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!

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.

Petite Old Dresser Painted Black

Petite Dresser Before

Petite Dresser After

This little dresser was in really rough shape when we found it at an estate sale on Ursuline Street in St. Clair Shores two weekends ago, and we almost overlooked it. After we gave it a second glance, we knew we found a treasure. Seldom deterred by "ugly," Jim saw the potential in this unique petite piece and knew he could transform its outdated, rough look and give it a new and unique personality.
The dresser sports fluted sides, a rounded backdrop and the front two legs rest on rounded pegs for support. This little piece shows true craftsmanship of days gone by. Its five drawers were in excellent condition, but the exterior was in need of new paint. Given the luck we've had with black paint for the other dressers we've recently restored, we decided to use black paint again. We purchased new drawer pulls that we felt best suited the dresser's unique style and just as we thought, the dresser assumed a whole new identity, not at all resembling the sad little dresser we originally bought at the estate sale. It's now a respectable piece of furniture that anyone would be proud to own. With a little elbow grease, time and patience (of course vision), this old beauty has a modern, timeless look.

Here's another dresser that needed paint and TLC: http://finalefurniture.blogspot.com/2013/08/old-dresser-new-life.html