This month Nicky Sherwood joins curtain maker Clive Pennington from Classical Genesis in his Hampshire studio where we learn how to make an interlined roman blind. Having spent many years making bespoke curtains and blinds, Clive now focuses on teaching his professional curtain making techniques to students from across the globe.
Before we get started with the rundown of my days with Clive, I did some research on the subject and have compiled the following key info on what you need to consider when making a roman blind:
• Professional roman blind making follows four distinct stages: Design, Calculation, Setting out, and Craftwork, with each stage requiring precise measurements and attention to detail.
• Interlined roman blinds use three layers of fabric—printed face fabric, cotton interlining, and plain lining—which are carefully positioned and secured through a combination of machine and hand stitching techniques.
• Pattern matching on roman blinds requires calculating the correct drop, folds, and pattern repeat so that the design aligns perfectly even when the blind is pulled up into its folded position.
• The construction process involves minimal machine sewing, with the majority of the work completed by hand using techniques such as herringbone stitch, invisible slip stitch, and stab stitches to create a professional finish.
• Rod pockets sewn into the lining at precisely measured intervals create the characteristic folds of a roman blind, with plastic rings and cording threaded through to enable the blind to be raised and lowered evenly.
1 The Six-Inch Trial Strip Method: How Professional Curtain Makers Eliminate Pattern Matching Errors Before Cutting
Before committing to cutting your expensive fabric, professional curtain makers use a deceptively simple technique that saves both fabric and heartache: the six-inch trial strip method.
Why This Works:
Most DIY blind makers dive straight into cutting their full fabric width, only to discover too late that their pattern doesn’t align when the blind is raised. This trial strip approach allows you to physically test your calculations without wasting material.
The Process:
• Cut a 6-inch wide strip from your fabric selvage edge
• Mark and fold this strip exactly as your blind will fold when raised
• Check that the pattern elements align at each fold point
• Adjust your rod pocket measurements before cutting the full width
What to Look For:
When you fold your trial strip, the pattern motifs should sit in exactly the same position at each fold. If flowers or geometric shapes are cut off awkwardly or appear at different heights, your calculations need adjusting. This 10-minute test can prevent hours of unpicking or, worse, starting over with new fabric.
The Hidden Benefit:
This technique also reveals whether your chosen pattern actually works for a roman blind. Some fabrics with large-scale repeats or directional designs simply don’t suit the folded structure, and it’s better to discover this with a test strip than a completed blind.
2 The Interlining Advantage: Why This Middle Layer Transforms Amateur Blinds into Professional Products
The difference between a department store blind and a bespoke window treatment often comes down to one hidden element: the cotton interlining sandwiched between face fabric and lining.
What Interlining Actually Does:
Visual Impact
• Creates soft, rounded folds rather than sharp creases
• Adds body and structure to lightweight fabrics
• Prevents light penetration that creates shadowy seam lines
• Makes patterns appear more vibrant by preventing lining show-through
Functional Benefits
• Provides insulation against heat loss and noise
• Protects delicate face fabrics from sun damage
• Extends the blind’s lifespan by absorbing stress at fold points
• Allows the blind to drape more elegantly when lowered
The Construction Secret:
Unlike lining, which is sewn to the face fabric, interlining is simply tucked into the side seams and held in place with herringbone stitches. This floating middle layer creates the signature cushioned appearance of professional blinds while allowing each fabric layer to move independently, preventing puckering and strain.
Cost-Benefit Reality:
Adding interlining increases material costs by approximately £15-25 per blind but transforms the finished appearance so dramatically that the blind looks three times more expensive. For anyone making blinds for their own home, this represents exceptional value for minimal extra effort.
3 The False Mitre Corner Technique: Creating Perfect Corners Without Complex Geometry
Professional curtain makers guard their time-saving techniques closely, and the false mitre is one of the cleverest shortcuts that delivers perfect results without requiring mathematical calculations or specialist tools.
Traditional Mitre vs. False Mitre:
Traditional True Mitre:
Requires precise 45-degree angle cutting, careful fabric grain alignment, and expert sewing skills. One millimeter of miscalculation creates visible gaps or puckering.
False Mitre:
Creates the visual appearance of a perfectly mitred corner through strategic folding and hand stitching, without any angled cuts. The technique is forgiving, adjustable, and suitable for makers at any skill level.
Why It Works Better for Blinds:
Roman blinds undergo constant stress at the corners every time they’re raised and lowered. False mitres distribute this tension across multiple hand stitches rather than concentrating it along a single sewn seam, making them more durable than true mitres for this application.
The Visibility Factor:
When a roman blind is hanging in position, the bottom corners are often the only visible finished edges. The false mitre technique creates corners that are indistinguishable from true mitres to the observer but take half the time to execute and never split or gap with use.
Application Beyond Blinds:
Once mastered on a roman blind, this false mitre approach translates perfectly to cushion covers, table runners, and any project where you want crisp corners without wrestling with bias-cut fabric edges.
I have to confess that it’s with a slight sense of trepidation that I head off to Hampshire on a Thursday morning for a two day intensive roman blind workshop with curtain maker Clive Pennington. Having chatted to Clive on the phone I am under no illusions that this course is going to be easy.
Vanessa Arbuthnott Pie in the Sky linen union
I am anxious, not just because my sewing skills are rather basic, but also because Clive makes it clear that he expects us to work hard and produce professional results. And so I arrive at Clive’s studio clutching a roll of beautiful Pie in the Sky fabric by Vanessa Arbuthnott. Along with a nagging concern that I may be slightly out of my depth.
Stage 1 Design
I needn’t have worried. Clive is perfectly charming, and he gently reassures me that he’d taught many novice curtain makers over the years and they had all come through with flying colours. Thank goodness for that! After a cup of coffee, Clive begins by explaining that there are four stages to curtain and blind making: Design, Calculation, Setting out, and Craftwork. It is also necessary to consider the room, the view from the window, the window frame, the aspect, and the light source.
Clive speaks passionately about curtain making and has a huge amount of knowledge about his craft. Originally a joiner by trade, the techniques that he teaches today involve a combination of science, engineering and art.
Stage 2: Calculation
The first couple of hours are devoted to calculating the measurements and working out the correct drop, folds and pattern repeat on a flip chart. Clive is a perfectionist and our aim is to ensure that the pattern matches up exactly, even when the blind is pulled up into its folded position. We do this by cutting a six inch trial strip of fabric and folding it to check that the pattern will match when the blind is pulled up.
Then with our measurements confirmed, we begin by positioning the printed face fabric squarely on the workbench and pinning it in place, before pressing it flat and cutting it to the required size.
Essential Measurements Checklist for Roman Blind Calculations
| Measurement Required | What to Measure | Critical Consideration |
| Finished width | Exact window recess width | Deduct 1cm for blind to operate smoothly |
| Finished drop | Top of recess to sill | Must account for pattern repeat alignment |
| Pattern repeat | Distance between identical motifs | Determines fold positions and fabric quantity |
| Number of folds | Based on finished drop | Typically 15-20cm between rod pockets |
| Rod pocket spacing | Distance between each rod | Must align with pattern when blind is raised |
Stage 3: Setting out
Next we cut out the plain lining fabric and the cotton interlining to the correct sizes. We mark out the top seam where the face fabric would be sewn onto the lining material and carefully measure, mark and pin where the three rod pockets would go in the lining to create our folds.
As the first day draws to a close we are pleased to have completed most of the technical work and are looking forward to putting all of the different elements together the following day.
Three-Layer Fabric Assembly: Cutting Dimensions Guide
| Fabric Layer | Width Allowance | Drop Allowance |
| Face fabric (printed) | Finished width + 8cm | Calculated drop + pattern adjustment |
| Cotton interlining | Finished width + 4cm | Finished drop (no extra allowance) |
| Lining fabric | Finished width + 6cm | Finished drop + 15cm (for rod pockets) |
Stage 4: Craftwork (the actual making up)
The next morning our first job is to join the face fabric and lining fabric together. Then we sew a strip of velcro along the top section of the blind, which enables the blind to be attached to the wooden batten in the window recess.
After a bit of practising on Clive’s wonderful industrial sewing machine, he declares my seams straight and pucker-free. Then I progress to sewing the velcro to the lining, and the lining to the face fabric. Clive informs us that this is in fact the only bit of machining we are doing as the rest of the blind is carefully stitched by hand.
Back at the bench, we place the blind face down and carefully lay down the cotton interlining between the face fabric and the lining material. Then we tuck the edges of the interlining into the side seam sections of the face fabric and pin it gently in place.
Next we unroll a strip of double-sided fusible buckram and lay it on top of the interlining. We lay it along the top edge of the blind, and iron it onto the lining material. This creates a stiff heading section.
Then we insert a rod into the bottom seam of the blind to create some weight. Then we fold the face fabric over the rod to make a hem. At the corners we are shown how to create a false mitre. We then sew the face fabric to the interlining by hand. It’s a herringbone stitch we use around the sides and bottom edge of the blind.
We replace the lining fabric over the top of the interlining and smooth it out. It’s important to ensure that the rod pocket sections match up with the pattern on the front of the fabric. We then hand stitch the sides and bottom edge of the blind using an invisible slip stitch to attach the lining to the face fabric.
Craftwork (the actual making up)
Hand Stitching Techniques: When and Where to Use Each Stitch
| Stitch Type | Application Location | Purpose |
| Herringbone stitch | Sides and bottom edge | Secures face fabric to interlining invisibly |
| Slip stitch | Lining to face fabric edges | Creates invisible seam on finished blind |
| Claw stitch | Attaching rings to rod pockets | Provides strength for cord operation |
| Stab stitch | Below rod pockets | Joins face fabric to lining at fold points |
Final touches
With the end almost in sight, we insert the rods into the rod pockets. Then we stitch four small plastic rings along each pocket using a claw stitch to hold the rods in place. These rings will guide the cording and enable the blind to be pulled up evenly from each rod pocket. There is just enough time to steam the lining flat before hanging the blind up.
The very last bit of sewing involves stitching some invisible ‘stab stitches’ just below the rods. This is to attach the face fabric to the lining where the rod pockets are located. Finally, the lengths of cording are fed through the rings and we are able to pull the blind up for the first time.
Rod Pocket Ring Placement Guide for Even Blind Operation
| Blind Width | Number of Rings Per Rod | Spacing Between Rings |
| Up to 80cm | 3 rings | 25-30cm apart |
| 80cm to 120cm | 4 rings | 25-30cm apart |
| 120cm to 160cm | 5 rings | 25-30cm apart |
| Over 160cm | 6 rings | 25-30cm apart |
The finished result
What do you think?
Despite Clive’s protestations that he’s a hard task master (and he was at times!), he is also a patient teacher. He cares about each of his students, and ensures that each leaves with the skills needed to make professional products.
Past students have ranged from people who’ve never picked up a needle before, to professional curtain makers. Many of them return year after year to add new skills and techniques to their repertoire. Having spent two exhausting but exhilarating days in Clive’s studio, I can see why. Now I’ve mastered the roman blind, I think next I will try my hand at curtain making.
Ideas & Inspiration
Now you know how to make your own interlined roman blind, you might like some more ideas.
Lining Options: Comparing Functionality and Cost for Different Room Requirements
| Lining Type | Best Room Application | Key Benefit |
| Standard cotton lining | Living rooms, dining rooms | Allows pattern to show through with light |
| Blackout lining | Bedrooms, media rooms | Blocks 99% of light for sleep quality |
| Thermal lining | North-facing rooms, period properties | Reduces heat loss by up to 50% |
| No lining (face fabric only) | Bathrooms, kitchens | Creates translucent effect, easier laundering |
FAQs
Can I make a roman blind without interlining to save costs?
Yes, you can omit the interlining layer, but the finished blind will have a flatter appearance with sharper creases rather than the soft, rounded folds characteristic of professional blinds. Without interlining, lightweight fabrics may also allow light to show through at the seam lines, and the blind will provide less insulation. If budget is a concern, consider using interlining only on blinds in prominent rooms where the quality difference will be most appreciated.
How do I calculate fabric requirements if my pattern has a large repeat?
Large pattern repeats require extra fabric because you need complete pattern motifs to align at each fold point when the blind is raised. Measure the vertical pattern repeat distance, then calculate how many complete repeats you need to achieve your finished drop while ensuring the pattern aligns at rod pocket positions. You may need to add one or two additional pattern repeats to your fabric order, which can significantly increase costs for fabrics with 60cm+ repeats.
What’s the best way to clean an interlined roman blind?
Interlined roman blinds should not be machine washed as the interlining can shift, bunch, or shrink at different rates to the face fabric and lining. Professional dry cleaning is the safest option for valuable or delicate fabrics. For routine maintenance, vacuum regularly using the upholstery attachment, and spot-clean marks with a barely damp cloth. Some makers construct blinds with detachable linings secured with velcro, allowing the face fabric to be removed for cleaning while the structural elements remain in place.
How many rod pockets should my roman blind have?
The number of rod pockets depends on your blind’s finished drop and desired fold depth. Professional makers typically space rod pockets 15-20cm apart, creating folds of approximately 30-40cm when the blind is raised. For a 120cm drop blind, you would typically have 4-5 rod pockets. More rod pockets create smaller, more numerous folds for a tailored look, while fewer create deeper, more dramatic folds. The spacing must also work with your fabric’s pattern repeat.
Can I use a heavier fabric like velvet or tapestry for a roman blind?
Heavy fabrics can be used for roman blinds but require modifications to the standard construction method. You may need to omit the interlining to prevent excessive bulk, use stronger rods or battens to support the weight, and install additional rings along each rod pocket to distribute the weight evenly. Very heavy fabrics can strain the cord mechanism and may require a motorized system rather than manual cords. Test your fabric choice by gathering a sample to see how it folds before committing to a full blind.
MOST IMPORTANT INSIGHTS TO REMEMBER
#1 Professional roman blind making requires four distinct stages—Design, Calculation, Setting out, and Craftwork—with the calculation phase being the most critical for ensuring pattern alignment and proper fold formation when the blind is both lowered and raised.
#2 The six-inch trial strip method prevents costly fabric mistakes by allowing you to physically test your pattern alignment calculations on a small sample before cutting your full-width fabric, saving both materials and time.
#3 Interlining is the hidden element that transforms amateur blinds into professional products by creating soft rounded folds, providing insulation, preventing light show-through at seams, and making the blind appear significantly more expensive.
#4 Hand stitching forms the majority of professional roman blind construction with different stitch types—herringbone, slip stitch, claw stitch, and stab stitch—used at specific locations to create invisible seams and secure structural elements.
#5 Pattern matching extends beyond the flat blind to include fold alignment which requires calculating rod pocket positions so that pattern motifs sit at exactly the same position on each fold when the blind is raised, creating visual continuity throughout the blind’s operation.
Ada & Ina
A great source of beautiful linen and linen cotton blend natural fabrics if you intend making your own blinds. Ada & Ina also offer a very reasonable custom blinds making service, which I recently tried out myself. I painted my entire house from top to bottom during lockdown in January and February, and I decided my bedroom really needed fresh new blinds.
After A LOT of swatch ordering and deliberation, I chose a natural linen fabric with a pretty white Chervil pattern and had two roman blinds made by Ada & Ina.
I decided not to go for blackout lining because I wanted to see what the pattern would look like with the light coming through a little… I am so glad I did – I absolutely love my new blinds and how different they look as the light changes. What do you think?
All Ada & Ina blinds are custom-made in their Kent studio and the service was a pleasure to use from start to finish. I made a bit of a hash of my measurements, and they couldn’t have been more helpful at sorting out the problem.
If you’re looking for natural linen fabrics at amazingly low prices, check out their Adel White (100% linen) or Adria Natural (Linen cotton mix) which each cost £4.89 a metre (or just £3.91 a metre if you have them made up into roman blinds).
Ada & Ina is listed in the From Britain with Love directory
Cabbages & Roses
Love this Jolly Stripe linen fabric by Cabbages & Roses.
Also love how this simple stripe linen looks mixed with faded florals…
Get all the info you need from the Cabbages & Roses listing in the From Britain with Love directory here >>
Simple white linen
Also from Cabbages & Roses. Get all the info you need from the Cabbages & Roses listing in the From Britain with Love directory here >>
Prints
Vanessa Arbuthnott has such a wide and beautiful collection of eco-friendly linens you’re sure to find something just right. I love this jolly ochre coastal print from her latest Artists Collection (read the story behind this collection here).
Vanessa is listed in the FBWL directory – get all the info you need from the listing here >>
I love this Anoushka linen fabric by Olive + Daisy ( listed in our directory here >>). You can also buy a handmade lampshade in the same fabric by Lolly & Boo (who are also listed in our directory here >>)
INFORMATION
To find out more about professional curtain making training with Clive Pennington, visit the Classical Genesis website.
Feeling inspired? Take a look at the Creative Workshops category in our Directory, where you’ll find a variety of inspiring courses, from art and crafts to fashion and beauty, interiors, food and flower & gardening.
If you run a creative course that would interest our readers, please get in touch. Email us at editor@frombritainwithlove.com
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