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

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.

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.