My Family Room
The Walls
A gift of fabric from my generous mother-in-law bolstered my ambitious side as I successfully upholstered my family room walls. The idea originated on a tour of the George Eastman Kodak House in Rochester, NY, where I noticed fabric paneled walls in one of the magnificent rooms. I came across instructions in my Singer sewing book and purchased supplies. Onto 10 foot high walls, I sewed and stapled 50 yards of yellow, rose-vine fabric with a 2-inch vertical stripe spaced 1ft apart. Green vines and small blue cone flowers added interest and a chance to add touches of blue. To create an upholstered look, I prepared the walls with a single layer of cotton batting then meticulously matched the fabric widths with a 25-inch pattern repeat. On a tall step ladder, I hung the fabric from the top with staples for 4, 15 foot wide swaths around the perimeter of the room. Using a single-edged razor blade, I cut around four bay windows, 2 French double doors, a wide-pocket entry door, and a large "P" shaped kitchen opening. I pulled the fabric as taut as possible, eyeing the vertical stripe with precision, shooting staples every 3 inches near the edge. I sewed 65 yards of 1-inch double welting and hot glued it around the room to conceal them. I also glued on a 2-inch decorative crown border. Not stopping there, I sewed double-sided matching pinch-pleated drapes for the entryway pocket-sized doors opening. My husband installed a handsome polished brass inside-mount rod with rings. The ability to close the panels cut down on draft. Each side opened and closed with ease and fell beautifully to the floor.
The Windows
When I saw the rich-looking burgundy-gold striped Waverly fabric, I knew it would complement the walls as 4, 8ft. double-hung windows defined the bay. The drapes were a dual purpose of accentuating the height and keeping the heat in the room. The draft was significant, so I added a layer of batting to the liner without hesitation, which created a puffy effect. They had to be straight to get this right, so I laid the fabric on the floor across two rooms to pin the hems and headings. I sewed rod pockets with a simple casing and 4-inch heading that touched the ceiling. My husband anchored the hardware into the plaster, which was no easy feat. The drapes were substantial, and the rods had to be secured. I picked out a hand-drawn mahogany wood pole set with carved finials and placed them as high as they would go to make the room look even taller. I fussed with the headings so they would stand erect and dressed each curtain panel into even folds. The panels sat voluptuously on the floor and were pulled to the side by twisted cording with tassels. It was the Victorian look that matched my vision. Held by simple cup hooks, the burgundy ropes made it easy to control the cold airflow of the winter months. To get the best of both seasons each summer, I take down the curtains to let in the light and the cross breeze. I take them to a very agreeable woman owner at Green Mountain Dry Cleaners for a freshly pressed look. Awake and bright, there is an updated look about the room that uplifts me.
The Mantle
Layers of white paint covered the mantle. To our delight, the refurbisher discovered cherry wood inlay that was delicate and unique. It was hand-carved by a 20th-century craftsman and centered on the brick fireplace; it was the room's focal point. I acquired a mirror, a handsome three by five ft. mahogany framed beveled glass antique abandoned in fallow storage above our retail store. Heavy and bulky my husband hooked it securely to the chimney wall. Resting on top for extra support, it had a seamless look as if it had been original to the house. Despite the quilted draperies, the room was cold, and the primarily unlit fireplace was dark and dank. After years of turning up the thermostat during the winter, we decided to buy a gas insert for the fireplace. To help us quickly take the initiative, my mother-in-law generously supported this beautiful feature. The owner of Best Fire in Albany, NY, came to the house to meticulously measure the firebox for the appropriate size and height. I chose the supreme firescreen in new bronze with interior tranquil greige herringbone brick. It was stunning. With a touch of the remote, the room warmly glowed. I never had to turn up the thermostat again.
The Furniture
Most of the furnishings were already in the house. I moved a Stickley wing chair from the living room with 2 inch colorful perched parrots and a silk Victorian accent chair with castors. Both were yellow and bright. I placed the wing chair near the fireplace, the accent chair near the kitchen opening. I had the wing chair reupholstered by O'Dell & Sons, who covered and cushioned many fine pieces for my mom and me. Mr. Odell preferred already purchased fabric, and he took care of the rest. He worked tirelessly and died a few years ago. I miss being able to call him.
The mahogany empire table stayed as a TV stand. It was a lovely open-bottomed piece that allowed a sense of space, exposing the baseboard molding and supporting the cable box. To hide the wiring, my husband built a dark wood-stained cover with slats so it would recede into the background. I hid the heating pipe with matching fabric insulated for safety. The all-yellow room was cheerful and noticeably feminine. I wanted to create a more masculine look and play from the deep burgundy-colored drapes and dark wood tones of the mantle, mirror, and table. I thought a club look would be classy, so my husband and I decided to buy a pair of brown leather recliners with hand-stitched seams. I always loved to get my feet up on the couch, so this seemed like an excellent idea. We shopped at Raymour and Flanigan and found just what we were looking for within our budget. I purchased two back support feather pillows from Crate and Barrel with a triangle and half-moon pattern. I noticed that leather had a relaxed, cold feeling, so I draped Pottery Barn faux furs over the backsides for added warmth during the Fall and Winter months.
The Rug
From the adjoining front entryway, I pulled in a modest-sized four-by-six oriental rug with orange and blue tones as the centerpiece to the room. It flowed with the deep rust and blue hues from the living room and looked right. I placed a two by three ft. black wrought iron oval table with a glass top on the medallion to center the room's large and bulky pieces. I thought about purchasing an enormous carpet to fill the entire space but decided to expose the newly refinished quarter oak honey floors. I was proud of them having lived previously with water-stained plant damage, rough spots, and scratches.
The Paint
The white trim was dirty and faded and needed a couple of fresh coats. It was tricky to paint the ceiling, baseboards, and trim with fabric on the walls. I carefully covered all exposed areas with plastic tarps and meticulously taped the edges so that one drop of paint would not get in. Each time I dipped into the paint can, I slightly shook the brush and wiped it against the edge to not drip. I cut into the ceiling and used a high-quality, low-nap roller to minimize splatter. The 24-inch ornate ceiling medallion was etched, so I took extra care around the light fixture.
The Lighting
I decided to replace my old-fashioned cranberry lamp given to me by my grandmother, who lived with us in our home. It authentically hung in the center of the room for many years and had an aesthetically pleasing red glow. The Country Lamp Shoppe, in Hoosick, fitted it with new chains and proper electrical wiring. I loved the lamp and saw a similar one featured in the Architectural Digest July 2021 calendar in a charming bedroom. I plan to use it in another space someday, but I now wanted a more modern look that was trending. Twice the size and width of the cranberry lamp, I found just the one at Crate and Barrel, a 22-inch open-weaved circle pendant in antique brass. It came with a 13-foot cord, but we shortened it for our room. My husband safely wired it to the ceiling medallion and accurately figured out the height so it would not hit our heads. He thought it looked like a disco ball, and we laughed at the notion. I thought it was a show-stopper and was very pleased with this online purchase.
On the mantle sat 2 Chinese brass lamps peppered with tiny white dots. I spotted these pie pumpkin-like rounds with three pedestal legs at an antique store years ago and always think they are worth something. I replaced the shades with traditional off-white bell shapes suited to the base. The three existing floor lamps are brass with black shades. One is a floor lamp; the second has a round glass built-in table; the third is a table lamp that sits on a small side table. I decided to keep the traditional look for now as they appoint the room's corners and make for good reading. I am not utterly content with these; I am looking for new ones with unique, one-of-a-kind artisan shades.
The Special Touches
A wedding gift from my brother in law I filled a Waterford Crystal "Lismore" Rose bowl with light blue and orange silk flowers centered on the mantle along with a picture of my mom, 18-inch teal tapers in glass candlesticks, and an antique silver candle snuffer. On the radiator cover in front of the center bay window, I staged a 4-foot tall silk hydrangea arrangement from Hobby Lobby in a heavy glass vase. As a visual transition on the "P" shaped counter, I displayed a bouquet of pink roses and yellow daylilies in a red glass vase that stood out against the white trim and complemented the fabric wall.
On the occasional table near my recliner, I arranged my favorite childhood glass paperweights. The small one is 60s retro with yellow, white, and orange daisies. The taller light blue one looks like the bottom of the Mediterranean sea. My favorite is the bird, a tiny green, purple and white wren given to me as a gift from my mom. I placed a set of 3 Sona glass hurricane candles and a pair of tall vases filled with decorative twigs and twinkle lights lined on each side of the mantle floor. Decorator catalogs fit a well-built magazine stand that my father made when he was in high school. I painted it Spanish Red to pull in the living room. On the perched parrot wing chair, I placed another sizable rust-colored parrot pillow made by IOSIS Paris with a light green edging which worked nicely. Behind the wing chair, I upholstered a small bench that doubled as an ottoman when needed. I graced the matching bench with an oversized, well-worn Grandma Moses Book. It's one of the first items guests see as they come into the room, a reminder that we live in Grandma Moses Country. I saw an opportunity to place a smart-looking straw hat with taupe ribbon trim and a jewel-studded Moroccan tote bag from Key West on the knob of one of the French doors. They remind me of our Florida Keys vacation, which puts a smile on my face.
At some point, I know that the fabric walls and the giant burgundy striped curtains will have to come down. It's dated, but it represents a unique skill and experience for me. My friends tell me it looks fantastic and that I should not downplay its significance to the house. To do this decorative work takes grit, willpower, patience, precision, a cushioned kneeler, a safe tall ladder, and a love of decorating. To keep a visually stimulating room like this going, I will continue replacing traditional pieces with more contemporary furnishings. When it comes down to it, though, the real success of this room is that I am still proud of my creative work, my family mementos, and all that they represent.
