant.

Now add the killer factor: Homeowners searching the Internet before a major purchase. They all do it—even your past customers. Most past customers will stay loyal, but some will drift away. National brand competitors with dominant Internet marketing will win some of your past customers. That’s why the rules have changed. No independent business can rely on as many future sales to past customers as they had before.

How do these three factors change the rules? Big business competitors have an advantage over your business. Start with the Internet. Here’s what big companies have to work with:

Adjusting to Change Keeping past customers and winning new ones requires change. So, make it fun. Do more of the things that big competitors cannot do: Meet people

1) The complex and costly Internet; 2) Growing national brand competitors that are mastering at-home custom product sales;



Tried and True 1. C  all past customers. Tell them how much you enjoyed working with them. Let them know you are calling to be sure everything is working right. You may get an appointment if they’re thinking about a new project. At minimum, you are inoculating them from a competitor attack. 2. B  uild awareness in high income nearby neighborhoods where you already have customers. Chances are, your customer’s neighbors have one of the the same “3R” needs your customer had: Re-decorating, Re-modeling, and Replacement. Tour the neighborhood on Saturday when people are home. Stop where you see “challenged windows” and realtor signs. Introduce yourself and quickly hand the homeowner a brochure. Put away your fear. You’ll be surprised how friendly people are.

3. Leverage with others to build awareness. Work with groups and related, non-competing retailers to make decorating presentations. Get people to know who you are. They can’t buy from you if they don’t know your name and what you sell. A Little Bit New 1. Some social media is worth the time. Prioritize and be consistent. Pinterest, Facebook and Houzz are good ways to create awareness for your business. 2. Email newsletters. You may think email doesn’t work. You may think your customers don’t like it. Your competitors know better. Some competitors send two emails a week. Every small business owner who wants to keep their past customers should send two a month.

Learn how to get contact information and email addresses from potential customers. Email is a low cost, first line of defense against well-funded national competitors.  hare costs of Internet marketing. 3. S Join WCAA or possibly a franchise. Both Budget Blinds and Decorating Den have sought experienced independent owners to expand their networks. And, consider Exciting Windows! You can keep your business name and promote exclusive services. Alone, you cannot afford Internet marketing like big business. With a group you share costs. Together, you can win. Your great advantage is that you only need 2-3 appointments a week. Big competitors need 2-3 appointments a day. If you apply the “Tried and true

and a little bit new” you will keep your best customers and win new ones. No national competitor can equal your smiling face promoting your personal business as a professional. So set your schedule to stay in business by building on your personal strength a big competitor can never match. V

Steve C. Bursten has more than a half-century of experience in window covering shop-at-home sales, marketing and management. He founded the world’s largest interior decorating franchise, co-founded the International Window Coverings Exchange of major industry retailers and co-founded the Exciting Windows! national network.

Worldwide Window Fashions A Preferred Provider of Wilson Fabrics

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With an exciting mixture of Light Filtering and Room Darkening fabrics, the Valencia Roller Shade Collection displays Worldwide Window Fashions’ commitment to new and trendy designs in the roller shade product category. The latest Wilson Fabrics styles are available on our Heavy Duty Clutch system, Magic Touch, and as Panel Track. • 4 patterns available in drapery fabric • All fabrics have been tested for Energy Saving Classification

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Contact Worldwide Window Fashions Today! 215.455.2266 • WF-VISION.COM | SEPT/OCT 15 | 21

Register Beginning Sept 1st



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Empowering you to build your own experience with educational opportunities, network with your industry peers, and gain access to industry professionals - helping you with business challenges and offering solutions!

Your Business. Your Future. Your Expo. SEMINAR PREVIEW

TUESDAY JANUARY 19TH D. Barrett & L. Medford | A Guide to High Style Window Fashions: From Custom to Haute Couture J. R. Scully | Tufting 101 L. Tully | Draping & Drafting Patterns for Top Treatments E. Bruce | Creative Marketing & Free Advertising OD McKewan | Introduction to Motorized Window Coverings & How to Sell Them Confidently E. Bruce | Adapting & Repurposing Materials: Creating Unique & Artistic Window Fashion Installations J. Fitzgerald & J. Donnelly | 2016 Color & Design Trends in Fabric J. Von Tobel | Diversify or Disappear: What it Takes to Stay Relevant in Today’s Marketplace S. Schultz | What Millinnials Want: Five Ways to Connect with Today’s Design Consumer M. Williams | Pricing Panel: How to charge for Your Services A. Johnson | Learn Pattern Drafting & Alteration Techniques to Create Unusual Window Fashion Designs

D. Barrett | Cool Tools for Your Design Business

L. Tully | Workroom Tips & Tricks

L. Medford | The Latest Looks in Pleated Draperies

J. Woods & R. Rucci | Industrial Chic: Fabrication to Furnishings

J. Woods & R. Rucci | Outdoor Living: Decorating Outside the Walls

K. Seldon | Keynote: More Money, More Profits

S. Schultz | Wonderlands: Interior Design Trends for 2017 & Beyond

WEDNESDAY JANUARY 20TH OD McKewan | Matering Motorization of Custom Window Coverings J. R. Scully | 25 Ribbon Embellishments That Will WOW Your Clients! D. Barrett | Get That Look L. Medford | Upholstering Walls with Geometric Shapes E. Bruce | Building Collaborative Relationships for Seamless Projects J. Von Tobel | Upselling for Success & Profits

A. Johnson | Flawless Window Fashion Installations L. Tully | Why Sketch to Scale J. Woods & R. Rucci | Wine & Design: Building Workroom & Designer Relationships to Market to Clients

THURSDAY JANUARY 21ST A. Johnson | Embrace the Pattern Repeat OD McKewan | The Fade Factor: Using Motorized Window Coverings to Protect Your Home and Furnishings J. Von Tobel | Building Profitable Partnerships J. R. Scully | Dressing Transoms, Eyebrows and Arches

D. Barrett | Turn Up Your Color and Pattern Quotient M. Williams | Negotiating with Confidence

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See You In Vegas!


Color speaks volumes, conveys emotions and inspires

The Speechless Language by Cindy Gapter, CMG

magine you’re in space. Drink in the blackness and the countless stars with their blue, red and yellow tints. See the nebulae swirling, each color a specific ionized gas. As you move towards planet Earth, colors collide in the northern lights. Moving even closer, blue oceans and white clouds appear. Night is falling and the skies transform from blues to reds, oranges, yellows and pinks and then to the deepest purples. How do you describe this without color?

cording to Ekstut and Eckstut in The Secret Language of Color. Throughout history some of these thinkers have fared better than others, when trying to explain and understand color. From the vantage point of our current scientific knowledge, many of their attempts now seem funny,

We all have stories about how a given color evoked a response in us that was almost automatic without our conscious thought creating that response. Color makes our selections almost easy. We purchase certain items because of their color or packaging. In the entertainment industry, certain colors in clothing, backgrounds, props and sets are used to create an almost imperceptible response that happens more out of emotion than conscious thought or language.

The elements of our universe are filled with color. Colors tell us when to rise and when to fall to sleep, when to go outdoors, and when to seek shelter. Color has helped answer questions about what might live on planets we have yet to visit and whether these planets might be inhabitable by the human race. “Plato, Newton, Da Vinci, Goethe, Einstein: All these great minds and many more grappled with the profound complexity of color. They sought to understand it, creating systems to explain its mysterious workings,” ac24


the tears in our eyes. The eighteenthand nineteenth-century philosopher Goethe tried to impose order on color’s chaos by arranging hues into three groups: powerful, gentle/soft, and radiant/splendid. Although we’ve come a long way in our understanding of color, much remains a mystery.

bizarre or downright fantastic. In the fifth century BC, Plato drew a causal relationship between color vision and

Color motivates, excites, draws attention and provides emphasis. It is one element of the coordinated effort to effectively communicate in design. Color has long been thought to be only for embellishment or decoration. But if used intelligently, color can help give visual order to complex information. It can attract, enlighten and engage, and thus, add value without speaking a single word.

Color illuminates everything in the universe. How many colors can humans see? A whopping 10 million! However, more color rarely means more value. Just because there are so many colors cheaply and readily available doesn’t mean that you should use “every crayon in the box” when designing, because the brain can only handle so many thoughts or concepts at a time. Think of what you do when selecting colors for your home, paint, flooring, window coverings. We more than likely select those colors that elicit an emotion or response without a word. Colors that we are drawn to and almost magically attracted to just by the response we unwittingly have….a response without words but rather the emotion created just by that color!

Color fuels our curiosity to discover and emotionally connect us to objects, places, or times. Highly theorized for the ability to deliver context and value, fundamentally, it is our individual interpretation that makes color meaningful. Color is human. Color gives meaning. Color creates curiosity. V Cindy Gapter, CMG, MBA, is Sales Executive/Business Development of Colwell, Inc., a global manufacturer of color merchandising aids for the paint and window fashions industry. With more than 30 years’ experience, Gapter has helped compa-

nies find different ways of reaching their market with strategic merchandising and design, helping customers to more easily select color with confidence.

Closer Look Colwell Colour: Color Marketing Group:

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Don’t be in the dark

Shedding On Color by Kate Smith

o understand how different types of light affect color you have to know a little about what light is, how it “works”, and its relationship to color. Light is one of the many waves found on the electromagnetic spectrum. Other waves on the spectrum include ultra violet, radio, microwaves and x-rays. What differentiates light from the others is that it is the only one that can be detected by the human eye. All of the colors we see are a byproduct of spectrum light, as it is reflected off or absorbed into an object. An object that reflects back all of the rays of light will appear white; an object that absorbs all of the rays, black.

or greyed. Northern light is indirect and can make colors appear darker and less saturated so you may want to compensate by considering a paint color that is a bit lighter or slightly more intense. Colors that work best with northern light are light value, bright and clean. The color of northern light is the most diffused light and remains quite consistent throughout the day. This is why the colors of your paint and

Light that enters a room from the north casts a cool, bluish tint on the objects it washes over. Using clear hues rather than ones that are muted 26


Light that comes from an eastern or western exposure is also warm. It casts a yellow to orange-yellow or red-orange tint that will change throughout the day as the sun moves across the sky. Light is softer and yellowish in the morning moving to intense and orange or reddish in late afternoon. Using colors that are warmer and less muted than those for a southern exposure will help the color to work even when the sun is not streaming in. The Effects of Artificial Light Artificial light supplements natural light so it is important for you to know how a space will be lit when selecting colors. The type of artificial lighting in a space influences how a color looks. Some of the most common sources are fluorescent and incandescent light bulbs, halogen bulbs, and LED lighting.

All of the millions of other colors are produced by a combination of light rays being absorbed and reflected. Grass, for example, absorbs all colors except the ones that make up its color of green. The Effects of Natural Light Natural light can vary greatly depending on the weather, the season, the time of day, the position of the sun in the sky, the location of the building and where the space is located within the building. Understanding these factors can help you to anticipate how natural light will affect a color.

grey to absorb a bit of the light so the room feels more comfortable.

fabrics in a room with a northern exposure will remain the same color throughout the day than the same paint and fabrics used in a room with an east, west or southern exposure. Rooms with southern exposure benefit from beautiful warm light but at times it can be too much light that is too intense or glaring. To solve this problem use colors that are medium value, toned, muted or with a touch of

Halogen lighting is nearly white and the closest to natural light on a clear day around noon. Fluorescent lighting is more bluish although now some fluorescent bulbs produce a light band that is close to daylight. Incandescent lighting produces a yellowish light. When thinking about how your lighting and colors will work together, consider that warm, yellowish light can intensify warm colors and mute cooler hues, while cool bluish light does the

opposite. For example, incandescent lighting casts warm light that can enhance reds, oranges and yellows; cool fluorescent light works best with blues, violets and greens.

The value and intensity of a color are affected by the amount of light, too. In lower light, colors appear darker and less intense. As you increase the amount of light, the value lightens and the intensity increases until you reach its true color. Just keep in mind that too much light can make a color appear less saturated or washed out.

Her clients and students have consistently increased their sales by providing color information, tools and services that set them apart from their competition.

While you can understand how light affects color, choosing colors that will work in a particular lighting situation is still not an exact science. The best way to find the right color is to view a sample of the actual color and material that is at least 12” x 12” in the space where you plan to use it and look at it in the actual lighting conditions of the space during different times of the day. Always look at the sample in the same plane it will be applied. For example, view wall paint vertically, not flat on the floor or table; view rug or carpeting color flat on the floor. By doing this, you can see how the color is affected by the light and make the perfect color choice. V Kate Smith, the chief color maven at Sensational Color, shows companies, designers, and consultants how to unlock the secrets of color and become the “go-to” color expert in their market.

She can show you how to do the same in your business in the WFCP Certified Color Consultant™ intensive training program.

Closer Look Kate Smith: WFCP Color Certification:



Three steps to getting it white

Choosing the Right by Maria Killam

ven after 10 years working in the color and decorating industry, it wasn’t until I arrived at a client’s home in the summer of 2010 that I had my first real epiphany about whites. My client had a beautiful bedroom full of creams, whites, and off-whites, and when it came time to color match the off-white coverlet on her bed so that I could source a coordinating bed skirt, I pulled out my fan deck and flipped through the countless white options to find the right color chip. I do this for everything — fabrics, finishes, window coverings—this way I don’t need to take everything with me when sourcing the right fabrics or window coverings for the room.

category in my very own system of choosing whites. Having any go-to color is the easiest way to get into trouble when choosing or specifying whites, but this strategy is not uncommon (even among professionals) because too few of us truly understand how to work with this very complicated color. It’s just not as easy as having a go-to color, but here’s an alternative

that works every time: have a go-to system instead, to help you choose. the right white. Mine is just three steps, and it looks like this: 1. Compare all fixed whites to my continuum of whites. Readers of my blog know that, for 90% of their projects, selecting from this continuum (which ranges from blue white to true white to off-white to cream) is the easiest way to pick a perfect white because I’ve done all the heavy lifting.

When I found the one that matched best, I turned the chip around to see which white it was. It was BM CC40/OC-130/967. Cloud White. “Oh”, I thought to myself. “Cloud White is officially an off-white.” Did you know this? Most people don’t, since Cloud White is advertised as every designer’s perfect, go-to white. Until that moment, even I had been so distracted by its reputation that I hadn’t bothered to assign it to a 28


“I matched the off-white blinds (Canadian Blind Manufacturing Snow White #200) to the trim in this room which is SW 7005 Pure White. Then purchased the duvet from The Pottery Barn and matched that color to the drapery, a cotton/linen from Maxwell Fabrics, called Mellow #55 in snow. True whites and off-whites play well together, if you mix true white and cream, it looks better if you repeat them intentionally in the room.”

From the infinite whites available in paint stores worldwide, I’ve pulled out just 10 from Sherwin Williams and 10 from Benjamin Moore that represent the four undertones that work virtually every time. Yes, there are whites with undertones of every color on the color wheel, but the vast majority of them won’t work for walls, ceilings, cabinets, and trim. Or for window coverings. For example, when was the last time you purposely sought out a white with a bit of pink in it? 2. N  ext, compare the white product sample to all the whites in the room.

If my sample is small (and isn’t it always?), one trick that works really well is to hold a plain white piece of paper behind the sample.

When the sample color floats in the air with all the other color influences behind it, it’s easy to get distracted by all those other elements.

White paper generally falls into the category of a true white over a blue white or off-white so it’s a good background to use as a way to neutralize the background.

3. My most important tip: compare, compare, compare.

This visually isolates the ‘white’ for me as I move it around to make sure it coordinates with the other whites in the room. This is an easy way to ensure my window covering selections are perfect instead of almost perfect. Try this with any color chip and you’ll see what I mean. When I’m shopping for a turquoise vase to go with a specific color scheme, if I hold a piece of white paper behind my turquoise color chip and then hold it right beside the vase, I can easily see if it’s the right color.

Getting whites right with small window covering samples is tricky. More often than not, I’m matching my roller shade or blind sample to the window trim where it’ll be installed for the most neutral result. I keep comparing each individual sample until I’m sure I’ve chosen the closest one to the existing trim color.

Maria Killam is a decorator, stylist, and internationally sought after color expert. She is also the author of two books on choosing colour, including the bestseller White is Complicated—A Decorator’s Guide to Choosing the Right White.

Mastering the four whites in my continuum has made it easy for me to specify the right white for window coverings, every time. V

Closer Look Maria Killam: Facebook: Pinterest: Twitter:

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New paints for color-loving consumers Color changes everything. It impacts our mood, it influences creativity, it marks time and trends, and it even alters the perceived dimensions of a space. And nothing changes a room faster than a fresh coat of paint. But the impact doesn’t end there. Nearly every design decision that follows begins with that first choice of paint color. Paint companies are always conjuring new palettes, but the latest color offerings go a step beyond simply selecting a stripe on the rainbow, with new color-selection tools that take into account personalities and intentions; interesting finishes that change the way colors act; and safer new formulas that help us breathe easier. And if you can’t decide on just one color, there’s even a special chameleon paint that changes in the light. V Colorhouse This Portland, Oregon-based paint company looks for inspiration at farmers markets, in the natural world and in artists’ spaces. The result is a curated palette of 128 harmonious colors in a supremely eco-friendly formula that nourishes the creative soul. Suggested use: Don’t just paint a wall, play with it and create something special, such as this dreamy waterscape wall, this sophisticated boy-girl shared zigzagged bedroom or paint that pushes the boundaries woodwork only tries to set.



The Real Milk Paint Co. Milk paint—yes, it’s actually made from milk—has been mixed at home for thousands of years. The Real Milk Paint Co. takes the mess and guesswork out of the traditional recipe with a selection of 55 pre-mixed colors. The rustic, organic finish gives this eco-friendly wall covering a unique appeal. Depending on the surface it’s applied to, milk paint can take the variegated tones of weathered barn wood, adobe walls or stone, adding depth and texture to a room. Shown here in Oyster Grey on a project from the Ferpie and Fray blog.

Valspar Just can’t make up your mind? You don’t have to if you choose Valspar’s Kameleon paint, which shifts in color as you view it from different angles. This bold choice is favored for exterior applications but makes a striking statement as an accent indoors. This home is painted in Kameleon Dusty Rose, which looks bright green/yellow in the early morning light, transforming to bronze as the day goes on.


American Clay Earth plasters by American Clay bring texture as well as color to surfaces. Five different plaster formulations transform flat surfaces into sensuous tactile experiences. We especially like the Marittimo line, made from crushed shells from the Gulf Coast to create a smooth waxy or sandy textured finish, depending on the application. The Porcelina finish resembles the Venetian plasters of Italy.

AFM AFM Safecoat’s no-VOC paints are safe for people with allergies and sensitivities to chemicals, and are widely used in healthcare spaces. AFM’s new Ayurvedic Essence line, grounded in the East Indian philosophy of Ayurveda, supports not just health but well-being. Determine whether you are a Vata (air), Pitta (fire) or Kapha (earth) personality type to get a micro palette of colors that helps you achieve balance or confer it upon others.

Closer Look AFM American Clay: Colorhouse The Real Milk Paint Co. Valspar coil/kameleon




Pursuit The 2016 Sherwin-Williams color forecast Colormix 2016, the annual Sherwin-Williams color forecast collection cultivates a positive outlook and highlights a path toward mindfulness, happiness, indulgence and well-being. Vintage workmanship, social engagement and all the exciting possibilities future technologies can offer are also reflected in the collection’s four color stories, created to provide inspiration and trends for design professionals. “We’re seeing people embrace advancing technology, while also returning to the quality, personal connections and handmade craftsmanship from years past,” said Jackie Jordan, director of color marketing for Sherwin-Williams. “This year, we forecasted colors that provide a range of inspiration for designers to create spaces that surround us with the things that ignite our passions and make us feel happy and healthy.” V Pura Vida A palette drawn from natural fibers and elements such jute and cotton, as well as stone, sand and alabaster, the purpose of the Pura Vida colors is to inspire and encourage health and wellness behaviours. The warmed grey and blush neutrals are reminders to live well, be well and stay well. “It’s still about finding balance in our lives and getting away from the hectic lifestyles that we have,” said Jordan, who referenced Wellness Real Estate, an architecture and design firm at the front of this trend. “This year we’re talking more about health and wellness and holistic practices and all those things that are really therapeutic and things that we really need to make our lives more balanced.”



Mas Amor Por Favor A mix of soulful vintage (old-fashioned garden parties) and modern sensibilties (highly personalized outdoor weddings) this palette was designed to connect across generations, with charming pinks brightening the rest of the soft, retro-inspired colors. “This one is a fun palette,” said Jordan. “You look at this palette and you want to smile. The colors have a nostalgia to them that really draws you in.”

Trajectory “This is kind of our emerging trend,” said Jordan, who added that one of the forecast palettes for 2015, Voyage, similarly highlighted space and water exploration. “Trajectory is about this next step in discovery and how we don’t really know what we’re going to make with it yet.” The inspiration behind the shimmering high-gloss palette is the increasingly blurred boundaries between art, science and commerce, as extreme materials combine to expand the possible.


Nouveau Narrative Driven by the Maker Movement, a re-emergence of North American manufacturing in the form of skilled craftsmanship and small batch production, these of colors of rugged determination olive and denim, dusky wools and brass buttons. “It’s a new way of speaking about artisan materials and handcrafted things,” said Jordan. “There’s an interesting duality going on with industrial evolution versus industrial revolution. The palette is somewhat reflective of our history but rustic in a sense. It’s very usable and brings warmth and depth into an interior.”

Moment GET




So, you let the deadline to enter the 2016 Design Competition at IWCE pass by without an entry—you’ve got your eye on 2017, right? But you can still be a part of fun in Las Vegas. Support your friends and colleagues at the gala awards ceremony. For the first time ever, we’ll be unveiling the winners during the ceremony, so you’ll be a part of the surprise and excitement right along with the winners. We’ll publish the winning projects in the March/April issue, but you’ll see them first.

Register to attend IWCE 2016 today! 36





Step up to real luxury

“The gap between designer labels and mass fashion is shrinking,” said Hilde Francq of the Belgian color trend company Francq Color. “Large chains are copying designers, while designer-capsule collections are pushing through to mass chains. The result is that brands want to be luxury are making the effort to distinguish themselves even more from the mainstream. They are going for extravagant designs, hyper-exclusive materials and extreme-limited editions.” Luxury brands that haven’t sold out are now reaping the benefits of their vigilance. Think of Hermès, who keep almost every step of the production process in their own control. Or a couturier like Azzedine Alaïa, who refuses to be part of the circus of seasonal fashion shows. Limited access, decadent materials and artisanal production are the hallmarks of truly modern luxury. V



The “Just Luxe” mood boards from Francq Colors focus on outrageous embellishments, lavish metallic detailing and rich textures to set a tone of extreme luxury. The color palette for Just Luxe features a palette of shimmering warm metallics—gold, brass and copper— that harmonize with red earth, matte gold, pepper gray and ochre. Cutting edge materials make this trend, look for fabrics with metallic threads but also watch innovative plastics combined with ultra-luxurious fabrics such as cashmere or vicuña. Combining different colors from the palette creates moods that are subtly romantic (ochre, pale taupe and soft brass), avant garde, (copper, ochre, pepper gray and matte gold) flashy, (gold, platinum, matte gold and and red earth), or anything in between.

Closer Look Francq Colors Facebook:



and Impact

Unexpected color stories

The Pantone View home + interiors 2016 trend forecast was introduced earlier this year and over the past several months Leatrice Eiseman, the executive director of the Pantone Color Institute has gone into further detail on the nine key trends and related palettes. ¶ “It's all about innovation as far as color is concerned,” Eiseman said. “We are living in a very competitive marketplace. Would-be consumers and/or clients are continuously being wooed by innovative uses of color. She referenced children’s movies as surprisingly influential indicators of future color trends.“The animators and graphic designers are right on the cutting edge as far as technology and color are concerned,” she said. “The color combinations they use are fabulous and greatly inspiring.” ¶ Among the color and design trends she shared are: the rising use of pastels, the juxtaposition of bright modern technology with classic romantic looks, the use of crowns as a traditional design motif and the continued popularity of owls, which represent whimsy and wisdom. In terms of materials, popular items (or the simulated appearance of them) include concrete, marble, ornamental studs as embellishments and metallic. V

DICHOTOMY Based on the concept that opposites do and can attract as silver metallic, sunny yellow and bright cobalt blue combined with calmer versions of these hues. “There are many dichotomies currently at work,” Eiseman said, “and we know that they’re often used together at the same time. There are dichotomies between the old and the new, between subtle and shimmering, between natural and fashionable.”

MERRIMENT Lively, fun and playful, a palette of bright and vibrant colors including a brilliant green, saturated citrus hues and a vivid turquoise are set against some down-toearth neutrals.



BIJOUX French for “jewels” this is a dramatic palette, softened somewhat by the use of transluscent and light-reflective materials. Pantone colors include Prism Pink, Amethyst, Topaz and Amber Yellow alongside “mirrored” colors such as Violet, Dark Citron, Ember Glow, Rich Gold and a complex taupe that mimics a color found within a tiger’s eye gemstone.

SOFT FOCUS A palette that bridges pastels and mid-tones, the colors are subtle and sophisticated, often used in striated, layered or veiled patterns. A deep rich brown and a creamy gold grounds the palette, which also includes a nostalgic rose tone, a delicious peach nougat, a warm tan and a blue tourmaline.

Mixed Bag A glamorous, bohemian collection of prints patterns and colors for striking interiors. A deep violet and a somewhat virulent red-orange are offset by spicy ginger, while a sultry hot pink and robust wine tone are intriguingly complemented by a lush, mossy yellow-green.


Ephemera Imagine the softly tinted colors that shimmer in a soap bubble—light, delicate and transitory, the Ephemera translates that mood into tone and touch. The palest of blues and peach, a tender pink and a gentle yellow are set against a slightly tinted white, a warm gray and classic neutral almond.

Lineage A classic “heritage” palette updated for today’s consumer where a sense of whimsy often overrides a more serious approach. Traditional shades of navy, black, tan and a regimental green are enlivened with an intense red, a surprising violet and the slightly tarnished tones of a champagne beige.

Footloose Encouraging the desire to throw off the constricting schedules of everyday lives and enjoy the freedom of the outdoors, this palette captures a mood of recreation and relaxation to life. Vacation-destination blues and blue-greens with vibrant brights make for capricious combinations.

Natural Forms Nature in its purest forms never ceases to instill a sense of wonder and awe. This palette comes straight from nature with dense foliage greens, clay tones and burnished metallics.“Nothing has gotten more attention – and will continue to get more attention than copper and some of the brass effects,” Eiseman said. “I'm not saying applications of other metallics are going away, but copper is really running way ahead as we go into 2016.”



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Feeling A long-awaited comeback for a classic color Blues in all shades and tints are finally having their moment. Color trend specialists have been predicting more blues for almost a decade, but it just didn’t seem to stick. Over the past several seasons however, both home and fashion designers have definitely been in a blue mood. ¶ “Blue’s flexibility, as well as its comfort level with consumers, will likely continue to keep it a major color story,” says Cindy Hodnett, upholstery and style editor for Furniture/Today. V

Patterns in BLUE TOP LEFT: The Rattan collection from Tania Vartan includes this brilliant blue colorway, featuring three trompe l'oeil weave prints and a coordinating ribbon look, all on 100% Belgian linen. LEFT: The 2" Berlingot border tape from Samuel & Sons, in navy, one of 10 colorways available. ABOVE: Halong from Elitis, is part of the Libero collection, six wallpaper patterns inspired by batik and other hand-dying traditions from around the world. 44


“FINALLY, COLOR WITHOUT COMPROMISE.” — Kate Smith, Nationally Honored Colorist

Kate Smith has collaborated with Comfortex to create our Color Lux collection. With 800 colors, it is the most complete inspirational program in the custom window treatment world. You will never have to compromise with your interior design when it comes to shades. Whether coordinating paint, wallpaper, furnishings, flooring, art, or just accents, you will find your ideal match with our environmentally friendly linen weave cellular fabrics. Never settle for ‘close enough’ again and color yourself brilliant.

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by Designer Collection

“The trend for interiors next year is to create layers of color and complexity within spaces,” said Kate Smith, the chief color maven of Sensational Color, who works as a color consultant for Comfortex. “The palette includes organic green, amethyst gray, mineral mauve and a blue so deep it could have been pulled out of the cosmos or the depths of the seas. Juxtaposing colorful hues with fresh neutrals is key while the use of fading, overlaying and opaque materials adds to the sense of depth.”

BLUE HORIZONS TOP LEFT: Blackout cordless Roman shades from Comfortex with top-down/bottom-up feature, shown in royal blue Helena blackout fabric. ABOVE: Featherlight from FlavorPaper is handscreened in pearlescent blue on a dark gray matte ground. LEFT: A collection of pillows, printed on 45% cotton/55% linen fabric, in a palette of blues (and one green) from Etoile Home. CENTER LEFT: Blue and white ladder tapes for blinds, a fashionable option from Coulisse. 46


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“Whether it’s faded and tumblewashed, like your favorite pair of jeans or a fresh new take on the iconic indigo, blue hues are as American as apple pie,” said Denise Schenck of Lafayette Interior Fashions. “Blue is seen as trustworthy, committed and evokes a sense of comfort and calm making it a popular choice for interior decorating.” BLUE MOODS TOP LEFT: Stout Fabrics has a collection called Blue Lagoon—how fitting. Several of the pillows in blue shown here are from that collection, as well as the Marcus William line and the recently introduced Luxe collection of cotton/linen solids. LEFT: Lafayette’s Select Masterpieces collection contains blue hues ranging from ocean (at the top) through navy, marine, indigo and chambray, and in patterns from classic to contemporary. BOTTOM LEFT: The Sisters wallpaper from AphroChic features a motif of Rwandan women in headscarves, created to honor the heritage, perseverance and beauty of African women. BELOW: Willow by bluebellgray is an updated version of classic willowware painted porcelain patterns.



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motor. The window covering should jog indicating there is power. If it does not jog, replace the batteries for the motor and check for normal operation. If still not operating, you will need to reset and program the motor. Be sure to watch our instructional video series in the Support section of

Q : A customer recently learned about your new

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ers to control their RTS motorized products with a free app. It works using a WiFi network and offers both local and remote access. Users can create timed events such as shades opening at a predetermined time every morning. Or, they can create a complete scene where shades in bedrooms rise to wake everyone up while shades in the kitchen are partially lowered to a favorite “my” position that blocks the sun at the breakfast table. The sunrise/sunset features takes this concept a step further by automatically adjusting these movements to the ever-changing moment of sunrise/sunset. Timed events, schedules and sunrise/sunset movements can also be offset by 15 minutes to create a lived-in look, adding a sense of safety which is ideal for times away from home.

ized shade that is no longer responding?

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is functioning properly. To determine, press the up or down arrow. If there is a flashing LED light, the battery in the remote is operating and thus not the issue. The next step is to check power to the motor itself. To do this, press and release the program button on the

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The Beauty of a Life An interview with Deborah Main The creative force behind Deborah Main Designs, a custom pillow studio based in Austin, TX, Deborah Main adores textiles—her studio is filled from floor to ceiling with fabrics and trimmings, particularly vintage pieces she’s always searching out. But before her luxury pillow business gave her a legimate reason to collect beautiful fabrics, Main was a collector of color. And it is truly the convergence of these two passions—a love of color and a love of textiles—that has spurred her business to success. V Window Fashion Vision: Your pillows are known not only for their unique designs, but also for the wonderful color sensibility of your collections. Can you give some insight into how you work with color? Deborah Main: I have almost an emotional response to color. To me, color is like falling in love. I either love it or I don’t. Some people collect art, I collect color. I get super excited about all the possibilities and that’s why I work with colors that really spark my creativity. Colors tell me stories that I can turn into something original and inspiring for clients.

WFV: Are there certain qualities a color must have for you to fall in love with it?

Deborah Main, in front of a display of her pillows at the Doris Sanders showroom in the Dallas World Trade Center.

andcrafted using vintage and modern textiles, unique trims including collectible jewelry and exotic feathers, the pillows from Deborah Main Designs are extremely limited editions and often one-of-a-kind. Her collections include both modern and truly opulent looks, inspired by fashion and history transformed by her into new pieces of decorative art. Main took time to discuss with Window Fashion Vision how she works with the often extremely limited sources she has—perhaps a single vintage dress, or a mere scrap of antique lace—to pull together her collections. 52


DM: Oh yes, absolutely! I love bold, intense colors; colors that capture my attention and make my mind spin with creative ideas. I am not too keen on boring beige. If it isn’t an interesting shade of neutral— something that is nuanced and layered with a particular depth to it—then it doesn’t spark my creativity.

WFV: When you say you collect colors, besides the obvious (fabrics, trims, other embellishments needed for your pillows) how do you do this? DM: I guess you could say that I collect colorful experiences and memories in all facets of my life, both personal and professional. I’m a visual learner, so I respond to color everywhere. If I’m working on a pillow and during that process remember a beautiful scene in a painting, a photo, or how the sun falls on the leaves of our huge oak tree that afternoon, that color memory might inspire my next color selection. I realize I’ve been like this since long before I started my business because my husband tells this story about peaches that exemplifies this. I like to bake and one summer I got carried away and brought home bushels of peaches. By the time my husband got home, he couldn’t

believe what he saw—throughout the kitchen and adjoining living room, in fact our entire home, was filled with bowls of gorgeous colorful peaches. The whole room smelled of this wonderful aroma and it was filled with the bright warm colors of the sun, orange, yellow and red. I wanted to be surrounded by these colors and I literally made that happen without realizing what I was doing.

WFV: What do you look for when creating color combinations? DM: For me, the pillow is the canvas and the textiles, trim and jewelry are my paints and I use them to create a mood, whether it’s dramatic, soothing, surprising, playful, etc. I don’t think of what goes with what. I instead wait until the perfect combination comes to me. My collection gives me a huge range of combinations to work with, but I’m always inspired to buy more!

Also from the Les Bijoux de Luxe collection, this pillow uses ribbed burgundy silk and black lace from a 1930’s dress. A vintage French velvet ribbon in olive creates oblique angles of veiled and unveiled silk, while a large, smoky gray rhinestone brooch accents the intersection. Photo: Gregg Cestaro.

For example: I bought a rare vintage velvet piece in mint green. I had a gorgeous vintage champagne brooch waiting for the perfect textile to come along. So I placed the brooch on the velvet and let it sit in a corner of my studio so I could see it regularly. It must have sat there for 6 months. But then it happened. I was in a local vintage shop and this amazing mint green and gold lame 1960’s dress jumped out at me, which is exactly how color combinations come together for me. I try out what looks great together, or I wait for the right combo to reveal itself, then boom! But I work with color another way. I have a following and have gotten to know some of my clients so I choose colors I know a specific client will appreciate. A retailer or interior designer may commission me to create color groupings of pillows. Sometimes the clients give me total creative freedom to develop themes and variations, but it’s still a collaborative process. I share these theme options with my retailers and designers so that together we can develop a look that truly resonates with their clients.

part of the vintage textiles’ history and story. Texture and condition are always factors in what I choose. Because I specialize in creating heirloom-quality pillows, and my clients depend on that, I consider the longevity of each piece. If it has stood the test of time for the last 50 years, I can tell from experience if it will last another 50. It’s the quality of the craftsmanship that is important to me and that, along with texture and color, really guide my color combinations.

WFV: When you come across a wonderful fabric with lots of color “opportunities”, how do you determine what the final pillow result will be—which colors to pull out and emphasize through the design and the trims?

WFV: When working with these vintage textiles and trims, how does their texture or condition affect the combinations you choose?

DM: Sometimes it’s challenging. I try not to over-think it and I like the unexpected. It also works better if the design comes to me naturally. For example, working with a 1960’s gown I found—the colors and texture are so amazing to me that I could not wait to make it into pillows! There were many colors in this textile that could have been emphasized, but only one way spoke to me. I don’t follow any set rules, it’s more instinctive for me as an artist. Sometimes I don’t determine what the final pillow result will be until right before I cut and sew it.

DM: Whether new or vintage, well-crafted textiles are meant to be used. Evidence of usage over the years is

WFV: Given the historic overview the vintage textiles provide, what have you discovered about the different color WF-VISION.COM | SEPT/OCT 15 | 53

For her Les Bijoux de Luxe collection, Main used a mint green vintage velvet trimmed with a metallic accent fabric from 1960’s dress. This setting was designed to showcase a champagne-colored Julianna brooch, which can be removed and worn. The backing is yet another vintage fabric. Photo: Gregg Cestaro.

combinations and color trends from previous eras? Do you have advice for updating “dated” color palettes? DM: Trends come and go, but high-quality fashion and design is simply timeless—it can never truly go out of style. The bold geometrics of the 1960’s, the rust oranges of the 1970’s, you can also find these colors in 1940’s barkcloth, and even in contemporary fabrics. So the colors are all still here and often overlap or repeat themselves through the different eras. But the updated color will definitely have a more on-trend contemporary name, or perhaps highlight a different shade or pattern. If I love a color I can make it work beautifully, regardless of the era. And so can consumers (with the help of a talented interior designer of course). If you’ve fallen in love with a 1960’s vintage orange couch, you’ve got to first assess the quality of the design. If it’s classic and timeless, then it’s a keeper. If you put your client’s grandmother’s crocheted blanket on it, it might look “dated”, but throw a pop of color with an aqua or lime green pillow with clean modern lines, and you’ve got a fabulous contemporary color palette. It's all in your textile and pattern choices and how you use the color in your accessories that make a difference when updating a room. V 54


These pillows from Main's Redbrick Modern collection feature a face made from a 1960's wool, gold metallic gown and backed with a vintage charcoal pin-striped wool.

Closer Look Deborah Main Designs: Blog: Facebook: Pinterest: Instagram: Twitter:


Pretty as a A whole home palette inspired by art

When Elizabeth Benedict’s clients moved into a newly built, open-plan 14 Colby Road • Wellesley, Massachusetts

home outside of Boston, it was practically a blank-slate project. “We began with a sofa, a coffee table and two chairs, which we ended up reupholstering,” she said. An acrylic painting, bought on Etsy, inspired the palette for the ground floor living spaces. “I find that using an overall palette blurs the thresholds between rooms, inviting you from one space to an-


other without it feeling like you’ve entered a totally different atmosphere.” she explained. V



me/Play Room 33' x 14'

Master Bedroom 18' x 24'



Walk-in Closet

Bedroom 17' x 12'


Nook 11' x 10'

Kitchen 18' x 16'

Study 11' x 10'

Family Room 18' x 18' DN


© 2012 by JMByrne


Bedroom 14' x 13'


Dining Room 14' x 16' Foyer

Walk-in Closet


Living Room 12' x 14' Bedroom 14' x 15'

Bedroom 12' x 14'

SECOND FLOOR THIS PAGE: The ground floor open plan of the home, a contemporary colonial, means you can see all the way to the back of house from the front door, along with wide openings into the dining room and living room from the foyer. “I am a big believer in cohesive design,” said Benedict. “I tend to choose an overall color palette for an entire project and ebb and flow into it throughout the house. In this case the vibrant magenta and turquoise of the Etsy painting, shown above the turquoise sofa in the living room, paired perfectly with gentle grays and deep wood tones.” OPPOSITE PAGE, TOP: The dining room features shades of turquoise, accented with brass. A soft-fold Roman shade, hidden in this shot behind the contemporary brass chandelier is one of several shade styles used throughout the house. OPPOSITE PAGE, BOTTOM: The color choices in the family room combine the two main color groups, especially as seen in the contemporary ikat fabric used to recover the two chairs.



J. M. B Y R N E C O M P U T E R G R A P H I C S



Bohemia on Wood

Our beautiful Bohemia Crystals feature 16 styles available for use with wood poles. 14 finial designs fit 1-3/8", 2" and 2-1/4" wood poles, while two end cap designs fit 1-3/8" wood poles. A finished metal collar creates the transition between the pole and finial. We offer smooth, fluted, inlay, or rope pole styles in over 100 finishes: 35 Iron Art™, 11 Wood Art™, 58 Design Art™, or your own custom finish.

“We definitely played the high/low game,” said Benedict. “Mixing in online vendors as well as high-end manufacturers, the dining room table is from MacKenzie Dow but the carpet it sits on was a clearance item at the local carpet showroom.” | | 877.476.6278


THIS PAGE: A textured stripe that captures both main colors was used for Roman shades in the kitchen, family room and breakfest nook. A watercolor floral used for the kitchen island chair cushions and a similiar mood is captured in the the window treatmen for the home office. OPPOSITE PAGE: Turquoise and brass are featured again in the living room, where drapery panels on custom curved antiqued brass rods flank an antiqued brass bookstand. “We carried color through in accessories and new artwork curated to accentuate the palette,” Benedict explained. “The overall mood is young and fresh, utilizing modern light fixtures, fun painting techniques (the ceiling of the office is painted with lavender and white candy stripes) and wallpaper. I find that working with color like this makes spaces feel bigger, look cleaner and breathe better.”




Credits: Designer: Elizabeth Benedict, Elizabeth Home Décor & Design, Inc., Chestnut Hill, MA. Workroom/Installation: Frank Campos, Frank’s Custom Draperies, East Taunton, MA. Photographer: Michael J. Lee Photography. Sources: Roman shade fabric in kitchen, family room and breakfast nook: Romo, Sitari Verbena in blossom. Fabric on kitchen chairs: Romo, Keiko in phlox. Fabric on family room chairs: Etamine, Maldives, 945. Roman shade fabric in office: Etamine, Grenadines, 465. Roman shade fabic in dining room: Robert Allen, Warm Shimmer in dew. Dining room wallpaper: Omexco, Akoyo, 5003. Fabric for living room draperies: Robert Allen, Big Stream in fountain. Fabric for living room sofa: Duralee, velvet in caribbean. Living room pillows: Villa Romo, Indienne in spearmint. Drapery hardware for living and dining Room: Custom iron rods in antique brass finish by Lundy’s Company, Lynn, MA.

Closer Look Elizabeth Benedict: Facebook: Pinterest:



Pattern Brilliant colors and exciting juxtapositions Designer Renee Rucci, left, opened Decor, her new shop in Ogunquit, ME, earlier this year. The space is filled with color and pattern, including items fabricated by Julie A. Wood, right, specifically for the shop. “One wall of the shop is covered in a striking floral wallcovering from Designers Guild,” said Wood. “The colors are bright and the scale is eye-catching as well!” For the shop’s main window Wood created two complementary panels, using the matching floral print and a brightly colored stripe coordinate, also from Designers Guild. “I love that Renee carried a sense of adventure through to the window treatment, reversing the play of pattern on each side of the window,” added Wood. The rest of the shop continues the lively approach with a selection of accessories, tabletop and soft goods, as well as custom design services, all in a space that cleverly mixes styles and eras, natural and industrial, neutrals and color. V


Credits: Designer: Renee Rucci, Renee Rucci Design, Atkinson, NH. Work- Sources: Wallpaper and drapery floral: Designers Guild, room and installer: Julie A. Wood, The Leading Edge Drapery, LLC, Derry, NH. Amrapali in peony. Drapery stripe: Designers Guild, Brera Fino in raspberry. Photographer: John Hession, Millennium Photography, Dorchester, NH. 60



Going for the Rich colors replace bland neutrals in this refreshed model apartment When Diane Leone was asked by the management company of an apartment complex to provide a new look that reflected the lifestyle of the target audience, mainly single and married young professionals, she also had to factor in management’s goal of demonstrating how easily furniture could fit in the space. “The overall goal was to create a “wow” effect for potential new residents as soon as they walked in,” said Leone. “The management asked for bold colors and contemporary design, but other than that, they left it up to me. I started with a new selection of approved wall colors that tenants could use, including a surprising choices like a deep purple and an orange-red, then went from there.” V

DEEP PURPLE The living room combines touches of all the colors in the new core palette—a rich purple on the apartment-sized sofa, the bright saturated orange used in the draperies, pillows and other accessories and a touch of the cool blue in the glass coffee table. Draperies and other custom soft furnishings designed in colloboration with Sharon’s Designer Workroom, Hawthorne, FL. 62


Orange Slice The kitchen/dining room space continued the combination of the main colors, while the bedrooms focused on an orange and neutral color scheme. The main bedroom (below) features vibrant pinks and oranges and the custom designed window coverings, bedding and the headboard emphasize these bright, cheery colors. The second bedroom (above) was designed so that the orange truly worked as more of an accent color.


Welcome to the Club Leone also redesigned the complex clubhouse from the staid, traditional atmosphere (bottom left) to something more in keeping with the contemporary clientele that management wanted to attract. A seating area was created with the fireplace as the focal point, showcasing a large print area rug and pops of yellow and orange from accessories and pillows. The window coverings finish the space and open up the view: stationary gray sheer panels feature a black and white chevron pattern bordered in bright yellow for a lively color-blocking accent.

Closer Look Diane Leone Facebook:




Basics Easy steps for a versatile product “An upholstered headboard is a great piece to have in your repertoire,” said Jill Ragan Scully.“In terms of basic construction it’s not all that different from an upholstered cornice, and with just a few adjustments you’ve added a whole new product category that can be easily customized.” V

Step 1: Using a large piece of plywood, determine your overall shape. If you need to make an arch, use push pins and a flexible straight edge, being sure to check for symmetry. Cut two identical pieces, one for the front and one for the back.

Step 5: Dry fit legs into the holes you created, make sure they are of equal length and slide in and out with ease. Make sure the legs are thick enough to provide stability to the unit. I have sandwiched two boards together with screws.

Step 6: Wrap the bottom of the legs (the portion that will be seen) with fabric and staple on the back side (side which will be against wall).

Step 2: Place 1x4 boards around the perimeter. Use longer boards for the sides and break up the arch with the cut blocks to fill the perimeter. Temporarily glue in place.

Step 7: Use spray adhesive on the front of the headboard and apply a piece of Dacron cut to the shape of the headboard.

Step 3: Determine how long you need your headboard “legs” to go into the headboard to ensure stability. Place stopper blocks Inside, around where the legs will go. Place glue on the tops of the blocks and sandwich everything together Step 4: Staple the blocks into both the front and the back face boards with staples long enough to provide stability when upright and in use.

Step 8: Place your fabric on the front of the headboard and wrap around sides to secure in place. If your fabric has a motif be sure it is centered before stapling. Trim off excess fabric.



Step 9: Apply welt or cording to the face perimeter. Staple in place.

Step 10: Measure the perimeter of your headboard return, including the bottom. Wrap the entire perimeter with fabric. Be sure to cut wide enough to wrap to the back side and straight, not on the bias (avoid stretchy fabrics). Staple around perimeter a few times to hold in place. Use tack strip to secure final staples as you pull the fabric taut, joining at the bottom.

Step 11: Pull return fabric to the back and staple.

Step 12: Finish the back with black out fabric and gimp to cover the staples. (Shown below)

Jill Ragan Scully is the owner/operator of Impressive Windows & Interiors, a fabrication and design studio located in Hastings, MN. She is also the WFCP Workroom Certification Director, managing the online workroom certification program. She holds several certifications and is a member of many industry organizations. If you are interested in having Jill teach a private or group class, please contact her at WF-VISION.COM | SEPT/OCT 15 | 67



to Success

Mastering mitered banding “I had a request from one of my favorite designers, Cory Connor of Cory Connor Designs, for three Roman shades with two-color Greek key banding,” explained Rosemarie Garner. “That seemed reasonable as I thought she would be using flat trim of some sort. But that’s not what she had in mind. She wanted to use two fabrics in a design that required 20 miters per shade—and there were three shades.” ¶ The stationary shades were made of a heavy white cotton with a blackout lining. “The blackout helped because I make my miters by trifolding the fabric, sewing the miter in, then clipping before they are turned and pressed,” said Garner. “The blackout helped to ensure there was no shadowing from the turning of the banding.” ¶ She added that while some workrooms may be able to do this mathematically, she needed to see it all laid out, which meant for a lot of laying down, ironing in the miters, bringing to machine, sewing, clipping, turning and pressing. “The most complicated and time-consuming portion was the sewing each miter individually and then laying it back down on the shade cloth each time to assure accuracy,” she said. ¶ She shared an overview of how she fabricated this deceptively simple looking design. V Step 1: First I cut my bandings. I like to mark my cuts with a little diagonal cut, so I always know the direction of my fabric.



Step 2: I used every ruler I owned to make sure everything was square and that I had the appropriate space from the edge of the shade to the banding. I laid it out, pressed all the miters for the left side of the shade. Then I took it the machine, sewed one miter at a time, then turned, cut and pressed it. Back to the table to see how it looks and then repeat the whole process again for the next miter. And then, of course, do the same thing all over for the right side!

Step 6: The second color being laid down on the two smaller shades.

Step 3: Once all the coral miters were sewn for all of the shades, I repeated the entire process again with the turquoise color.

Step 7: Both the designer and the client were thrilled with the finished shades. Step 4: I used Dofix adhesive to adhere the banding to the shade. I didn’t want to sew it on because I didn’t want the top stitching to show plus I was concerned about take up. It took a lot of adhesive tape!

Rosemarie Garner is the owner of R Garner Custom Designs, LLC, a custom to the trade workroom located in Montclair, NJ. She currently serves as the vice president of the WCAA Central New Jersey Chapter.

Closer Look Rosemarie Garner: Facebook: Step 5: The first color laid down onto the shades and steamed into place.




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ONA DRAPERY Hardware Ona Drapery Hardware Company is your source for custom made drapery hardware. From contemporary to traditional, we offer an extensive selection of styles and finishes. We manufacture every rod set to order using only premium heavy gauge steel, wrought iron, crystal and more. Custom curving is available for all rod profiles. Be sure to look at our new Acrylic Rods, Art Glass finials and Polished Chrome finishes in addition to our popular French Rods and ONAVERSE™ Iron Cord Traverse Rods. We pride ourselves on quality workmanship, timely delivery and customer satisfaction. Select Ona Drapery Hardware and order with confidence. For a free catalog please call 800/231-4025 or visit our website at

CALhook CALHOOK has all the right hangers, fixtures and racks for fabric samples. Wall systems and Max-Space™ floor displays make the best use of your available space and help manage samples efficiently. CALHOOK also supplies a full line of point-of-purchase supplies and equipment for retailers. Call for a free catalog: 800/422-4665 or visit us online at

Design Art Rod-Enders By ORION Rod-Enders are elegant, smaller finials designed especially for tight corners or small spaces. 18 styles are offered in several lengths ranging from 1” to 3-5/8” lengths. All are available in 58 hand-painted Décor Finishes. 14 styles are available with our Dual Finish System with 11 Accent Finishes. 877.476.6278

SUREWIN Providing quality products at competitive pricing from our Florida warehouse. Custom sourcing available. Plastic bead chain in rolls (numerous colors, continuous chain cord-loops (in all lengths) and metal bead chain. Stop balls, connectors, safety devices, C-Clips, alligator clips, tassels, lift cord, vertical components, cord locks, and the easy-to-fabricate low profile Sure Lift Roman Headrail System for shades up to 50 lbs. Contact:, tel: 203/655-1102, fax: 203/655-8571..

Uni-Soleil Uni-Soleil new roller clutch are smoother, easy go and much quieter. With complete range of roller collection in the world with USA patent, we can advance your roller blind to high end class. The standard colors are in white, black, ivory, grey and brown. We offer full solution in window blind industry. Please contact UniSoleil or visit for further information.


What’s LUSH LIFE: In our December/November issue we’ll be looking forward (to IWCE) and looking back (at some of the fall shows and some great before and after projects). So wrap yourself up in velvet and trim and join us! Shown here: Embroidered rayon velvet and embroidered tulle sheer from La Contessina.




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Window Fashion Vision September/October 2015  

Our annual color issue is filled with articles on working with color including how to specify the right white, understanding lighting and co...

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