This is how I create tight fitting lampshades, which can be used with drum, empire, square, pagoda, and bell-shaped frames. In a future post I will go in greater depth about what I do when I don’t have a pattern to follow, and how I create gathered and pleated shades.
Here are the materials and tools I use:
- a cleaned and bound lampshade frame (see this post)
- the old fabric cover and lining (removed from the frame)
- face fabric (at least half a yard or more, depending on the shade style and size, and the fabric print if present)
- lining fabric (I typically use muslin since we only have LED bulbs at home)
- pins (ball headed are best)
- grosgrain ribbon or twill tape to match lining or face fabric (about half a yard, or five-six inches per spider strut on the frame)
- trim, gimp, rick rack, and/or additional fabric cut into bias tape
- matching cotton thread(s)
- hand sewing needle
- thimble
- curved upholstery needle
- fabric glue or hot glue gun
For any shade, I start by laundering and ironing the face fabric (if I can) and lining fabric before cutting.
If I am able to use the old lampshade cover as a pattern, I start by placing it on my fabric, orienting the grain as it is on the original. Most shade covers will be cut on the straight grain, and will fit the frame tightest that way, but some are meant to be cut on the bias. When I want both sides of the lampshade (front and back) to be identical, I will cut one piece, and then line it up carefully on top of the remaining fabric to get a perfect pattern match. I cut wide seam allowances to provide fit options and allow at least two inches at the top and another two inches at the bottom for pinning.
Then I pin the side seams and fit the shade cover on the frame inside out, making sure that it is straight on the grain at the center of each piece (or on the exact bias). I often need to adjust the seam if it needs to be tighter or looser, if I see wrinkles, or if the pattern isn’t lining up correctly. I then sew the seam (I use my sewing machine, but it could be sewn by hand), and test fit again to be sure. Once the fit is perfect, I will sew another seam again close to the first, then trim. Finally, I turn the shade cover out to the right side, and give it a final press, setting the stitches.
To begin sewing, I will pin the cover to the outside of the lampshade, placing the seams on vertical struts, and with a couple of inches of fabric flapping around the top and bottom. I pull the cover tight as I pin, using a lot of pins, and repining often as I finesse the fit.
With my hand sewing needle and cotton thread (doubled for strength) I use the lampshade stitch to attach the cover to the binding. I also use a thimble to ease the strain of poking the needle through the tightly bound layers.
Once the cover is completely sewn, top and bottom, I trim the excess fabric as close as I can to my hand stitching. Once the cover is sewn to the top and bottom – I go ahead and place the shade on the lamp for a glimpse of the final product.
I create the lining in the same way as the cover, but fit it to the inside of the lampshade, with the seams facing out. I place release cuts where the lining hits the struts for the spider or UNO fitting. If possible, I use the old lining for a template to locate the placement and depth of the release cuts.
I then fit the lining to the inside of the shade, with the seams facing the frame and lined up with the cover fabric seams, and the release cuts under the spider or UNO struts. As I pin, I pull the excess fabric at the top and bottom over the edge to the outside of the frame, where I will soon be sewing it. I keep pulling and pinning the fabric as tight as possible, while not pulling it off grain, and without visible pulling or wrinkling. Since the seams are rarely on the straight grain, they can be especially vulnerable to wrinkling. Once it's pinned to my satisfaction, I sew the lining on the outside to the frame, over the cover stitching, again using lampshade stitch. I carefully trim the lining fabric close to the stitching, so I don’t cut into the cover fabric. Then I cut grosgrain ribbon or twill tape into five-inch lengths, one for each spider/UNO strut, and pin them to cover the release cuts, wrapping under each strut. I sew these in place with lampshade stitch, and then carefully trim the ends.
There are many ways to trim a lampshade to cover all that hand stitching. The quickest way perhaps is to just glue some gimp or grosgrain ribbon over the sewing. If I am going to be gluing my trim, I place the shade on a lamp without a finial so I can turn the shade as I glue. I carefully attach the trim using fabric glue (some people prefer a glue gun, which works just as well), with clothes pins or binder clips to hold the trim while the glue cures. However, I have found that hand sewing bias tape to a shade will often create a cleaner finish than glued trim. For a hand-sewn finish, I start by creating matching or contrasting bias tape, folded and pressed to three-quarters of an inch wide. I use a slip stitch and a curved needle to attach the bias tape. I attach the tape over the lining stitches at the bottom and top of the shade, and just into the face fabric, using relatively long stitches, on the inner edges of the tape. To be really fancy (or fanciful), trims can also be layered with coordinating gimp, grosgrain, or rick rack.
Once my shade is trimmed, I can place it on the lamp. As I mentioned earlier, the harp should be sized to the shade, not the lamp. My shade here is about 8" high, so here I am using a 7" harp.
