Upholsterer & Soft Furnisher

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June/July/August 2018

Upholsterer &

Sitting Artists Upholstery goes high art

Mending Hearts and Heirlooms

Little Treasures A fairy tale story

Upholstery enjoys the TV spotlight Official journal of the Association of Master Upholsterers and Soft Furnishers

www.upholsterers.co.uk

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03_USF_0618.qxp:00_USF_0017 22/05/2018 14:31 Page 3

Comment

Upholsterer & Soft Furnisher

Peter Cook International are pleased to be able to share with you the impending launch of their latest catalogue. Once again wooden feet, ornate castors and decorative studding feature heavily alongside many other popular upholstery materials.

Contact them on 0113 235 1111 to reserve your copy.

Peter Cook International Aneal Business Centre Cross Green Approach Leeds LS9 0SG 0113 235 1111 sales@petercookint.com

Peter Cook International (Trentside) Unit 2 Acton Avenue Off Fields Farm Road Long Eaton NG10 1GA 0115 946 0006 trentside@petercookint.com

Upholsterer &

June/July/August 2018

Jan Turner Editor I never fail to be impressed by the sheer skill, imagination and creativity of our members. There is some incredible work being done out there – much of it quietly crafted in small, tucked away workshops. And most of it totally unsung.

Other sectors run annual awards which recognise outstanding contributions with their own ‘industry oscars’ – and should such an awards system ever be introduced to the upholstery and soft furnishings craft, there would be no shortage of category contenders. Apart from recognising some of the outstanding work being done, annual awards could help raise the profile of the skilled upholsterer and soft furnisher with the wider public.

The late Joan Milton passionately believed in the need to spread the word to consumers about the benefits of using accredited crafts people to make or restore their upholstery and soft furnishings and that remains a communications job still to be tackled.

In the meantime, the nearest the trade has to any sort of annual awards spectacle is the Heico Design Awards, the winners of which are announced during the January Furniture Show at the NEC each year. The awards themselves have grown in stature and authority with each passing year and demonstrate just how hotly contested such ‘honours’ become when established.

The Heico Awards are aimed at upholstery students – but names which have popped up on its winners’ ‘podiums of the past’ are among those making waves today.

Sitting Artists

Upholstery goes high

art

Mending Hearts and Heirlooms

Upholstery enjoys the

TV

spotlight Official journal of the Association of Mast er Upholsterers and Soft Furnishers

In 2014, for instance, Electra Read-Dagg captured the judges’ imagination with her Crystal Chair to win first prize in the competition. And her name was among those elevating upholstery to an art form at the recent Upholstery: Evolution to Revolution exhibition by Second Sitters at the National Centre for Craft and Design in Sleaford between January and April this year (see page 20).

Little Treasures A fairy tale story

www.upholsterers.c o.uk

Upholsterer & Soft Furnisher Editor: Jan Turner, AKA PR T: 01756 795374 F: 01756 798789 E: editorial@upholsterers.co.uk Advertising Sales: 01732 441133 Published and Printed by Knockout Print Principal House, Hop Pocket Lane, Paddock Wood, KENT TN12 6DQ

A fascinating mix of history and experimental new design, the exhibition provided a terrific showcase for past and present upholstery skills and will have done much to raise the profile of the craft among the many visitors attracted during its three month run.

Another name that has cropped up, not once but twice, at the Heico Awards is that of Sue Blow who was among the winners in both 2013 and 2018. As well as securing a winners’ prize both times, Sue took away the idea for a business opportunity which has since taken shape as The Playful Chair Company. You can read more about this on pages 14 and 15.

There are many more of you beavering away out there on amazing projects and incredible pieces of work – and I’d love to share some of these with the rest of our readers. So, if you’ve worked on a restoration or room transformation and have pictures of the project (ideally showing it step by step) and also the commissioning owner’s permission, please do get in touch.

So what are you waiting for?

Until the next time….

Registered in England no. 07263132

Jan Turner www.upholsterers.co.uk

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04_USF_0618.qxp:04_USF_1217 05/06/2018 14:10 Page 4

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Contact: Livedale Foam & Sundries, Unit D Enterprise Court, Seaman Way, Wigan, Lancs WN2 2AG T: 01942 825144 E: info@livedale.co.uk www.livedale.co.uk 2. Peter Cook International has increased their range of Queen Anne style legs. Martin Cave, General Manager, explains more; “The Queen Anne range is produced here in the UK and has proven popular for us since we launched two years ago. We still felt there was room for improvement and took the decision to stock more sizes and fixing methods. We can now stain in a wider range of colours which customers are being very receptive to”.

Peter Cook International, Aneal Business Centre, Cross Green Approach, Leeds LS9 0SG. Tel: 0113 235 1111 Email: sales@petercookint.com Peter Cook International (Trentside), Unit 2 Acton Avenue, Off Fields Farm Road, Long Eaton NG10 1GA. Tel: 0115 946 0006 Email: trentside@petercookint.com 3. Merrick & Day. Curtain-making products as used by professionals. In fact, everything, except the fabric, to make professional looking curtains and Roman blinds. Order online or phone for next day delivery. Free next day cutting service on all Merrick & Day Roman blind headrails. Fibreglass rods and flat bottom bars included when ordered with a headrail. Large or small orders. Trade and retail welcome.

Merrick & Day Ltd Tel:01652 648814 www.merrick-day.com

If you have a new product that you would like to be included in the next edition, just send in a high resolution image, 50 words of text and contact details to advert@upholsterers.co.uk – cost £99

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Upholsterer & Soft Furnisher June/July/August 2018

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Contents News

AMUSF Contacts Head Office Association General Manager: Richard Ranklin E: richard.ranklin@upholsterers.co.uk Administrative Assistant: Susan Tyler E: admin@upholsterers.co.uk The Association of Master Upholsterers and Soft Furnishers Ltd, (AMUSF Ltd), The Clare Charity Centre, Wycombe Road, Saunderton, Bucks HP14 4BF T: 01494 569120 E: enquiries@upholsterers.co.uk Website: www.upholsterers.co.uk

6&7

AMUSF News Update and Branch Briefings

8

Industry News

10

Ask FIRA

Features 12

Feature: Mending Hearts and Heirlooms

14 & 15 Feature: Little Treasures

Branch Contacts

16 & 17 MyDecozo

Beds, Bucks, Herts and North London – Wendy Shorter T: 01727 824358 E: wendyshorterinteriors@gmail.com Hants & Dorset – Kevin Lee T: 01489 572108 Kent – Davin White T: 020 8854 4402 London – Wynne Gilham T: 01708 752333 Surrey – Ron Mercure T: 020 8941 4521

18

Member Profile: Maria’s Traditional Upholstery

20 & 22 Exhibition Review: Evolution to Revolution 24

Expert Advice: Stitching

26

In the Hotseat: Joanna Heptinstall

READER IN! W COMPETITION

an y reader c One luck ollowing win the f rize p fantastic

Variable speed electric foam cutting knife, twin blade, one moving one static designed to give a smooth clean cut. Standard blade length is 8” or can be changed to a 12”, the base is on metal rollers for ease of use. Comes complete with metal carry case.

Simply email advert@upholsterers.co.uk with your full details by 29/6/18 with the subject line ‘Reader Competition’, and the winner will be drawn at random the following week, and they will be notified accordingly.

www.upholsterers.co.uk

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AMUSF news roundup

Fellows at the sharp end The Fellows annual Spring outing saw more than 20 members visit Forge Mill Needle Museum in Redditch – the oldest surviving needle scouring mill in the world.

The water powered mill – parts of which date back to the 1700s – was once at the heart of the Redditch needle making district which, by the end of the 19th Century, had a virtual monopoly of production within Britain. With its access to the colonies, it also became the world’s centre for needle manufacture.

Said AMUSF manager and member of the Fellows, Richard Ranklin: “Following a very interesting tour of the scouring mill, interactive museum and talk by our guides we enjoyed a lunch and informal get-together.

“It was interesting to learn that prior to the 16th Century, needle-making was carried out by craftsmen, such as blacksmiths, to meet local demands. Needles would be made from sheet iron cut into lengths which were then hammered and rolled to the required thickness. Points were hand filed and eyes created by first flattening the eye of the needle and then punching a hole through it. The result of this slow, laborious process was a soft, poor quality needle.

“In the Redditch area, the first needle maker is recorded in the village of Studley in 1639. Once

established, needle-making spread to include most of the villages and towns up to 10 miles from Redditch.

“The 17th and 18th Centuries saw the development of needle-making into a cottage industry with much of the work carried out by women and children from their homes.

“In the early 19th Century various machines were introduced in order to increase production and by 1850 these machines were concentrated under one roof – the factory system.

“Good needles remain an essential tool for today’s upholsterers and soft furnishers, so it was fascinating to learn more about their history and production.”

• AMUSF Fellows are this year holding their annual social weekend from the evening of Friday June 22 to Sunday 24 at the Ramada Hotel, Dover, Kent.

Members are invited to join them at a cost of £198 for a twin occupancy room for two nights bed and breakfast and £46 per head for lunch, three-course dinner and tea/coffee on the Saturday. This is an opportunity to talk and socialise with senior members of the trade, but places are limited. For further information and availability please contact Richard or Susan at AMUSF Head Office, 01494 569120 or email enquiries@upholsterers.co.uk

AMUSF fabric buying scheme A reminder that members in the following categories – full, associate, student and retired – have access to the association’s fabric buying service.

This enables members who may not have an account with a particular wholesaler to purchase fabrics with savings of 20-25% off RRP. To place an order simply identify the fabric required and the company it comes from, noting the product code where possible and chosen colourway. Then either email the AMUSF office (enquiries@upholsterers.co.uk/admin@ upholsterers.co.uk) or telephone the details through on 01494 569120. You will need to advise if the fabric is required for curtains, domestic upholstery or contract upholstery so the office can check with the supplier to see if further fire retardency treatment is needed. A quote,

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Boutique Collection from Kobe UK

which is kept on file for one year, is then supplied.

Fabric companies currently in the scheme: Abraham Moon & Sons Ltd, Andrew Martin, Ashley Wilde Group, Baker

Upholsterer & Soft Furnisher June/July/August 2018

Lifestyle, Blendworth, Brunschwig & Fils, Chivasso, Colefax & Fowler, GP&J Baker, Glover Bros, Hardy, Harlequin, Harris, Henry Newbery & Co Ltd, JA Milton Upholstery Supplies Ltd, JAB, Jane Churchill, Janet Reger, Jim Dickens, Julia Brendel, Katie Price, Kenzo Maison, Kestrel, Kirby Design, Kobe UK, Kravet, Kvadrat, Kylie at Home, Larsen, Lee Jofa, Lelievre, Leon Brunswick, Linda Barker, Lister Corniche, Lorient, Manuel Canovas, Marcus Maurice, Mark Alexander, Marvic, Martins Upholstery Supplies Ltd, Montgomery, Morris & Co, Mulberry Home, Nouveau, Prestigious, Richard Wylie Ltd, Romo Group, Ross Fabrics, Samuel Simpson, Sanderson, Streets, Swaffer, Tassinari & Chatel, Textra, Threads, Turnell & Gigon, Twiggy, Villa Nova, Voyage, Warner Fabrics by Zimmer & Rohde, Warwick, Wemyss + Trimmings, Wilman Interiors, Zinc, Zoffany

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AMUSF news roundup

WENDY MAKES WARDEN Wendy Shorter, AMUSF director of training and owner of Wendy Shorter Interiors, has been installed as Junior Warden of the Worshipful Company of Upholders.

Wendy, who was made a Liveryman with the Company in 2009 is now on course to become Senior Warden in April 2019 and Master in April 2020.

Said Wendy: “The installation ceremony took place on April 17 at Stationers Hall in London and I feel hugely honoured and privileged to be given the opportunity.”

The Worshipful Company of Upholders can trace its history back to the early days of the Craft Guilds which were responsible for fostering the high quality of goods and standards of workmanship that have always been the pride of English industry.

Today the livery works closely with the City of London and its links with the industry through charitable giving and supporting education. Said Wendy: “Through my links with the

Wendy Shorter celebrates her appointment as Junior Warden

trade and my work as a trainer in upholstery and soft furnishings, my aim is to further strengthen and develop those links. If anyone would like more information or would like to become involved in the Livery, please let me know: wendyshorter.blake@gmail.com”

TREK FOR JOAN As reported in the last issue, David Hayes, husband of the late AMUSF former director and president Joan Milton, is taking part in a Great Wall of China Trek in aid of Nightingale Hospice in Wrexham where Joan spent her last few weeks.

The trek takes place between October 19-27 this year and on the last day, David will be among those helping to repair the Badaling section of the Great Wall. New bricks are carried up to this section and placed in the wall and David hopes to place one, in what is a World Heritage site, in memory of Joan – exactly a year on from when she passed away in the early hours of 27 October 2017.

Anyone wishing to donate to the cause can do so directly through David’s fundraising page www.justgiving.com/Joangreatwalltribute.

JustGiving sends all donations straight to Nightingale House Hospice and automatically reclaims Gift Aid on UK taxpayers.

Said David: “All costs of the trip have already been paid, so every penny collected now goes to Nightingale House Hospice Wrexham.”

Upholsterer & Soft Furnisher

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Industry roundup

SOFA SURFIN’ Two upholstery sector services for the consumer have hit the headlines this year – one a new website aiming to help people find and compare sofas from all UK retailers on one site; the other for doing a roaring trade in ‘high quality make-do and mend’ repair kits.

MastaPlasta furniture Band-Aids are repair patches, first launched by the company’s founders who spotted a gap in the furniture repair and reupholstery market (quoted as worth $2.5bn and growing). They believed people found it expensive to repair furniture, especially sofas and that they had just the solution.

Said co-founder Donna Clarke: “With fewer customers buying sofas, our industry expertise gave us the foresight to know that people still wanted to keep hold of their furniture. The only issue for them was that there wasn’t a 100% reliable way for them to patch up their furniture – which is where we stepped in. Over the past five years, turnover has grown 10-fold with businesses and consumers revelling in the fact that they can repair their furniture for less than £10.”

With half a million packs of Band-Aids sold since the business first began in 2009, MastaPlasta has recently achieved a 1500% increase in turnover, conquering markets ranging from the US (where 80% of wholesale customers are based) to military bases

MastaPlasta chair

in Guam. The company has recently received two Queen’s Awards for Enterprise for outstanding innovation and international trade.

Chesterfield-based FindASofa.com is a newly launched website that allows users to search, find and compare sofas which they can do by selecting everything from their preferred colour and shape to cover and size.

Sofas from retailers including Argos, Harveys, ScS and Furniture Village are already listed on the site, launched by Phil Price, who has 20 years’ experience of business on the internet and previously worked closely with DFS and Bensons for Beds.

Said Phil: “People have got used to using websites like GoCompare for insurance and Trivago for hotel rooms but from personal experience I’ve found there is a real need of an equivalent for sofas.

“We’ve got over 1,200 sofas/ranges listed already but this is just from a handful of early adopters, so we now want every sofa for sale in the UK listed.”

EXHIBITION ROUNDUP Reviews G Proposte (Villa Erba, Cernobbio, Lake Como, Italy, May 2 – 4): The latest ‘world preview’ of furnishing fabrics and curtains was held in the modern exhibition centre of Villa Erba in Cernobbio and in the picturesque Villa Antica. As in the last three years, the fair also extended to adjacent locations including the International Observatory.

G Spring Long Point Exhibition (Harrington Mill, Long Eaton, Nottinghamshire May 14 – 16): The Long Eaton Guild once again showcased the best of furniture made in the UK with ranges from Guild members and associates including: David Gundry, David Knight, Duresta, Gascoigne, John Sankey, Iain James, Parker & Farr, Steed, Wade and Artistic.

Previews G Manchester Furniture Show (Manchester Central, July 15 – 17): The largest furniture and interiors event of the summer. It sees the first newly combined Manchester Furniture Show and MidPoint Furniture Exhibition event. MidPoint will retain its own identity and occupy its own section in the show. Over 150 premium and mainstream brands will show new and best-selling collections in upholstery, beds and cabinet furniture, along with interior accessories, including soft furnishings. www.manchesterfurnitureshow.com G Decorex International (Syon Park, London, September 16 – 19): The well established international trade fair for interiors offers a comprehensive exhibition of wall coverings, furniture, lighting, floor coverings of professional designers and architects.

Visit www.decorex.com G NBF Bed Show (Telford International Centre, September 18-19): The annual two-day showcase for the bed industry is back for 2018 to celebrate the very best in beds. With new feature areas, short presentations on key topics and a host of exhibitors this is a show not to be missed! Parking and entry remains free and there will be complimentary refreshment vouchers for visitors. Register now at www.bedshow.co.uk

8

Upholsterer & Soft Furnisher June/July/August 2018

09_USF_0618.qxp:000_USF_1217 04/06/2018 12:40 Page 1

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10_USF_0618.qxp:00_USF_0017 22/05/2018 11:26 Page 10

Ask FIRA

LOOSE ENDS Steve Cotton, FIRA International’s technical specialist for flammability and physical upholstery, answers more of your flammability questions.

I am going to make a loose cover for a post 1950 sofa that I know does not contain any foam and still has the original untreated cover on. What level of compliance do I need to meet with the new loose cover?

Q

Under The Furniture and Furnishings (Fire Safety) Regulations 1988 (as amended), loose covers are required to meet the Schedule 5 Part I match test. However, if the covers are made to fit a specific sofa then these would be considered as removable/replacement covers and as such would be required to meet Schedule 4 Part I (cigarette test) and Schedule 5 Part I. In addition to this, as the sofa is post1950, it is best practice to advise your customer that all non-conforming fabrics and fillings should be replaced with compliant materials.

A

I’ve made a few small foot stools for sale on a charity stall at a local event. Do they need to have labels attached?

Q A

All upholstered furniture for sale to the general public is required to comply with The Furniture and Furnishings (Fire Safety) Regulations 1988 (as amended). In addition to the specified tests, the component parts of upholstered furniture must meet the Regulations and also meet the permanent labelling requirements for products. Therefore, unless specifically excluded by the regulations, all upholstered products are required to be permanently labelled.

10

I am doing a repair to a chair using less than a metre of fabric.

The original fabric was back coated but the replacement piece is too small to be treated. Do these small repairs still need to comply?

Q

The Furniture and Furnishings (Fire Safety) Regulations 1988 (as amended) state that unless the furniture is pre-1950, all fabrics and fillings must comply with the relevant Schedules.

In the case of a cover fabric this would need to meet Schedule 4 Part I (cigarette test) and Schedule 5 Part I (match test).

If the fabric composition is 75% or more by weight of the specified natural fabrics and used over a Schedule 3 interliner then it would only need to meet Schedule 4 Part I.

A

Upholsterer & Soft Furnisher June/July/August 2018

The regulations do not give any exemptions to fabrics due to their size or difficulties in treating them.

Steve has been with FIRA International for 18 years and is an expert in flammability.

He also has a great working knowledge of foams, mattresses and fabrics and currently represents FIRA on BSI committees dealing with foam performance. As part of FIRA’s team of upholstery experts, Steve has been involved in a number of projects to diagnose issues and assist clients in developing their products to meet the required industry standards.

For more information on FIRA International visit www.fira.co.uk, email info@fira.co.uk or call 01438 777 700.

11_USF_0618.qxp:000_USF_1217 01/06/2018 12:56 Page 1

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12_USF_0618.qxp:00_USF_0017 22/05/2018 11:27 Page 12

Feature

MENDING HEARTS AND HEIRLOOMS AMUSF member Sonnaz Nooranvary of Sonnaz Upholstery in Dorset has been showcasing the skills of traditional upholstery on BBC Two’s popular new TV series, The Repair Shop. escribed as a “place where broken, battered and beloved artefacts, heirlooms and curios come back to life”, the programme uses a panel of skilled craft specialists to rescue and restore much loved antiques and curios. And, from series two, Sonnaz has taken on the mantle of official upholstery expert.

“I’ve done some hard yards to hone my particular skillset and am truly delighted to be able to use it in a way that honours traditional upholstery skills,” said Sonnaz who has run her own business from Wimborne in Dorset for nearly seven years.

After originally training in upholstery with Sunseeker Yachts at Poole, Sonnaz decided to follow in her family’s selfemployed footsteps and launched her own business in Summer 2011.

Now one of just a handful of businesses in the UK that deals, in-house, with everything in from woodwork restoration to upholstery and soft furnishings, the business employs a team of six and her ‘leap of faith’ has been fully justified.

Sonnaz herself has worked particularly hard to develop her expertise in traditional upholstery and it is those skills which have been put under the spotlight in The Repair Shop where, she says, “I am comfortable that however closely the cameras follow me, I know the work I do is totally authentic”.

Of the seven pieces which she has restored for the programme (“I was only meant to do one!”) – one of which is seen in series two, six more in the still-to-bescreened series three – two items presented particular challenges.

D

12

Sonnaz at work

One was an iron back nursing chair that had already paid two unsuccessful visits to other upholsterers. Said Sonnaz: “The chair had been handed down through the female side of a family and had been intended as a wedding gift from a mother to her daughter.

“It was in quite a state and everything needed to be stripped back to the frame. It had to be fully hand sprung, stuffed and stitched and I knew it needed to be pretty epic for the big reveal. I was petrified because there was none of the usual client liaison on the detail, so the outcome could have been disastrous. Few people do this kind of work as it is pretty niche but for us it is bread-and-butter stuff. However I was still apprehensive about how the mother and daughter would react to it – fortunately it went really well, although the intensity of the process involved can’t really be shown as the programme can only show highlights of the work done.”

Another project which proved particularly challenging – but more in terms of the sentiment involved – was an antique chair which meant a great deal to the lady who

Upholsterer & Soft Furnisher June/July/August 2018

submitted it for the programme.

Said Sonnaz: “As a child, she had spent many happy hours with the chair and her grandfather, listening to many of his tales and stories. I wanted the restored chair to reflect that and took a massive risk on the choice of fabric and braid. I was terrified that she wouldn’t like what I had chosen.

Thankfully she was elated and I was so touched by her story and the reaction to what I had done that I balled my eyes out!

“Working on the programme has been an incredibly rewarding experience and I’ve loved working with the whole team there. It originally came about as the result of a totally random phone call from one of the researchers and after a couple of interviews and trip to Chichester to meet everyone it all went from there.

“It has proved a fantastic showcase for traditional upholstery skills as well as shining a light on peoples’ passions - and some of the wonderful treasures to be found in homes across the country.”

The Repair Shop is produced for the BBC by Ricochet. Series three is due to air this Autumn.

13_USF_0618.qxp:000_USF_1217 01/06/2018 12:55 Page 1

Applications are open now

British School of Upholstered Furniture

New upholstery course

Oxfordshire

Diploma in Forwarding Upholstery Development 1 year/part-time at

The British School of Upholstered Furniture

Course aims: The course aims to move students’ skills and the trade into a more forward-thinking ideal, progressing

contemporary use of traditional upholstery techniques in 21st century design and enabling students to be creative while retaining strong historical foundations.

By the end of the course, and following a programme of historical and critical studies and research both theoretical and practical, students will have designed and created one new substantial piece of upholstered furniture to their own design, to the highest possible standards and design specifications, using traditional processes. Students will showcase their work and methods at an end of year show. After the course students will have increased confidence, be able to make informed decisions regarding correct upholstery applications and have a greater understanding of professional practice opportunities for their future in the trade.

Who the course is for: The course is aimed at those with traditional upholstery experience. It is technically an advanced course that could supplement learning for those who have finished or are about to finish the AMUSF diploma, or would be suitable for those who have enough basic grounding and want to forward their learning.

“We feel that this course will fill an essential gap in upholstery training in the UK”

Course Tutors, Gareth Rees and Gregory Cupitt-Jones

We also offer Independent

courses with tutors who are experts in their field.

Sept 8-9 2018 Hand-made Passementerie with Clare Hedges.

Sept 13-16 2018 Four day open seat weaving class with Rachael South Sept 29-30 2018 Two day workshop on handmade lampshades with Angela Constantanou March14-18 2019 Five day workshop on the French 18th Century chair back with Armand Verdier June 20-24 2019 Five day introduction to traditional French upholstery with Armand Verdier

How to apply Visit our website for course information and on how to apply or enrol on courses. Application deadline for the Diploma is 12 July 2018. Email enquiries to schoolofupholsteredfurniture@gmail.com

www.britishschoolofupholsteredfurniture.co.uk

14-15_USF_0618.qxp:00-00_USF_0017 05/06/2018 15:24 Page 14

Feature Heico Awards joint runner up Susan Blow

LITTLE TREASURES From dragons to mermaids and badger filled woodlands, upholsterer Sue Blow is turning fairy tale chairs into a bespoke business story. U&SF reports… hen Sue Blow first entered the annual Heico Design awards in 2013 with her underwater sea adventure miniature chair, she came away with more than just a runners’ up prize.

The competition, with its wealth of incredibly imaginative entries sparked off a business idea which has now taken shape as The Playful Chair Company.

Studying at the time for her Level 2 exams at Wendy Shorter Interiors, Sue was inspired by the miniature marvels which go on show each year at the annual awards: ”There were some incredible entries and although everyone is given the same basic miniature chair to work with, the creations students come up with are amazing. Each one is unique and very individual and I could see there was a business opportunity for making totally bespoke miniature chairs for people who are either collectors or looking for a piece that would become a treasured family heirloom.”

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With three granddaughters offering her plenty of scope to test the market Sue has gone on to make a number of further ‘playful chairs’. She believes the biggest market is for pieces which combine the magic of a child’s world with that of practicality.

“After the first Fish Chair I made one called Grandmother’s Pond which was really for my own fun and came with a lot of very delicate dragonflies, butterflies and frogs which I made individually, mounted on collar stiffeners.

I used that as an exhibition piece and to allow me to play with a continuing theme of removable pieces. The idea of making chairs which told a story and could be tailored to an individual’s own idea of magic really excited me, with each one being a combination of story, toy and storage as well as somewhere to sit. One of my own granddaughters is completely entranced by mermaids so I developed

that as theme for her and it’s been a joy to see the pleasure she gets from having her own special fairy tale chair.

“Then I created a Night Time Wood Chair which features a fox and silhouettes of trees. Half of the back then drops down to reveal badgers and moles and hedgehogs hidden in the roots of the tree.

Fish chair from above with grandchildren

Grandmother’s Pond

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Feature

Night Time Wood Chair with detail (inset)

“The theme which unites all my chairs is that they have secret pockets and drop down sections into which I put handmade animals and accessories – little people love little things to hold in their hands. Children also love the secret sections and use them to store their own little treasures.

“I have now set up as a commercial business with a website (theplayfulchair.co.uk) but I am still working out the best route to market. This year I am going to exhibit at some high end craft fairs and interior design fairs to see if I can find the right market for my chairs but I believe the customer profile is someone who is happy to spend a substantial sum of money on something that is a collectible heirloom for children – but also comfortable to sit on. It’s important that as well as being fun it is a functioning piece of furniture.

“Each chair is a truly bespoke piece so could well appeal to grandparents and parents along with people who design nurseries. Or perhaps people who love collectible pieces made using traditional craft skills and embroidery.

“My latest chair was a dragon themed one which really allowed me to

have some fun with jewelled fasteners – and the great thing with dragons is no-one can tell you that you’ve not done them correctly! I was inspired to create this one by a fabulous watercolor picture of a dragon and entered it into this year’s Heico awards – again taking the runners’ up prize.

“I would very much like to see the company evolve as more of a collective, Dragon’s Den Chair, back and front

working with other people rather than just being a ‘one woman vanity’ project. It would be lovely to work alongside other upholsterers with a shared vision but their own creative ideas”.

Working from the workshop/studio at her home near Avebury, Wiltshire, Sue now spends a great deal of time on the business although does still do some upholstery work for private customers as well as still being in demand for her long time professional skills as a management learning and development consultant.

“I tend to do the more upholstery-led work during the day and use evenings as an opportunity to do the intricate detailed work – such as the pocketable felt animals.

We live just a stone’s throw from the Stone Circle so the area is very conducive to design and creativity”.

Although it can barely reflect the time spent creating and crafting each chair, Sue is keen to keep the price just south of the £1,000 mental price barrier. She said: “I do believe there are people out there who are willing to pay for something which is created specifically for them or their children and grandchildren.

“We know that people are willing to pay, often several hundred pounds, for say a wedding or special celebration cake. They recognise the skill and craftsmanship involved in creating a one-off piece – the difference is that one may only last a lunchtime while what we are creating will last a lifetime.”

Upholsterer & Soft Furnisher

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MyDecozo HELPFUL HINTS FROM

The UK’s largest soft furnishings forum looks at the wonders of double-sided tape in the workroom.

In the last article we outlined how to use double-sided sticky tape (DST) when making joins in blackout bonded interlining. Once you have some tape in your workroom, there are various other jobs it is good for. It’s also worth mentioning that there are various strengths of tape.

The least expensive and slightly less sticky type is easily available online, often backed with brown thin paper. The next step up is for general craft use, then there are others that are much stickier and can be used for tasks such as lampshade making. Finally, there are some that are

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permanent after 24 hours in place, waterproof and work much more like a glue for attaching trimmings etc.

They are available in a range of widths, starting at about 4mm, and some are thicker than others which may influence which jobs they are suitable for. Here are some suggestions:• When making cover buttons, put a small piece of tape on the button shell to hold the fabric in place while assembling the button.

• Use a strip of narrow tape down the centre of Velcro when sewing it across the top of a roman blind as it helps

Upholsterer & Soft Furnisher June/July/August 2018

prevent the top edge ‘shrinking’ during stitching.

• Low-tack tape can be useful when pattern matching seams, use it away from the seam line and remove after sewing.

• Hold decorative trim in place before stitching as it may be easier than using pins.

• It can be useful to hold seam allowances in place after joining fabric widths or attaching contrast borders where the fabric cannot be pressed or has a tendency to spring back.

• Some makers like using tape to hold the top edge of interlining inside roman blinds.

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MyDecozo

• You can ensure fabric covered battens and fascia stay neat before stapling by anchoring the fabric along the length with tape.

• If you find yourself working with unstable or springy fabrics, tape can be used to hold side turnings neatly against interlining before stitching in place.

In some situations, it is better to use the lower tack tapes and remove them after sewing, e.g. pattern matching seams. If the tape has to be left in place then be careful where it is positioned so that your stitch line does not go through it and ‘gunk up’ the needle. Always test in an

inconspicuous area before using, and be very wary of placing any sticky tape on fabric with a pile such as velvet.

Where to buy:-eBay, Merrick & Day, MyDecozo online shop, Needcraft and many craft suppliers.

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Member profile

BIG TICK

How long have you been in the AMUSF and how important is this to you?

For nearly nine years and I consider my AMUSF membership as being a fundamental part of the business. It has been invaluable in helping to attract work and students to my workshop and promoting my business at a professional level.

FOR AMUSF Name Name of business

Maria Willis Maria’s Traditional Upholstery When established August 2010 Owned by Maria and Bill Willis Location Meppershall, Bedfordshire Speciality Traditional upholstery Number employed Partnership

Professionally, who or where do you turn to for advice/ a second opinion?

It is always good to exchange knowledge and experience with fellow upholsterers.

For those really difficult issues, such as the fire regulations, I know that I can always rely on the AMUSF for sound advice.

How long have you been doing your job?

I have been upholstering professionally for nearly eight years. Prior to this I had always been interested in fabrics and chairs and so finding these two passions coming together, as one, in the craft of upholstery was great.

What aspect of your work do you most enjoy?

Teaching is the best. It is always fulfilling to pass on knowledge and to see the pleasure that it can give to others. It can also sometimes provide someone with a new opportunity in life.

How long did it take to learn the skill?

The skills that I learnt through undertaking the AMUSF accredited courses gave me the confidence to further develop my knowledge and techniques by taking on a variety of commission work for clients. There is no substitute for experience and with new challenges you are always learning.

Professionally, what is your greatest frustration?

Seeing upholstery work done poorly which is presented as being ‘professionally upholstered’.

Do you consider yourself a craftsperson or tradesperson?

First and foremost a craftsperson. The pride and satisfaction gained from doing a job well is hard to beat.

What makes up the bulk of your work?

It used to be commission work but as the teaching side of the business has grown, it is now delivering our in-house courses alongside the AMUSF accredited courses that is taking up most of our workshop time.

What keeps you motivated?

The ability to pass on my knowledge to others and to see the joy and sense of achievement it brings to students when they have completed their projects.

Tell us about the most challenging project you have ever undertaken.

Without doubt, reupholstering a large deep buttoned Chesterfield sofa. Before anyone asks I don’t do these anymore!

And the most unusual/bizarre/funny request you have ever dealt with?

There have been a few animal skins presented for covering chairs and stools: in fact one was named ‘Gerty’. When Gerty the pet cow was no more, the owner had her hide preserved and asked me to use it to cover a foot stool.

What are the most pressing issues currently facing your business?

The most challenging aspect for me is not having sufficient storage space.

Upholstery materials are bulky items and when you put them together with chairs and frames it can get a bit frustrating at times.

When you talk to a fellow upholsterer/ soft furnisher, the talk always turns to...?

With me it is always chairs or fabrics.

There are some wonderful fabrics out there and beautifully shaped chairs. It’s just finding the time to do them all.

How do you keep your skills and techniques updated?

The variety of commission work which I have done has played a big part in this, particularly when undertaking both modern and traditional upholstery. Over the years, I have also built up a fairly comprehensive collection of upholstery books by well-known upholsterers.

What is the single most important piece of advice you would give to someone starting out in this business?

Keep practising what you know and don’t give up. Gradually build up your skill base by taking on progressively more challenging work but consolidating what you have already learnt at the same time.

What has been your proudest professional moment?

Without doubt becoming an approved AMUSF training centre which will allow me to share my passion for upholstery with many more students in the future.

Contact details: Tel. 01462 814775 Website: www.mariasupholstery.co.uk Email: maria.willis@talk21.com

IF YOU WOULD LIKE YOUR BUSINESS TO BE FEATURED ON THE MEMBER PROFILE PAGE, CONTACT EDITOR JAN TURNER AT editorial@upholsterers.co.uk

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Feature

SITTING ARTISTS

With a Banksy-style Guerilla Upholsterer and pieces that elevate the craft of upholstery to high – and even disruptive – art, the Upholstery: Evolution to Revolution exhibition by Second Sitters at the National Centre for Craft and Design in Sleaford this year proved a hugely popular attraction for the trade and tourists alike.

U&SF took a peek at a show which had something for everyone before it closed on April 15.

ombining a comprehensive history of upholstery with more contemporary interpretations of the craft, the Second Sitters exhibition in Sleaford offered a carefully curated insight into a skill that dates back to its formalisation as a trade almost 700 years ago.

Along with an opportunity to touch and feel some of the exhibits and – during its four month run – attend a series of workshops open to all, this was a fascinating glimpse of the work of ancient and modern artists.

For be in no doubt, this was a show which in part, would have been just as at home in the Tate Modern with radical pieces of work that demonstrated the exquisite skill and responsive interpretation of their creators.

There was humour too with a video

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showing the craft’s very own Guerilla Upholsterer travelling the countryside making anonymous, Banksy-style raids on far flung bus shelters to leave his hallmark calling card – a series of random chairs.

More seriously, the exhibition paid tribute to the artists and organisations (including the AMUSF) that have played a key role in the evolution of the craft – from the early Coffers chairs which were among the first to meet the need for comfort with an open frame seat with a platform of webbing and canvas on which a loose cushion rested; through to Elizabethan Farthingale chairs, the Frederick Parker collection and the legendary career of Dorothy Gates.

Counterbalancing the crafts long and illustrious history, the exhibition also featured more experimental work by today's upcoming upholsterers with Continued on p22 ››

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Upholsterer & Soft Furnisher June/July/August 2018

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Feature pieces by the talented Alex Law, Electra Read-Dagg, Hannah Stanton, Miss Pokeno, Jude Dennis and Polly Granville to name just a few. Challenging the traditional nature of the trade, contributions included The Riot Chair, Suicide Chair, Hiroshima Chair and an Upholstered Chair Coat.

The lively programme of events and activities running alongside the threemonth show included The Memory Chair, a travelling artwork showing chairs as places of comfort and refuge and expanding over time to collect contributions from those choosing to ‘post’ their thoughts into its fabric. A workshop was also run in conjunction with a local charity for the homeless with some residents working together to upholster a sofa, loaned to the exhibition before being installed in their shelter.

Mick Sheridan, Vestigal Twin conjoined chairs upholstered in new wool and vintage tapestry 2017. Photo Electric Egg

The Hiroshima Chair by Polly Granville

The exhibition, which ran from January 27 to April 15, was conceived and curated by Jude Dennis and Hannah Stanton, both practising upholsterers who come together as Second Sitters to promote independent UK and international upholsterers through publications, exhibitions, collaboration and education days (for more info see www.secondsitters.co.uk) The exhibition itself was supported using public funding by the National Lottery through Arts Council England. Jude and Hannah are currently negotiating to take the exhibition at other venues – watch their website for details.

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Upholsterer & Soft Furnisher June/July/August 2018

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Expert advice

STITCHING More expert advice and top tips in our latest extract from Frederick Palmer’s famed book, Practical Upholstery. hough perhaps not quite so difficult as tacking down, the stitching of upholstery is complicated work and while the craftsman may understand the principles governing it, it is only by continual practice that he can become expert. Stitching, in addition to skill and judgement, requires an appreciation of good lines, especially in the production of evenly balanced scrolls such as those shown on the fronts of settees and divan chairs.

The beginner should, if possible, start with small chairs, but will get a good idea of the effect of the different rows of stitching by a study of Fig 171. The number of rows of stitching depends upon the height of seat required. The general rule is three rows for a small chair. Fig 171 shows four; C and D are called blind rows, B is the second row and A the top row.

The various angles at which the needle is thrust through the work should be noticed, as this is important. The blind rows are so called because no stitches are visible on the top surface of the scrim.

These blind rows serve the purpose of drawing the hair forward to the edge in order to form a firm bulge of stuffing for the subsequent rows. By the second row of stitching, B Fig 171, the hair in this case appearing on the seat as well as on the front edge of the work. The top row A is the final stitching, and on this the finished outline of the upholstery depends.

It must be remembered that when stitching a frequent use of the regulator is absolutely essential, and the upholsterer should so arrange the work that the stitched edges slightly

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24

overhang the frame, Fig 172.

Unless attention is paid to this, damage is frequently caused to the final covering, because it is liable to come into contact with the sharp edge of the wood frame at A, Fig 173. Similar damage to the covering may also be caused in other ways, namely: 1. If the edges are insufficiently firm when stitched, see Fig 173. In such cases the fault is at once apparent when pressure is applied to the seat.

2. If the number of stitches are insufficient.

3. If, in stitching, the upholsterer finds he must juggle with the edge to rectify the tacking down, the final covering is again liable to the fault shown at Fig 173.

Upholsterer & Soft Furnisher June/July/August 2018

Stitching a blind row The method of stitching a blind row is shown in the four diagrams, Figs. 175178. Commence at A, Fig 175, close to the rail, insert the needle to B, draw the eye through in a circular movement as indicated by the dotted line, returning as shown at C, Fig 176. The eye of the needle must not be drawn out at B for the blind row, A knot is tied at A, Fig 177, and drawn tight. Insert the needle, as before at B, drawing through at C, looping the twine twice, run the needle through A either to the right or left. After pulling the needle clear of the scrim, the twine is strained tight by compressing the canvas with the left hand, at the same time pulling twine in the direction of the arrows at Fig.178, with the right hand. The result of a blind row of stitching is the formation of invisible loops of twine which automatically draw the hair to the front, so forming a firm bulge of stuffing as shown at B, Fig 178. It is advisable to commence with small stitches about 1in. in length and žin apart. The needle must not be sloped too much, and the point when thrust through must be on the near side of the hair twines, otherwise more stuffing than is necessary will be caught up by the loops.

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Upholsterer & 8

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Meet the who’s who of upholstery, window and wall covering producers.

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Q&A

IN THE HOTSEAT... …WITH JOANNA HEPTINSTALL, OWNER AND FOUNDER OF THE TRADITIONAL UPHOLSTERY SCHOOL How would you most like to be remembered?

For producing beautiful and perfect work.

And for being a nice person.

If you weren’t doing what you do now, what would you be doing?

I’ve always fancied specialising in passementerie. I could get very excited about knots and tassels. Like upholstery, it’s a whole world of hand-making using ancient traditions, with names like gimps, galloons, spangles and limeade de spirals.

Magical!

How would classmates at school have described you?

Creative, studious, a bit of a wallflower and with Bananarama inspired hairstyles. I enjoyed art, got enthusiastic in English, never made a team in sport and was usually sent out of the class in chemistry for giggling. I think I blossomed late.

What’s the best thing about our industry?

We are. Upholsterers tends to be hardworking nerds who enjoy spending hours a day in a shed. We are also supportive, enthusiastic, and dedicated: ask a fellow upholsterer a work-related question and you could be there hours.

And the teachers?

Polite, intelligent, enthusiastic, hard working.

How did you get into this business?

I was working as a journalist for Homes & Gardens. I was asked to write a piece about learning upholstery and went to the Traditional Upholstery Workshop in Wales. I fell in love with the earthy smell (it was the balls of twine!), the complex stitching, and that it was creative and very practical. I stayed for a week, came home and enrolled on an upholstery course straight away.

What would you class as your greatest achievement?

My upholstery school, my book and my children.

Your greatest regret?

Not having any money when the contents of the Savoy hotel went up for auction in 2007. Still don’t…

Is your glass half empty or half full?

Usually half full. I truly believe that life is what you make of it. You can create your own opportunities.

Who has been your greatest inspiration and why?

My grandmother Doris. She was a dressmaker who brought up her children on her own. She was stickler for technical

26

And the worst?

Persuading customers that our work takes time to do well, is highly-skilled and costs money.

skill, never said ‘that’ll do’, always looked smart, was polite, a great gardener, laughed like a drain and worked very hard.

When it comes to sport do you fall into the active or armchair camp? Football or rugby?

Neither. I never sit still long enough to watch sport on TV. I sail my own dinghy on the River Avon. I’d play more tennis if I could find someone who didn’t mind winning all the time.

Your perfect day?

A long dog walk followed by a quiet afternoon upholstering something just for me, with a constant flow of Earl Grey tea.

A glass of wine with friends would round it off beautifully.

Your desert island disc?

Anything Elvis.

Upholsterer & Soft Furnisher June/July/August 2018

What would you change?

Now it seems that all upholsterers come into the trade as a second career, yet so often I hear my students wishing they hadn’t wasted decades in marketing/sales/ IT/whatever. I would like to see upholstery – indeed all traditional crafts – encouraged as an exciting and creative career option for school leavers too.

What’s in your living room?

My grandmother’s 1920s sofa. It’s enormous, green and she upholstered it herself back in the fifties. Considering she learned her skills at the WI, she did a cracking job.

What winds you up?

People being late.

Best piece of advice to someone starting out?

Learn your skills well, keep practising and keep striving for perfection. Enjoy the journey every step of the way.

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