One night while seeing Nathan Lane in The Nance (a very good play, by the way), I had finished reading my Playbill and was studying the grand drape: this one in particular was rich red velvet heavy laden with gold fringe masking the proscenium of the gorgeously decadent Lyceum Theatre (The Nance takes place in the New York 1930s Vaudevillian world ). I began pondering the eager anticipation I always feel that happens on the audience side of the theatrical drapery; what this opaque fabric conceals holds such promise.

In our work, we employ drapery to create equal drama and enticement. Fabric panels are used not only to dress windows, but to divide spaces, to caress and frame furnishings and vanities worthy of any stage. These gossamer raiments create occasion in open plans, allowing the interior architecture to be as well adorned as any fashion model. Well designed and placed draperies allow the eye to be allured, devising mystery and shrouded sexiness in the space. Vaudeville had its Gypsy Rose Lee, and the well-dressed room should equally entice the imagination. Draperies can add a sense of beguile and seduction, drawing the visitor into its bewitching embrace. These are not your grandmother’s blinds, these taunt, haunt and deliver.

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