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In her November 21, 2025 decorating update (updated December 4), Kristi Linauer showed a bedroom drapery mockup while reconsidering the thin gold frame around a chapel picture. The curtains were not finished panels yet, the lamps were still under consideration, and the frame solution was a proposed reuse of a natural-finish Castellanos Mirror—not a confirmed room reveal. Linauer’s original post is the record of those decisions at that moment.
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What the update actually documents
The post is best read as a progress report rather than a completed-bedroom tour. Linauer had installed one curtain rod and assembled a temporary visual test. She had also searched two craft and home-furnishing stores for a frame, bought two lamps, and identified a mirror whose frame appealed to her. Each choice remained conditional: the drapery still needed its final construction, the lamps might go back, and the mirror was intended to be altered for the chapel picture.
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| Element | Status in the November–December 2025 post | What is not confirmed |
|---|---|---|
| Bedroom drapery | One rod was installed; a sheer panel, teal velvet, and pinned trim created a mockup. | Completed pinch pleats, final installation, and the room’s later appearance. |
| Chapel-picture frame | The existing thin gold frame felt too slight; a 30 × 40-inch natural-finish mirror was the favored frame idea. | Whether the mirror was purchased, modified successfully, or fitted to the picture. |
| Lamps | Two lamps were bought at Hobby Lobby for evaluation. | Whether they stayed, were painted, or were returned. |
That distinction matters because a photograph of a mockup can look like a finished design. Here, the author was testing proportion, color, and visual weight before committing to construction or installation.
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How the drapery mockup was assembled
Linauer’s temporary arrangement combined several layers so she could judge the overall effect without having the finished panels ready.
- Install one curtain rod. The rod established the horizontal line and allowed her to judge how much of it would remain visible above the fabric.
- Hang a sheer panel temporarily. She could not find the panel’s drapery hooks, so she attached it to the drapery rings with clips. Clips were a stopgap for the preview, not the intended permanent hardware.
- Drape dark teal velvet over the rod. The velvet supplied the substantial, saturated layer she wanted to evaluate in the bedroom.
- Pin orange-and-cream trim to the velvet. Pinning allowed her to test placement and coverage before sewing or otherwise fixing the trim.
- Plan the finished construction. The intended panels were pinch-pleated and hung on rings with hooks, leaving the rod visible across the top.
This sequence explains why the image should not be interpreted as evidence that the final curtains had been made. The visible clips solved a missing-hardware problem for a visual test; the planned hook-and-ring system was a separate, unfinished step.
Why the trim-width experiment changed the look
The orange-and-cream trim was not merely an afterthought. Linauer compared how much of its width showed and preferred wrapping it so that only part of the trim remained visible. She described the narrower accent as less dominant. On a large field of dark teal velvet, exposing the full band would create a stronger horizontal and color contrast; reducing the visible width would keep the border present while allowing the velvet to remain the main statement.
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- Full-width reveal: a more assertive border and a larger orange-and-cream interruption across the teal.
- Partial-width reveal: the author’s preferred test, intended to make the accent quieter and less dominant.
- Pinning during the mockup: useful for judging the relationship before the trim is permanently applied, but not proof of the final sewing or mounting technique.
The intended pinch-pleat and ring setup
The finished panels were planned as pinch pleats hung from rings, with the rod showing along the top. That combination is different from the temporary clipped arrangement. Pinch pleats create a gathered heading; hooks connect the heading to the rings; the rings travel on the rod. Because the author had misplaced the existing hooks, she used clips to keep the sheer in place while evaluating the composition.
If you are following the same type of setup, treat the hardware as a checklist rather than assuming clips can substitute indefinitely:
- Confirm that the panel heading is made to accept pinch-pleat hooks.
- Count the hooks and rings before hanging the finished panel.
- Check that the rings fit the rod and can move without catching on brackets.
- Make sure the rod remains visible in the amount intended by the design.
- Reserve clips for temporary positioning unless the panel and hardware manufacturer explicitly allows them for permanent use.
The post does not identify a hook model, ring diameter, rod material, or curtain-panel measurements. Those specifications therefore remain open decisions for a reader adapting the idea.
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The frame problem: why the thin gold border stopped working
Linauer had originally planned to keep the chapel picture’s thin gold frame. Once she considered it on the wall, she felt it looked too slight and made her want to add something else, such as sconces. The issue was not that the gold color was inherently wrong; it was the frame’s perceived visual weight in that location. A narrow border can recede when a wall needs a stronger architectural or decorative anchor.
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She visited Michael’s and Hobby Lobby, including their custom-framing areas, but did not find a frame she liked. Her stated goal was something distinctive rather than a “run-of-the-mill picture frame.” The search was therefore about character as well as size: a frame that could make the picture feel intentional without relying on additional wall objects to compensate.
“I really had my heart set on finding something unique, and something that wasn’t just a run-of-the-mill picture frame, and I think this fits the bill.”
—Kristi Linauer, Addicted 2 Decorating, 2025
That sentence is her personal assessment of the candidate, not an independent review of the product or a guarantee that the conversion would work.
The proposed Castellanos Mirror conversion
The option that appealed to Linauer was a natural-finish Wayfair Castellanos Mirror. The post describes the linked item as an affiliate product. She did not need a mirror; her plan was to remove the mirror and use the surrounding frame for the chapel picture. The dimensions she reported were 30 × 40 inches for the mirror/frame and 24 × 36 inches for the existing gold frame.
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| Measurement | Reported value | Meaning in the project |
|---|---|---|
| Existing gold frame | 24 × 36 inches | Dimensions Linauer gave for the chapel picture’s current frame. |
| Castellanos Mirror/frame | 30 × 40 inches | Dimensions Linauer gave for the proposed natural-finish replacement. |
| Difference in stated outside dimensions | 6 inches wider and 4 inches taller | A larger visual footprint, subject to the frame’s actual opening and construction. |
Those are project dimensions reported by the author, not independently verified specifications from a current listing. They also do not establish the inner opening, rabbet depth, glazing arrangement, backing, or attachment method. Removing a mirror and fitting artwork requires confirming those details before purchase or alteration.
Checks to make before adapting a mirror frame
- Verify the current listing. Confirm that the item is still available, that the finish is still described as natural, and that the listed measurements match the dimensions cited in the post.
- Measure the artwork and visible border. The 24 × 36-inch figure refers to the existing framed piece as reported; it does not tell you the picture’s exact paper or canvas size.
- Inspect the frame’s opening and depth. A larger outside measurement does not guarantee an opening that accepts the artwork.
- Determine whether the mirror is removable without damaging the frame. The author intended removal, but the post does not verify that the construction permits it.
- Plan new backing and hanging hardware if needed. The post does not specify what the converted frame would require after the mirror is taken out.
This is the central practical caution in the frame idea: the distinctive look was attractive enough to pursue, but the conversion remained a plan rather than a demonstrated result.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How the frame choices compare on the evidence available
There is no tested product comparison in the account. The useful comparison is between the decisions Linauer was weighing, using only the criteria she raised.
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| Option | Potential advantage identified by the account | Open question |
|---|---|---|
| Keep the thin gold frame | No new frame search or conversion would be required. | Would it continue to look too slight on the wall and prompt a desire for sconces? |
| Choose a conventional custom frame | Custom-framing stores offered a route to a purpose-made picture frame. | Could Linauer find a design distinctive enough for her goal? |
| Repurpose the natural-finish Castellanos Mirror frame | Its larger, less conventional appearance matched her wish for something unique. | Would the mirror come out, and would the opening and structure fit the chapel picture? |
The mirror option therefore solved a design brief—visual distinction—more clearly than it solved the technical brief of artwork fit. Those are separate decisions and should be evaluated separately.
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The unsettled lamp decision
During the Hobby Lobby visit, Linauer bought two lamps for the bedroom but was unsure whether to keep them. She liked the shapes of the bases and shades and the shade color. Two concerns interrupted that enthusiasm: the lamps might be too tall, and their bases were rough enough that painting them would require substantial sanding.
Height is a proportion question in this room, not a confirmed defect. The post does not provide lamp measurements, nightstand heights, shade dimensions, or a final placement. The relevant decision is whether the lamps overwhelm the surrounding furniture or drapery composition. Surface preparation is a separate labor question: if the bases need extensive sanding before paint, the effort could outweigh the appeal of the forms.
- Keep them unchanged: preserves the base and shade shapes and the color Linauer liked, if the height works in the room.
- Prepare and paint them: offers a way to alter the finish, but the author anticipated substantial sanding because of the rough bases.
- Return or replace them: avoids that preparation if the height or surface makes the project impractical.
No final choice is recorded. Any account that presents the lamps as installed, painted, or returned goes beyond what this update documents.
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A practical decision sequence for recreating the design logic
The post’s value is less a shopping list than a sequence for testing a room before committing to finished work.
- Establish the large shapes first. Put the rod in place and temporarily position the sheer and velvet so you can judge the curtain’s mass against the wall.
- Test the accent proportion. Pin the orange-and-cream trim, then compare a full-width reveal with the narrower wrap that Linauer preferred.
- Resolve the actual hardware. Locate or buy the pinch-pleat hooks and confirm the ring-and-rod arrangement before making the panels permanent.
- Evaluate the wall art independently. Decide whether the 24 × 36-inch gold frame has enough presence before adding sconces or other objects.
- Check a replacement frame mechanically. For a 30 × 40-inch candidate, verify the opening, depth, backing, and safe mirror removal rather than relying on outside dimensions.
- Place the lamps temporarily. Judge their height and shade color in the room, then decide whether sanding and painting are worth the work.
This order prevents one uncertain purchase from dictating all the others. Curtains, frame, and lamps each have a different failure mode: unfinished hardware, uncertain fit, and excessive height or preparation.
What readers should not infer from the post
- The mockup is not confirmation that the pinch-pleated velvet panels were completed.
- Clips are not evidence that the final sheer used clip hardware; they were used because the hooks could not be found.
- The 30 × 40-inch figure does not prove that the mirror’s internal opening fits the chapel picture.
- The author’s affiliate link does not establish current inventory, current measurements, or another publisher’s affiliate relationship.
- The lamps’ purchase does not establish that they remained in the bedroom.
- The December 4 update does not document the room’s later appearance or whether any of these plans worked out.
Keeping those limits visible makes the update more useful: it shows the reasoning behind a work-in-progress without turning an attractive mockup into a completed-project claim.
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