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

Sofa Gets Six New Box Cushions

Updated, New Foam w/Tweed Fabric

Outdated Fabric,
Saggy Cushion

If you’ve lived through the 1970’s, you’ll likely have owned or knew someone who owned a sofa with fabric that looked similar to the one on the left. I refer to this as “Brady Bunch” fabric, the popular rust, tan and brown used on the show along with bright orange, green and yellow tones. My parents had a similar style sofa and chair in their living room, but with more green and a smaller plaid than this one. Since the 1970’s, fabrics have changed and we have so many more options in the twenty-first century than we did in the 1970’s. The sofa had a total of six cushions, three seat and three accompanying back cushions.

The original covers had a center seam style with a single row of piping which surrounded the top and bottom seat, along with a rear metal zipper. Modern box cushions are constructed with a top, a bottom and a center “boxing” which includes a zipper placket. The best technique to make these box cushions is to measure the size of the foam and allow at least 5/8” seam allowance for each side. These cushions needed new foam which was 6”, so it was necessary to allow a 7-1/2” zipper placket and a 6-1/2” surround, which is sewn to the completed placket. If all seams are sewn properly and accurately, both fabric sections should line up for a nice, even continuous side boxing. 

For these cushions, it was easier to make the top and bottom portions, adding the piping to each one, then stitching the zipper placket in place using clips, which are easy to move when you’re fitting the placket to the top and bottom fabric. A piping foot is an essential tool for this project. Piping (also known as welting or cording) is comprised of a tightly wrapped polyester cord commonly used in upholstery projects as an insert, for a customized, decorative edge. In apparel, it can be used as a décor item or trim. Piping comes in various thicknesses for different applications. 

These were six loose cushions used on a wood-framed sofa. The foam itself had severely deteriorated (as 50 year old foam will) and was crumbling inside the fabric, leaving a fine, yellow powdery residue. Surprisingly the fabric was not torn or damaged, but was very loose and saggy, due to the cushion no longer holding its shape as a result of shrunken, deteriorated foam. Therefore six new foam cushions was a must, as well as new fabric. If you’re going to invest in new fabric, it’s recommended to get new foam to get the maximum comfort and longest wear. However, if your cushions are still in good shape, they can be used with new fabric. All new foam is then wrapped in Dacron for a nice crown and better shaping.

The customer chose a lovely gray tweed interspersed with off white, nicely woven into the gray. The color combination was great and the fabric was easy to work with, despite it being relatively heavy upholstery material. The stitches were practically invisible (always a bonus) therefore the cushions came together beautifully. They should last many years and provide comfort and support to all who sit on them. 

Antique Chair Updated to 21st Century

 

Antique Chair Before

Antique Chair After

Every household has chairs, usually lots of them. There are as many styles chairs as there are other types of furniture, but not many other furniture items are used as much as chairs, therefore they tend to get more wear than other furniture. 

Antique chairs are unique because the materials used in the 1920’s or 1930’s were limited and not as “user friendly” as they are today. This antique cherry chair was in relatively good condition, meaning it had good bones, but was in dire need of refinishing and new fabric. The fabric on this chair was not only very worn and threadbare, but no longer usable and likely had a zillion or more dust mites. 

For this type of project, Jim takes care of the refinishing and restoration process while I handle the new fabric. Jim used a custom mixed stain consisting of 25% mahogany and 75% chestnut, which looked fabulous. When the chair was finished and protected with two coats of polyurethane, I took over and tackled the fabric. I don’t claim to be an expert upholsterer (I’ll leave that to my local expert) but I can handle certain projects. Seat covers is much easier than working with an attached seat because you must allow for the fabric to go around the arms and back of the chair, which is a nail-biting experience. 

This chair originally had horse hair stuffing for the back and worn out springs for the seat. My experience with chair springs isn’t terrific, so I prefer to replace them with a sturdy new wood bottom and 2” of high density foam. The foam is covered with thick batting for extra cush for the tush, and finished with the customer’s fabric of choice. My customer chose a lovely paisley pattern,  definitely a 21st century fabric. With the freshly refinished wood and the new fabric, this chair will last another 125 years.

Updated Cricket Maple Rocking Chair

New Silk Fabric Replaced Original Corduroy

This is what is called a “cricket” rocker. The rocking mechanism is actually hidden underneath the seat and skirting of this cute little chair, allowing it to rock without moving the legs, as in a traditional rocking chair. I have done a chair similar to this one many years ago. It had the same rocking mechanism, but was a Windsor style chair with more exposed wood and no arm rest covers. You can see that chair here:
http://finalefurniture.blogspot.com/2012/09/the-ugly-rocking-chair.html

While similar to the other rocking chair, this one had many more components, thus required more work. But, since I had done a similar chair, I knew what to do on this one and in what order to work on each segment. As with the other checkered gingham chair, I began with the seat cushion. Like the gingham chair, it too had cording running along the top and bottom edges that curved around the shape of the foam. Luckily I was able to use the same foam for this chair. The fabric, a high-quality woven silk, required each raw edge to be serged so that they would not fray over time, causing the seams to split apart long before their time. This was an additional but necessary step.

fter I finished the seat cushion, I chose to work on the skirting and bottom part of the chair. I replaced the old, pushed in webbing with new upholstery webbing which is 3 inches wide and much stronger than the old rubbery plastic that was used. I attached the webbing with upholstery tacks (preferable to staples) and protected each raw edge with string tape. Once the webbing was done, I replaced the original webbing cover with another piece of the new fabric, with finished edges that were cut at angles in the corners to match the original.

I measured the two skirting sections, front and back, and cut two very long, continuous strips of fabric for each one. I measured each pleat to be 3 inches between pleats and it worked out to be the perfect amount to fit evenly from beginning to end for the front and again for the back. Remembering the difficulty I had attached the pleats in the other chair I had done, this time I stitched the pleats on the sewing machine, then carefully measured them against the chair before attaching them permanently.

After the skirting was complete, I made the arm rests, copying them from the original pattern as I did with the rest of the pieces and attaching them to the arms with two sets of Velcro straps so they don’t slide off. They were tricky because I cut the fabric to flow with the curve of each arm’s end. It looked much better having these arm covers fit the exact shape of the wood beneath.

The back cushion had its own challenges. The original cushion had four snaps that held it in place from the back of the chair. Anticipating the outcome, I made the new snap straps long enough to be adjusted when the time came to attach them. Prior to sewing the cushion front to back, I placed the straps where I thought they would go, pinned them in place, then sewed them to the back side of the cushion with long basting stitches. Once the cushion was done, I realized the straps didn’t quite reach the snaps, but no worries. I opened up the seams and pulled the straps further out to reach the snaps. Boy, was I glad I left additional fabric to reach the snaps once the cushion filled the fabric sides. (Experience really is the best teacher). Because the other chair also had snaps, I knew longer fabric would be necessary to make the new straps reach. (The other chair had three snaps on the top edge only, while this chair had two snaps on the top and two on the bottom).

Each cushion received a zipper in the back and bottom for easy removal if they require washing or dry cleaning. Making these type of seat cushions isn’t my favorite thing to do, but it is a great feeling to know that it is a skill I have developed with experience and a LOT of patience.