The following pictures give some insight into the work involved - see also my series of infographics

1. Stripping down

Stripping down means removing the existing upholstery (fabric and fillings) – often back to the bare frame. This is long and dirty work, as often centuries of dust and dirt has built up in the layers. It often involves taking out old metal work - 100s and 100s of staples or tacks depending on the piece always taking care not to damage the frame as I go. Taking photos as I go along is imperative if I’m to maintain the integrity of the chair when I reconstruct. This stage can often take up to a day to complete.

2. Frame examination and repair

Once the original upholstery has been removed, I can assess what repairs if any, I need to make to the frame. This is where Ade often steps in to help – helping to make joints stable, fill tack holes or repairing other damage. When the frame is strong and stable it can be cleaned and treated before finishing – either painting, waxing or perhaps a beautiful shellac varnish.

3. Webbing

Using either my slot and peg or (vicious) swan-neck stretcher, I tack or staple a natural fibre webbing to the frame in order to support springs or provide a base for fillings. When fixed onto a frame and woven to form a lattice, webbing distributes pressure evenly across the frame edges – webbing should “ping” when set!

4. Springs

I carefully place springs of an appropriate height for the seat in question, and sew onto the webbing to provide a flexible base for the subsequent filling layers. Once attached, I lash the springs together using a series of special knots both to each other, and to the frame to stabilize them and to control their height depending on the chair style – this is one of my favourite stages – the result is a thing of beauty!

5. Spring Hessian

Once I’ve knotted off the springs I cover them in heavy duty hessian and tack in place. Then I stitch the springs to the hessian

6. Bridle loops

I stitch hand-width loops of twine over the hessian –to retain the stuffing and prevent it from moving about.

7. First stuffing

I use either vegetable or animal hair which I methodically tuck under the bridle loops to form the desired shape.  During application I tease the hair into shape and give particular attention to avoiding any hollows or bumps.

8. Scrim Hessian

Once I’m happy with the stuffing, I encase it in a loose weave (scrim) hessian to form a cushion and tack it in place.

 

9. Stuffing ties

I then sew stuffing ties, stitching all the way through with my dangerous looking double ended needle to bind the top layer (scrim) hessian to the bottom layer (spring) hessian sandwiching the stuffing between. At this point if there are any gaps or bumps I “regulate” to make as smooth and even a surface as possible.

 

10. Edge stitching

 

I then apply various special stitches with twine to support the stuffing and build the edges and give the piece a rigid shape – corners are especially intricate. This is a vital element of producing a long lasting piece of furniture and one of the most important processes of traditional upholstery.

11. Second stuffing

I then sew another series of bridle loops ready for the second stuffing. This second layer of hair serves to create a softer layer of filling on top of the rigid stitched pad. At this stage I give great attention to reinforcing the shape, to ensure optimum comfort and durability.

12. Calico

To assist in maintaining the shape and to ensure the top fabric is protected, I apply an under-covering of calico to contain the stuffing materials – the true shape of the chair is evident now!

13. Top wadding

The penultimate layer is a fine layer of wadding made from cotton or polyester in order to cushion and ease the application of the top fabric. This also helps to further extend the life of the top fabric.

14. Top fabric and trimming

The exciting (and sometimes terrifying) final stage, and where the chair bursts into life is applying the top fabric (which must be suitable for upholstery purposes). I will have drawn each element of the piece of furniture (back, seat, arms, wings etc) onto a cutting plan taking into consideration patterns for matching purposes. The scary first cut is made, and then I carefully tension and temporary tack the fabric in place before finally fixing off either with staples or tacks. I form special pleats around corners, legs, and arm faces, and hand-stitch large panels such as backs and front faces in place. The final flourish is the decorative finish – I use piping/braid or hammer in decorative nails.

15. Bottom cloth

My final stage is to apply the dust or bottom cloth to neaten the underside of the chair and to protect the floor below it from any debris or particles that fall as the chair is used.