Updated 1980’s Dining Room Set

Dining Chair After

Dining Chair Before

A simple, yet functional dining room set made well never goes out of style, but the fabric sure does. My customer had wanted an updated look for her 1980’s style dining set and decided to go lighter. Sometimes this isn’t possible, depending on the wood, but in this case it was achievable. 

The four chairs all had rollers, which had to be removed prior to stripping. Once Jim had stripped everything, chairs and table alike, he began carefully sanding all surfaces and applied the new stain, golden pecan. This gave it a perfectly suitable color for the customer, lighter and updated. 

Originally she had not wanted to replace the fabric (based on budget) but once the staining and finishing was done, I thought I’d suggest she splurge and get the fabric updated as well and because I had given her a great price she agreed. I provided her with resources for the fabric and she chose a gorgeous Hillary Farr Design with an aqua chevron nap. It was the perfect accompaniment for the newly stained lighter wood. Had she not chosen new fabric, the old fabric would have been okay, but without the feel and touch of fresh new fabric. I probably would have chosen the same fabric since I am a fan of that color!

Dining Set After

Dining Set Before

The table had some damage due to her husband’s wheel chair, which Jim was able to sand out and make invisible. Magic happens when you sand furniture. You remove the old and expose the beauty buried beneath the years and grime. The table was solid wood, always a great thing to work on. 

When they say, “They just don’t make ‘em like they used to,” furniture would be a prime example of the truth of that statement. Not to say you can’t get that same quality, but the cost is much higher by comparison. But if you have that special piece of furniture that belonged to a grandparent or great-grandparent many times over, you  have a priceless piece of history that is worth keeping and definitely worth restoring.

Curved Back Chair Updated Fabric

 

Chair After

Chair Before

This was probably the fastest completion of a chair job I’ve ever done so far in my 14 years of reupholstering. The original fabric was actually in amazing condition, but my customer just wanted to update it to a more modern, contemporary look and chose a lovely beige fabric with a postage stamp design.

This is the first chair I’ve done that had two different boxings. It also had three levels of welting; top edge of seat cushion, beneath the first boxing and at the bottom edge. The back of the chair had an inner and outer back, two separate sections. 

I began this project by removing the inner back first, then the cotton filling, cardboard backing for support and the outer back of the chair. As with most upholstery projects, this one had a lot of staples. Once the staples and fabric was removed, I starting removing the seat area and all its components. I used the original fabric to create templates for the new fabric. This was the most accurate way to get the proper dimensions and measurements, which made the assembly a lot easier.

Surprisingly, the single welting I sewed to the seat went around the tight curves pretty easily. The trick on sewing single welting in place is to pivot at the 90 degree corners and snip the fabric to ease it in place. This worked great! After the single welting was firmly in place, I stitched the upper boxing very close to the seat welting. The seat was then ready to attach to the chair. Once I had the seat all lined up, I stapled it in place and used hot glue to attach the welting to the arms and leg sections. (It’s important to NOT touch the tip of the hot glue gun because it will burn you on contact. I can’t stress this enough. One split nano-second can scorch your fingers!)

After measuring the circumference of the chair, I cut the fabric and sewed the single welting to the second boxing level. I attached the boxing to the chair with a cardboard strip, which got stapled to the underside of the material, then folded it into place and stapled it at the lower edge. The very bottom of the boxing was held in place with heavy duty upholstery tacks on strips. They get attached to the underside of the fabric, then nailed in place right into the body of the chair. This keeps the fabric securely in place and gives a clean, finished look for the chair. The bottom edge was stapled and covered with double welting. That edge was then complete.

I attached the upper back of the chair the reverse of how I removed it. I stapled the outer back in place, allowing for the curve back style of the chair, followed by a curved cardboard to keep it stiff and securely in place then laid a thick layer of raw cotton over the cardboard. Finally I settled the new fabric in place and stapled the edges so that it touched the inset wooden channel of the chair. This area was finished off with double welting, which I hot glued into place. Hot glue is invaluable for this process as it really keeps the welting in place on the fabric. 

Combining my sewing and design skills, I was able to tear this chair apart and put it back together with new fabric from the templates I created in only four days. This was indeed a record for me! But I was quite motivated since the next day I’d be in the hospital for surgery and wanted to complete this job before that happened. That way my customer didn’t have to wait until my recovery to get her chair and I could have a clean slate before my surgery. All in all, a productive few days.

Side by side

Button Fluted Chair Makeover

 

Chair After

Chair Before

This is another classic style chair with fluted channels and buttons to accent the back. It had definitely seen better days since it had a damaged, torn seat from an active dog. The chair itself was very durable and structurally sound, needing no tightening or other repair work. But like many chairs of this style, it had many, many staples to remove which was a very time-consuming process. My customer chose the fabric which was a lovely large floral print on a dark teal background.

And to make matters even more time-consuming, the staples were quite rusty, which made them a bit tougher to remove. This chair may have been in a damp environment, hence the rusty staples, but the fabric had no mold or odors, so despite the dampness, it was dry and odorless.

Removing the fabric is the opposite of putting it on. I removed the welting on the back first before removing the entire back itself. I kept the pieces in tact as I was planning on using them as templates. This is much easier than making the patterns without the original pieces, which I’ve also done. For this particular style of chair having those template pieces was invaluable. I had to carefully transfer the markings for the fluted back and button positions from the old fabric to the new fabric. 

Using a heat removable marker, I transferred the lines to the new fabric. The back consisted of four layers; the outer fabric, the batting, the 1/4” foam and the liner which is the very back fabric (I used muslin), not seen when the chair is put together. The challenging part of this process was stitching all those layers together while keeping them from moving too much. This took the better part of the afternoon to accomplish. The chair also had fabric covered buttons which had to made individually as I don’t own an automatic button maker. (....some day...). 

After I had the seat all done, I began the slow process of attaching the thickly padded back. Starting at the top and temporarily attaching it to the center back, I worked the layers through the bottom wood structure of the chair and attaching it to the lower portion of the wood. All this is not seen once the chair is done. Once I was sure the backing was lined up, I finished attaching it securely. After the front of the back was installed, I attached the very back which covers up the interior of the chair. I covered the back with Dacron batting then used tack strip, which attaches to the wood of the chair all the way down to the arms, then the fabric is tucked between the tacks and folded then hammered with a rubber mallet, attaching it firmly to the back. At the juncture of the arms, I attached the rest of the fabric with staples as that part would be covered with welting.

I then attached the welting below where the tack strip ended, curving around the arms and again on the top curve of the front legs. This is decorative and effective way to finish the chair while covering any raw edges of the fabric. Many chairs have tacks that are used for this purpose, but I prefer welting (also called piping or cording) because once you remove the original tacks, it is hard to apply new ones without defaulting to the old holes, which don’t always line up. Many times the tacks break or bend and can’t be used, especially on very hard wood such as maple or oak. Welting is a great alternative and a cleaner look.

I loved the lines an shape of this chair and boy, was it comfortable to sit on when it was finished!

Mission Style Chair Cushion

New Cushion on Back

This is a unique Mission style arts and crafts chair. My customer made the chair and the ottoman and used a leather  hide to make the seats but didn’t have a sewing machine so he hired me to make the seat’s back cushion. He purchased a large hide for the material so I worked with authentic leather instead of vinyl. This was my first leather job and I found it was not too difficult to work with as I had anticipated. Of course it was quite a bit heavier than vinyl, which makes this chair very durable. 

Cushions are deceptively difficult to cover because you must make the cushion cover smaller than the foam so that when you insert the foam, it fills the cushion to the edges snugly. You never want a saggy, larger than foam cover. As most cushions, I installed a zipper on the underside so it can be slipped over the foam. There’s really no other way to create a cushion cover without a zipper. 

The installation itself is challenging because the larger the foam, the deeper you must reach to push out the foam to the material’s edges. This wasn’t a boxed cushion, but more like a pillowcase, so it was a different process that required rounded edges instead of the traditional boxed-cushioned edges as used on couches and large chairs. The chair was finished and my customer could enjoy his efforts as well and mine. 

Antique China Cabinet Refinished

China Cabinet Before

China Cabinet After

Grandmother's antique China cabinet needed an overhaul. While in pretty decent condition (we’ve seen much worse!) Made of mahogany, this cabinet had plenty of space with shelving on the top and doors and drawers on the bottom. 

The middle top had a decorative piece of wood that had broken and become disconnected, so Jim glued it back together and put it back on top where it belonged.

In the process of restoring this cabinet, it was necessary to remove the decorative wood that covered the upper door to properly stain that area. The glass was removed to preserve and protect it during the restoration process. Each step is carefully taken to get the best results.

Our customer had wanted to replace the original wooden knobs with new ones and she chose black knobs, which looked great with the refinished cabinet. Jim used a red mahogany stain with satin polyurethane which was the perfect finish for this piece. Upon completion, this old cabinet certainly looked much better than when we got it.

Caned Chair Set Gets Newly Upholstered Seat

Chair With New Seat

Chair Before New Seat

My customer saw a set of these chairs at an estate sale and at first walked away from them, but after a while she came back and ended up purchasing them for $20.00. Even with the reupholstery work, they still cost less than purchasing new chairs. This isn’t always the case, because traditionally reupholstered furniture costs more than replacing furniture but if you have a piece that you cherish or is made very well, reupholstering is a great choice.

My customer chose a bold blue and white material with a loose weave. The chairs became statement pieces with their bold new look. The fabric had a modern theme which works well with many styles of décor. The seats were also quite large, which allows space for a vibrant pillow to accentuate the chairs’ unique style. These chairs had a “press-in” caned surround with solid wood structure and were very well made. If you come across furniture such as these chairs at an estate sale or resale shop, they are worth the price because chances are they are made very well and will last for many years to come.

Fluted Chair Reupholstery Rescue!

Chair After

Chair Before

This chair was in desperate need of being rescued from severe damage from an enthusiastic dog or two. The seat was not usable because the springs were exposed from the large tear and were also damaged beneath. The left arm had been chewed to expose the wood. This chair certainly needed a lot of attention and dedication of time to bring it back to life.

The style of this chair is fluted, or channel back. These “flutes” or “channels” are created by sewing the separate front strips of fabric to a large backing with lines marked according to size, then stitched to the backing fabric and stuffed with cotton or polyester fiberfill to create the flutes.

My first approach was to remove all the old fabric, nails, staples, stuffing and webbing. Once I got down to the springs, I realized they needed to be re-tied which meant they had to be removed along with the old webbing which holds the springs in place. This is an intense process that takes a lot of patience and time to do it right. But there are no shortcuts to good upholstery. Once the springs were secured and tied, I began to build up the seat to create that nice “crown” which is an important element in a nicely structured chair. The first step was to cover those springs with burlap and secure it to all the sides, keeping the springs in their respective places. A layer of cotton batting was next, followed by a section of foam to cover the seat, another two layers of batting then covered with a large sheet of high thread count muslin. This gives the seat a pre-finished look and the top fabric a good foundation to adhere to.

Once the seat was done, the next step was the interior of the arms. Like the seat, I added several layers of batting to build up the arms, then covered them with the new fabric. You must have a “feel” for how much batting to use. Once you’re satisfied with the cushy feeling, it’s ready for fabric. Then it was time to install the flutes.  Essentially flutes or channels are constructed with a series of separate fabric sections stitched together to create one large piece, which is then attached to the chair as one unit. This is tricky because the flutes, or channels, must remain centered while you are working the fabric, attaching them to the top and bottom of the chair. Lots of tugging and pulling at this point! The center flutes were pre-stuffed prior to attachment, then the edges are filled in place after the flutes are attached by filling in the areas with layers of cotton or poly batting, then secured with staples.

Next step was the outside of the arms. I attach them using cardboard strips stapled underneath the side arms then pulled downward and attached to the underside of the chair. Snip close to the curve so later you can finish it off with the cording or piping. Lastly was the back. I use ply-grip, which are sharp little spikes on a roll that attaches to the curved back of the chair with staples or nails, then each ply-grip section is bent toward the chair halfway, while gently folding the fabric into it. Once all the fabric is wrapped around the sharp spikes, you pound the ply-grip down with a rubber mallet or hammer to secure it permanently to the back. This provides a seamless, clean back.

The fun part was adding the piping/cording to the front arms and around the back where the ply-grip was attached. This is my favorite part because it means I’m close to being done! The chair was very challenging but each time I work on such a project, I learn a new skill or how to do something a little bit better and that’s the true reward of this type of work.

Left side before - Right side after

Cute Rocking Chair Caning

Rocking Chair After

Rocking Chair Before

This was a very dainty, cute rocking chair that as many before it, had a broken seat.  It’s not uncommon for older caned chairs to become brittle and are easily damaged when a knee happens to land in the center of it or it one sits in it a bit too hard. While a caned chair can last many years, they do require a bit of a gentle touch when used as an everyday chair. Luckily the back of the chair was still in tact, so just the seat needed replacing.

As a smaller chair, this one was perfect for a shorter person as it was close to the ground, so it would be easy to get up from. I loved the curved arms of this chair. They were so smooth and well made. The chair was also very sturdy.

This was a strand caning job, which means that the caning is woven in the six steps used for this method. The first three steps are fairly straightforward, front to back, left to right then front to back once again to cover the first row. 

The next step is the first weave, under step three over step one. You do this until the entire chair is done, then you begin the first diagonal weave starting in the upper right corner and working your way to the back, then picking up and working your way to the front of the chair. The next diagonal weave is opposite the first, starting in the left corner and working your way to the back, then finishing the same way you did for the first weave and working your way to the front. 

Once the diagonal weaves are done, you use a wider strand of caning to bind the edging by pulling through the narrow caning up and over the wider caning until it covers the holes. The very last step is tucking in all the loose strands that pile up on the underside of the chair. This requires pulling the loose strands underneath the tied ends and pulling them tightly before snipping them off. Then the chair is done.

Caning is a dying art. Not many people do this tedious work anymore because it takes time (a commodity for sure) and patience. My first few chair took me over a week to do, but as I progressed, the process became easier and I became more proficient at each step. Tip: you need to really pay attention to the direction of the weave in all steps. If you go in the wrong direction, you usually won’t spot it right away, but it will throw you off and then you’ll have to undo all the wrong caning and redo it or it won’t work right and you’ll see it. Take your time and do it right and it will save you a lot of heartache and headache down the road.

Ladies Antique Chair Reupholstered

Antique Chair After

Antique Chair Before

I believe this chair dated back to the late 1800’s. It had a broken arm and lower right side unattached, this chair had seen better days. The fabric, though old, was reupholstered since the chair’s construction, however it was done a long time ago. My guess it was done sometime in the 1940’s, judging by the needlepoint style material they had used. 

This chair had likely been made with seat springs, but during the 1940’s upholstered was replaced with thin plastic webbing on the bottom of the chair. It also had a couple hundred tacks surrounding the bottom seat as well as the arms and back rest. My customer had planned on doing the work herself, so she had already removed the needlepoint fabric from the backrest of the chair, but soon realized it was quite a bit of work.

Removing the material was time consuming and tedious. First I had to remove hundreds of staples. These staples were not your average staple, but extra thick copper staples that were quite difficult to remove. Removing that many staples gives your upper body a workout (translation: you will be sore the next day!) Then I had to remove all those tacks, which were rusted and stuck to the fabric in most of the areas. Using tack removal tools as well as a vice grip helps the process along. 

Once all the staples and tacks were removed, I could remove the old fabric. The chair had a broken right arm, which was obvious, but after I removed the material, I discovered it also had come apart at the lower right leg/seat area as well as a portion of the front of the framework. Jim made the necessary repairs then I could start the process of adding the new fabric.

The chair had a very old, very brittle cushion which was shaped to fit the chair but was no longer usable as it had the texture of a loaf of dry bread. As I was removing the staples the foam was leaking a yellow powder which resembled a cake mix. No way would I reused this foam. Instead I created a new foam seat base after I built the foundation with webbing. 

I used 2” foam cut to size which covered the underside webbing, then I added criss-cross webbing on top of the foam, front to back and left to right, for a more stable seat. Next I added a thick layer of raw cotton, which comes on a roll and can be torn apart, easily filling the seat area. This cotton is very soft and wonderful to use on a chair’s seat. On the raw cotton I added a fitted cut size of 1” foam followed by a second layer of raw cotton. Finally I topped it off with a double layer of polyester batting to hold everything together with a good top base. I always use the “sit on it” test before adding the fabric, which means I sit on the chair and if it feels good to me, it’s ready for material. 

The customer provided two identical fabric panels, each with a single large flower which she had wanted centered in the seat and back portions of the chair. She also brought purple velour for the small section of the arms and the open back facing fabric (not seen in photos). The purple color choice was perfect as it pulled the color from purple flowers. I added gimp trim along the bottom edge, arms and top front to cover the staples and add a touch of elegance to the chair. It was once again a beauty that will last another hundred years. 

1940s Bedroom Refinishing Project

Low Dresser After

Low Dresser Before

This was one of several pieces of a 1940s vintage bedroom set which Jim recently refinished. It had seen some wear because it had been used for a few generations and needed some revitalizing and love. 

We were excited to take on this project which had two dressers as seen in this post. This bedroom set also had a mirror, bed with headboard and footboard and side rails (not pictured). It’s difficult to get photos of the items when they are delivered in sections. This furniture was in pretty good condition, had great bones, but the exterior had seen some wear and scratching, not uncommon for a vintage bedroom set. Luckily there was no structural or water damage which can be harder to rectify. 

Jim had blended two different stains to obtain a unique color that best suited the furniture. It turned out to be a perfect color for the dressers, resulting in a rich tone which best shows the woodgrain which was hidden prior to the refinishing. That’s one of the many perks of working with stains; custom blending which results in a unique color. It’s quite noticeable in the tall dresser (below) what a variation in color can be in the “before” photo. When furniture is made in a factory, the staining process is quite different from refinishing by hand. They use a spray stain that has a different look, more opaque so the woodgrain is not as visible as it is once it is stripped and refinished. One of the benefits of the hand stripping/refinishing process is that it exposes the natural beauty of the wood.

The scratches on the tops of the dressers were superficial, so they were easily sanded down once the dressers were stripped. Dressers require a great deal of work because each drawer is an individual section that requires removal of hardware and is treated one at a time while stripping, sanding and staining before finishing with polyurethane to protect the finishes. The low dresser (as seen in photos above) had six drawers with general depths. These older dresser have much more space than their newer counterparts and are made very well, so they are usually worth refinishing. It truly is an investment worth doing to preserve a piece of your family’s history.

Tall Dresser After

Tall Dresser Before

The taller dresser (shown left) had four large drawers and two smaller ones at the top. The oval hardware was original in the Federal style. Some customers prefer the original hardware and others like to give their furniture an updated look and replace it, but either way, refinishing a bedroom set is always worth doing because you already have made the investment in the furniture, so why not keep it for generations to come? It’s a wonderful way to honor your family’s history. 

Boat Cushion Upholstery

 

Salon Bench Back Before B&W

This is one of ten cushions I reupholstered for a powerboat. At left is the “before” photo, the largest cushion of the bunch, measuring at 48” x 18”. I didn’t feel it was necessary to include all the cushions, but wanted to share how I reupholstered them.

Salon Bench After with Navy Fabric

These cushions, like many boat cushions, were split into two sections which run horizontally through
the center, as shown above in the original black and white cushion. This is where it is split. This process allows the manufacturer to use two different fabrics, but it also allows the fabric to be attached to the curve of the back without compromising structure. 

These two fabrics are sewn together at the center seam. The first step is to make sure both sections sewn together fits the cushion’s curve properly. It should line up with the outer edge of the cushion. Then a vinyl or leather “tab” is sewn right on top of both seams. I used vinyl I had remaining from a previous job and measured a 4-1/2” x 43” section to stitch to the fabric. This is what gets pulled downward and attached to the cushion’s base. (These cushions were attached to a thick acrylic base instead of wood and were heavy, but not too bad to work with).

Once you establish the fabric size is correct, put your fabric panel onto the top half of the cushion, stretching it over the top and back, then add a few temporary staples to the underside to keep the fabric from shifting. After you’ve added a few staples, you can staple the center leather or vinyl “tab,” while carefully pulling the fabric over the cushion on the top, easing it in position. Staple the upper sides to keep it from shifting. You can add more staples later and may have to remove the temporary ones to finalize its place. 

After the center tab has been completely stapled and secured, you can carefully pull the bottom portion of the fabric over the foam and continue to stretch and position it so it is as smooth as you can get it, attaching it with staples as you go. I have found that putting a few staples in strategic places allows you to keep adjusting the material until it is exactly where you want it, then you can complete the stapling process until everything is nice and snug. The slight puckering seen in the “after” photo will straighten itself out once the cushion it hung from its place on the boat. This is fine as the fabric needs a little bit of stretch to get it in position.

Underside of Cushion
showing tab stapling

My customer chose a lovely navy blue from Sunbrella®, perfect for boat cushions or outdoor patio seats. This fabric is mildew resistant and great for marine use. She opted for all cushions to be the same color instead of the two colors as it was originally. 

The cushions turned out great and surprisingly, the last two cushions I did, as shown on the one above, were the easiest ones of the bunch. Probably because by that time I picked up a few shortcuts from the previous cushions. Sewing cushions is not for the faint-hearted, as they require precise measuring, cutting and a lot of detailed sewing, but with patience and determination, this mission too, can be accomplished.

 

Dainty Fluted Chair Reupholstered and Refinished

Armchair Before

This dainty fluted chair, a ladie's chair, was in desperate need of updating and 
love. The fabric was stained and worn, with evidence of a cat who likely used the back to sharpen her nails. Needless to say this chair had seen better days. 

Armchair After

At a glance, the structure looked okay, but after I picked up the chair, the right side collapsed and was wobbly. Clearly there was internal damage to the frame. Once I began removing the fabric, I located the source of the damage. 

The far right support board was cracked and had come apart from the arm. This board needed to be reattached with glue and a single screw. The top curved board was cracked in the center; the inner right board had broken off at the top. Repairs included making a new dowel and reattaching the inner support board and gluing, then screwing the outer side board back in place to make it structurally sound. *(See photo below to see where the chair was broken and repaired).

Once the repairs were made and the structure strong again, the legs were stripped, sanded and restrained then protected with polyurethane. After Jim had worked his magic, it was my turn to tackle the exterior upholstery. 

This chair had zig-zag springs which were in great condition, so they didn’t need to be tightened or replaced. The first step was to cover the springs with burlap, which was stapled to the top edge of the seat. Burlap keeps the springs secure, while providing a good foundation for the layers that follow. After the burlap was secure, I added a 1” thick section of high density foam which covered the entirespring/burlap seating area. A few staples held the foam in place. 

Next, raw cotton was liberally layered on top of the foam, creating a nice “crown” for the chair’s seat. The raw cotton can be purchased per yard, or per a 10 yard bulk, which is the preferred method as it is less costly per yard. The final layer was a 1/4” foam, which was also stapled to keep it secure. I always give it the “sit” test, which is when I sit on the chair and test its softness and support. You shouldn’t feel the springs when sitting on a chair. If you feel springs, there’s not enough padding. I was satisfied with the thickness of the padding, so I cut the fabric for the seat and made the “V” cuts carefully around the arms and legs for a perfect fit. 

This was my first fluted back chair, so I researched how to create the “flutes,” or “channels.” However, before I could get to the fluted portion of the chair, I had to pad the arms and create new fabric panels for the sides. Using raw cotton and foam, I made sure both arms would be soft as well as supportive enough for the new fabric. I chose not to use the old fabric as templates. Instead, I made my own templates from muslin. This allowed me to customize the arms and create a “partial sewn” arm instead of just folding fabric and stapling in place. The fit was perfect. 

I can’t say enough about making an accurate template for upholstery work! It is an essential part of getting that perfect fit. And with plenty of muslin at my disposal, I was able to create accurately measured templates for each arm, then sew them together to test them before I cut the fabric. Templates can save a lot of time and fabric and ensure accuracy and a proper fit. Measuring is also essential. The more accurate the measurements, the better turnout. 

For the flutes, or channels, I used the original fabric as templates. I took apart the original fluting, separating them into individual units. (I like to iron the old fabric. This flattening makes it easier when cutting the new fabric). 

Once the flattened templates are laid on the new fabric, it’s necessary to allow a few inches to the top and bottom lengths, so there is enough material to pull underneath the seat and over the chair's frame. The individual units are then sewn together. Once they are attached, they are sewn to the backing fabric on lines you have created by measuring the original fabric. The lines on the backing fabric must be narrower than the flutes to create enough space for the fiber fill or cotton. My channels measured 5-1/2”, so I drew lines that measured 4-1/2”. 

Prior to attaching the flutes, I made marks on the top rail of the chair to line up the fabric to keep it centered. The last fabric panel I attached was the back. After it stapled to the frame, I created the double cording, or piping. This is used to cover the staples and add a customized look to the chair. 

The fabric I used for this project was burgundy, with a diamond motif, that I had used last year to reupholster a bench. My customer saw this fabric on the blog and loved it, so she wanted it for her chair. Luckily I was able to get the same fabric! It’s one of my personal favorites. You can view that bench by clicking on this link: http://finalefurniture.blogspot.com/2021/11/antique-bench-trash-to-treasure.html

This chair was a true challenge, but with each project, I learn and advance my upholstery and sewing skills, which I truly enjoy.

View of repairs 

*As pictured on the left, you can see the areas where the chair was damaged and needed repair. This needed to be done prior to the leg refinishing and upholstery.