A STUDY TO DETERMINE QUALITY FACTORS IN UPHOLSTERED

HOUSEHOLD FURNITURE BY INVESTIGATING THE

PREFERENCES HELD BY INTERIOR

DESIGNERS AND UPHOLSTERERS

by

CAROLYN CUMMENS ABBOTT. B.S. in H.E.

A THESIS

IN

HOME AND FAMILY LIFE

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF SCIENCE IN

HOME ECONOMICS

Approved

May, 1977

ACKNOWLEDGMENTS

I am very indebted to Dr. Richard W. Henton for his

encouragement, criticism and direction of this thesis, and

for the other members of my committee, Dr. Reid Hastie and

Mr. Walter L. Calvert, for their guidance and support. I

would also like to thank Dr. Jane Coulter for her

assistance and suggestions during the initial planning of

this study.

11

TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS ii

LIST OF TABLES

LIST OF ILLUSTRATIONS vi

CHAPTER

I. INTRODUCTION 1

Purposes and Procedures 3

Limitations of the Study 5

II. REVIEW OF LITERATURE 6

Elements of Upholstered Furniture Appearance Features 15

Interior Design Education 19

III. DESIGN OF THE STUDY 21

Restatement of the Problem 21 Hypotheses 21 Assumption 22 Definition of Terms 22 Development of Questionnaire 26 Selection of Respondents 27 Treatment of Data 27

IV. FINDINGS OF THE STUDY 29 Collection of Findings of the Mailed

Questionnaire 30 V. SUMMARY, CONCLUSIONS AND

RECOMMENDATIONS ^3

Restatement of the Problem 43 Summary of the Procedures and

Findings 43 Recommendations for Future Study . . . 49

• • 111

Page LIST OF REFERENCES

52 APPENDIX .

56

IV

LIST OF TABLES

TABLE Page

1. Business Affiliations and Job Titles of Nineteen Respondents 31

2. Sources of Upholstery Training for Nineteen Respondents 32

3. Professional Affiliation of Nineteen

Respondents 33

4. Previous Education in Upholstery Products . . . 33

5. Acquisition of Upholstered Furniture Knowledge 34

6. Guarantee of Furniture Quality and

Durability 35

7. Response to Consumer Questions 35

8. Label Information Attached to Upholstered Furniture According to Nineteen

Respondents 37

9. Application of Special Finishes 38

10. Recommendation of Zippers for Loose Cushions 38

11. Justification of Consumer Furniture Guide . . . 39 12. Development of Consumer Guide 40 13. Most Important Element Within a Piece of

Upholstered Furniture According to Nineteen Respondents 41

14. Second Most Important Element Within a Piece of Upholstered Furniture Accord­ing to Nineteen Respondents 41

15. Purchasing Criteria for Different Income Brackets According to Nineteen Respondents 42

V

LIST OF ILLUSTRATIONS

FIGURE

1. Miter Joint

2. Butt Joint

3. Rabbet Joint

4. Mortise and Tenon Joint

5. Dowel Joint

6. Dovetail Joint

Page

12

12

12

12

13

13

VI

CHAPTER I

INTRODUCTION

Today, as never before, the consumer is the focal point

of many public and private organizations. Product quality

has received renewed attention by commercial, political and

educational institutions. Private organizations promoting

consumer interests are supporting the right of every consumer

to expect satisfaction with product performance (Clemens,

1975, p. 16).

In order to alleviate some of the problems consumers

face when purchasing household upholstered furniture, this

research project was designed to redefine the quality

standards as interior designers and upholsterers perceive

them. Specifically, what characteristics should be con­

sidered when buying upholstered furniture and what standards

must be met by the upholstered item that would denote quality,

durability and wearability?

"Upholstered furniture represents a comparatively large

portion of a family's furnishing money, and it is expected

to make a major contribution to the comfort as well as the

beauty of the home" (Derieux, 1964, p. 271). Fagg explains

it this way:

A sofa or any large upholstered piece of furni­ture should be considered a lifetime possession. It could be an heirloom, something to be passed down to the children and grandchildren. So when comparing prices, consider what has gone into the piece (Fagg, 1975, p. 18).

The consumer is faced with a large problem when check­

ing what has gone into the piece since many elements of the

construction are hidden within the piece of furniture (Meyer,

1947, p. 169). According to Nichols a significant number of

consumers are dissatisfied with recent purchases of major

home furnishings (Nichols, 1971, p. 10). Betty Clemens

comments:

Traditionally we consumers lay the blame for inadequate product information and substandard product perfonnance squarely at the door of the manufacturer or dealer.

Sometimes that's exactly where the blame belongs and sometimes it isn't. We as consumers have a responsibility to gather all the product informa­tion we can before making a buying decision. The manufacturer and/or retailer is responsible for providing us with information we can understand and rely on as being true and accurate. It's when this chain of responsibility is broken that problems arise (Clemens, 1975, p. 16).

It is necessary, therefore, that consumers recognize

that the "chain of responsibility" has been broken (Clemens,

1975, p. 16). Consumers are faced with three main problems

when purchasing upholstered furniture. First, an upholstered

piece of furniture is one of the most difficult items to

distinguish whether it is well made or poorly constructed

because structural elements are hidden within the piece of

furniture. How is the average consumer to know about good

or bad joint construction and reinforcement, foundation

quality, durable edge construction and ample filling

materials? How is the consumer to know whether the estab­

lishment is reputable, their products guaranteed and their

sales personnel honest? Many times labeling of products

can be an answer, but it also can lead to a second problem.

Secondly, little labeling is required by law and unless the

consumer is acquainted with textiles, carpentry, upholstery

methods, or manufacturer's terminology, he is able to acquire

little information. This little information is a result of

a third problem, lack of comparative shopping. Thirdly, it

is the responsibility of the consumer to investigate dealers,

prices and terms before buying (Pahlmann, 1960, p. 99).

Otherwise, the consumer must rely on the sales person's

knowledge and integrity and personal intuition. The intui­

tion may lead to mistakes. Bright colors, pretty fabrics,

and interesting designs can cover poor joint construction,

saggy springs and improper stuffing.

Purposes and Procedures

This study attempted to contribute a solution to the

problems that consumers face by redefining upholstered

furniture quality standards as interior designers and uphol­

sterers perceive them. The study was accomplished using the

following five steps:

1. A study was conducted concerning characteristics

of furniture components including fabric, wood, and struc­

tural characteristics.

2. Furniture components were analyzed and interpreted

for their association with quality standards.

3. A multiple choice questionnaire was developed to

evaluate interior designers' and upholsterers' views concern­

ing the quality factors of upholstered household furniture.

4. The raw data were organized and interpreted by the

student "t" test.

5. Quality standards were defined according to designers'

and upholsterers' preferences.

Interior designers and upholsterers were chosen from

two cities, Dallas, Texas and Atlanta, Georgia, because of

their influence and reputation in the interior design market.

Using the 1975 Dallas and Atlanta phone books, every sixth

professional interior designer (ASID listings) and every

twelfth upholsterer were chosen to receive questionnaires.

A group of eighty individuals and firms was chosen from a

listing of 360 possible respondents. These were equally

divided into upholsterers, twenty each from Dallas and

Atlanta, and forty designers, twenty from each city.

Data were collected from these eighty randomly selected

interior designers and upholsterers by means of a mailed

multiple choice questionnaire. The raw data were organized

and interpreted to determine the correlation between

upholsterers' and interior designers' viewpoints concerning

the quality standards of upholstered furniture.

Limitations of the Study

The limitations of the study included the media used

for the questionnaire, the amount of pure and basic research

done in the area of interior design and upholstery, and the

locations of the investigator and the respondents.

CHAPTER II

REVIEW OF LITERATURE

This researcher used books and articles to substantiate

the standards of good upholstered furniture construction

since the review of literature revealed a lack of informa­

tion concerning pure or basic research in the upholstery

area.

The major objective of the overview of literature was

to develop a background enabling the researcher to develop

a questionnaire that was sent to interior designers and

upholsterers and to provide information for a preliminary

checklist which will be analyzed and redefined after record­

ing results from the questionnaire. The literature collected

and reviewed has been grouped into the following areas:

Elements of Upholstered Furniture Wooden Frame Foundations Edge Construction Fillings Appearance Features

Education of Interior Designers

Elements of Upholstered Furniture

An upholstered piece of furniture is one of the most

difficult items to distinguish whether it is well made or

poorly constructed because the elements are hidden within

6

the piece of furniture. Still, there are ways to arrive

at a sound and reasonable choice (Austin, 1961, p. 115).

According to C. B. O'Connell:

• • in addition to good appearance a piece of upholstered furniture must have hidden durability. This is determined by the wood of the hidden frame, the type of webbing or other foundation, the type of edge construction and the quality and amount of filling material (O'Connell, 1968, p. 118).

Wooden Frame. "No upholstered piece is any better than

its frame" (MacMillan, 1954, p. 179). The frame or structure

should have five major characteristics: (1) stability,

(2) durability, (3) workability, (4) strength, and

(5) finishability (Schmitz, 1939, p. 57). To have stability,

the frame should be constructed with kiln dried medium-hard

hardwood (Pope, 1949, p. 27) that has a straight close grain

and no evidence of knots, especially where tacks, dowels or

other fasteners are used (Johnstone, 1973, p. 4). Durability

is determined when the frame withstands stress and strain

over long periods of time (Stepat De Van, 1964, p. 205), or

when the frame outlasts all the other chair or sofa components

without weakening or breaking easily (McCalls, 1964, p. 127).

Workability of the wood insures secure tacks, screws and

other supporting devices plus smooth, even joints (Brumbaugh,

1973, p. 78). Strength of the wood permits firmness under

pressure without "tell-tale squeaks," or undue distortion

(Rutt, 1948, p. 248). This is accomplished by using screws,

glue, steel clips, comer blocks or corner metal plates when

8

reinforcing comers and joints (Rutt, 1948, p. 248).

Finally, the frame should be smooth to prevent snagging or

padding and covers on all sides of the wood (Eustis, 1955,

p. 52). The finishability of the wood permits it to last

for the life of the piece without deterioration to the wood

itself (Schmitz, 1939, p. 84). Woods that have these

characteristics include hard maple, alder, birch, poplar,

ash, hickory, and pecan. Others that are satisfactory and

work well are soft maple, gum and pine (Hardy, 1951, p. 158).

Foundations. There is a special order in which

materials are placed on a spring type upholstered piece of

furniture. From top to bottom this includes: (1) fashion

fabric, (2) muslin, (3) padding, (4) burlap, (5) springs,

(6) webbing, and (7) cambric (Brann, 1966, p. 8). The

burlap, springs, webbing, cambric, and the materials

associated with these are called foundations (O'Connell,

1968, p. 120).

Burlap is used to cover springs, make edge rolls and

cover webbing where no springs are present (Bast, 1951, p. 10)

There are many grades of burlap and two major types:

(1) synthetic, and (2) jute (Bast, 1970, p. 32). A ten

ounce jute burlap is best for all uses but because of its

shortage, synthetic burlap is being used more and more to

cover springs or webbing (Bast, 1951, p. 10). The purpose

in covering springs or webbing is twofold: (i) to provide

a strong material to protect padding from constant friction,

and (2) to catch filling materials from falling into the

springs (Brann, 1966, p. 22). The third purpose of burlap

is to provide the outer material for edge rolls. Edge rolls

are biased strips of burlap stuffed with paper, cotton or

synthetic materials to make a firm roll of padding that is

placed along frame edges. Edge rolls have four major

purposes: (1) to keep padding from working away from the

edge, (2) to give a firm foundation to other padding, (3) to

keep wood edges from wearing the foundation and filling

materials (Woodruff and Alexander, 1969, p. 3), and (4) to

provide comfort and a pleasing appearance for the individual

(Woodruff and Alexander, 1973, p. 3).

"The shape, comfort and durability of the chair depends

a great deal on the springs and how well they are tied"

(Woodruff and Alexander, 1969, p. 8). There are three types

of springs: (1) cone springs on a band or bar, (2) hour­

glass shaped springs, and (3) the zigzag springs (Woodruff

and Alexander, 1973, p. 7). But, according to Enright and

Seranne, ". . .no spring construction is better than any

other type" (Enright and Seranne, 1970, p. 60). Each gives

a different "look" and should be chosen from that standpoint

(Enright and Seranne, 1970, p. 60). The main thing to look

for in spring construction is that the steel springs are

close together without touching (Austin, 1961, p. 116;

Stepat De Van, 1964, p. 215), and are tied with the best

grade of spring twine or metal connectors (Bast. 1951, p.

10).

10

The springs are sewed to the webbing, the main founda­

tion material, with flax or jute twine (Bast, 1951, p. 10).

The webbing is an interlaced structure that supports the

entire upholstered framework. Jute webbing is considered

the best type, though steel and rubber webbing are often

used (Austin, 1961, p. 117). The closeness of the webbing

strips parallels the sturdiness of the structure and the

quality of the workmanship (Enright and Seranne, 1970, p. 60).

Finally, the cambric is attached to the bottom of the

chair frame. It is normally black cotton that has been made

dustproof by sizing and glazing (Bast, 1970, p. 72). It has

two purposes: (1) to prevent dust of the stuffing from

falling to the floor, and (2) to give a neat appearance to

the bottom of the chair (Bast, 1951, p. 11). However,

cambric can cause problems for the consumer when checking

the workmanship because it covers all the interior construc­

tion (Howes, 1952, p. 60), and the consumer must trust the

salesman's word for the quality of the furniture (Austin,

1961, p. 115).

Edge Construction. The quality of construction is

easily determined by the edge or joint construction (Schmitz,

1939, p. 84). There are four ways parts can be joined:

(1) glue, (2) nails, (3) screws, and (4) joints (Furniture

Buying, 1975, p. 26). Glue should never be trusted alone

(Schmitz, 1939, p. 84), but, in combination with joints, it

is the "most critical element" (Furniture Buying, 1975, p. 26)

L'

11

"Starved glue joints" can easily lead to loose joints when

the moisture departs and the glue becomes brittle. Sloppy

application of glue or when the glue can be seen is a good

clue to poor furniture construction (Furniture Buying, 1975,

p. 26).

Nails are not reliable holding devices and should be

used only for temporary locating of parts or glue clamping

(Johnstone, 1973, p. 4). Nails are a sure sign of inferior

workmanship (MacMillan, 1954, p. 181).

Flathead wood screws are used to secure comer blocks

(Bast, 1970, p. 14) which are used to reinforce joints, the

best manner of edge construction (Rutt, 1948, p. 248).

There are six main types of joints: (1) miter, (2) double

dowel, (3) rabbet, (4) butt, (5) mortise and tenon, and

(6) dovetail (Brumbaugh, 1973, p. 78). The miter (figure 1),

butt (figure 2), and rabbet (figure 3) are very weak joints

unless reinforced with glue, dowels and/or comer blocks

(Schmitz, 1939, p. 84; Rutt, 1948, p. 248). The mortise and

tenon (figure 4), double dowel (figure 5), and dovetail

(figure 6) are the most popular joints and usually reflect

quality furniture and strong construction (Brumbaugh, 1973,

p. 74). The main thing to look for in edge construction is

that the joint is sturdy, smooth, and tight fitting "without

plastic filler to make them that way," (Furniture Buying,

1975, p. 26) and that the joint is reinforced for durability

and strength (Bast, 1970, p. 15).

12

MITER. JOINJT

Figure 1

BUT" ^'Ol\JT

Figure 2

SIABBET JCINJT

Figure 3

M

M0R.TI5E i TENON JOINT

Figure 4

13

0

^^

(P

D D N A ^ L JOLfNTT

Figure 5

DOVETAIL JOINJT

Figure 6

Fillings. Filling materials are those paddings that

provide the comfort, look and therefore the purpose to the

sofa and/or chair (Pahlmann, 1960, p. 100). In the past,

". . . unscrupulous manufacturers have been accused of using

paper, carpets, and old mattresses as stuffing for new

furniture, sometimes without fumigating them" (Rutt, 1948,

p. 250). Now almost every state has a law requiring that

stuffing and cusioning materials be described on a tag

attached to the piece of upholstered furniture (Enright and

Seranne, 1970, p. 60) and that they are ample to hold the

shape of the piece (Stepat De Van, 1969, p. 216). Still,

regulating the "unscrupulous manufacturer" is difficult

14

(Rutt, 1948, p. 250), and " . . . the labels do not indicate

the grade or quality which may vary greatly" (Stepat De Van,

1964, p. 216). The main idea concerning filling materials

is that ". . . if a piece of furniture is not labeled and

the salesman seems unwilling to tell what is in it, don't

buy it" (Alexander. 1964, p. 118). Label terms and

materials to look for include moss, hair, foam rubber,

polyurethan, down, Dacron, Fortrel, and Kodel (Enright and

Seranne, 1970, p. 60). Less expensive stuffings would

include cotton and sisal; and finally, excelsior, the most

inferior of paddings (Enright and Seranne, 1970, p. 60).

Down is the most luxurious and resilient filling and in

the long run the most practical and long lasting than the

other stuffings (Bast, 1970, p. 109). It gives a soft look

to furniture, but must be plumped continually (Enright and

Seranne, 1970, p. 62). Moss is one of the best fillers,

but should not be used as the main stuffing because of

expense and comfort factors. It is very resilient and will

maintain the shape of an upholstered piece for a long time

(Bast, 1951, p. 14). Dacron, Fortrel and Kodel are man made

fillers that give the soft look, feel and resilience of down

without the continual plumping (Enright and Seranne, 1970,

p. 62). Cotton felt stuffs spring filled furniture and

loose cushions. It prevents dust and hair in the main filling

from coming through the cover and smooths lumps from spring

indications. It has many grades which result from linters

15

(Bast, 1970, p. 113). Today's most popular filling is foam

rubber. It is easy to handle and cut to shape (Devitt, 1973,

p. 11). It simplifies the upholstering process by eliminat­

ing all foundations (Alexander, 1972, p. 178), and it is long

wearing, comfortable and resilient (Enright and Seranne,

1970, p. 62). There are three types of foam or sponge

rubber: (1) solid slab, (2) cored utility stock, and

(3) molded air foam (Bast, 1951, p. 14), each with its own

uses and properties (Bast, 1970, p. 114).

Covering the entire filling and foundation is muslin.

Muslin is a white cotton fabric that is light weight and

opened textured (Bast, 1951, p. 11). Its purpose is to add

long-lastingness to the outer fabric and to prevent shadows

when using light fashion fabrics (Meyer, 1947, p. 176).

Appearance Features

Fashion Fabric. The fabric on a chair or sofa is the

appearance feature that makes the strongest, longest lasting

impression and has the greatest impact on a decorative

scheme than any other part (Crane, 1972, p. 76). Fabrics

fall into two categories: (1) pile and (2) flat. Pile

fabrics include mohairs, velvets, freizes and velours (Wingate.

1970, p. 610). These are the best type of fabrics for rough

wear because of their long wearing qualities (McCalls, 1964,

p. 127). Flat fabrics are the jacquard or woven fabrics.

They are the most popular fabrics (Alexander, 1964, p. 117)

16

and are divided into two groups: (1) patterned and

(2) unpattemed. Patterned fabrics include damask,

tapestries, brocades and brocateles; unpattemed fabrics

include plain weaves, twills, satins and basketweaves

(Bendure, 1947, p. 589). Both types of woven fabrics are

considered smooth surface materials and resist dust better

than the pile fabrics (Derieux, 1964, p. 272).

All quality upholstery fabrics should be firmly woven

to withstand stain and sifting dust (Crane, 1972, p. 77)

and made from durable fibers. Linen, cotton, wool, synthe­

tics and silk are the major fibers used because of their

distinctive qualities. Linen and cotton are very durable,

come in a variety of weaves, retain colors well and clean

beautifully (Brostrom, 1964, p. 236). Wool is long wearing,

luxurious and distinctive. It should have a mothproof finish

to protect it (Rutt, 1948, p. 294). Synthetics have dis­

tinctive characteristics that vary from chair to chair.

Care instructions and wearing qualities should be labeled

for each piece of furniture where synthetics are used.

(Brostrom, 1964, p. 230). Usually, if nylon is present in

a large percentage, the fabric is considered very durable

and easily cleaned (McCalls, 1964, p. 127). Silk is the

least durable of the fibers yet most expensive. It cleans

well and is distinctive and unique in appearance (Brostrom,

1964, p. 230).

17

There are special finishes that can be applied to

fabrics to aid in the durability. These include: dyefast.

mothproof, and flameproof finishes. Each should have a

buyer's guarantee for effectiveness, cleanability and wear­

ing qualities (Rutt, 1948, p. 250).

The total appearance of a fabric is lastly due to the

construction techniques (Crane, 1972, p. 77). Quality

workmanship is shown when all construction lines are firm,

straight and smooth (Austin, 1961, p. 115). Welting is

straight, smooth and biased cut with ample seams (Stepat

De Van, 1964, p. 214). All patterns are matched and

centered (Austin, 1961, p. 117), and that the fabric adds

to the unity and design of the total piece of furniture

(Trilling and Nicholas, 1953, p. 210).

Exposed Wood. "In December, 1963, The Federal Trade

Commission promulgated Trade Practice Rules for the Household

Furniture Industry. False and misleading representation of

wood and imitations used in furniture are prohibited"

(Stepat De Van, 1964, p. 205). Furniture labels must

indicate whether the piece is solid wood, genuine wood,

combination, all wood construction or veneer (Furniture

Buying, 1975, p. 26). The fine types of exposed wood

include: mahogany, birch, walnut, cherry, sugar maple and

whiteoak (Hardy, 1951, p. 158; Alexander, 1972, p. 183).

There are four main types of furniture finishes:

(1) penetrating finish, (2) shellac, (3) lacquer, and

18

(4) varnish (Kinney, 1950, p. 155). Each type of finish

should meet three main requirements: (1) appropriateness,

(2) serviceability, and (3) beauty. Appropriateness of the

finish makes the wood beautiful and brings out the "grain"

(Brandt, 1950, p. 126). Serviceability means that the

finish will protect the surface from bleeding, blistering,

and the grain rising. Finally, the finish should highlight,

embellish and emphasize the characteristics of the "beauty"

of the wood (Brandt, 1950, p. 126). When comparing finishes

do not look for identical color and texture from piece to

piece, " . . . more expensive furniture will have varying

finishes as a result of individual treatment, versus

mechanical treatment, that brings out the best qualities in

the individual pieced'(Johnstone, 1969, p. 6).

We as consumers have a responsibility to gather all the product information we can before making a buying decision. The manufacturer and/or retailer is responsible for providing us with information we can understand and rely on as being true and accurate (Clements, 1975, p. 16).

The best information from the manufacturers and retailers

is issued by the National Association of Furniture Manufac­

turers in the form of a "Seal of Integrity." The seal,

issued to qualifying manufacturers, is a guarantee that the

item on which it is used is ". . . free from any defects in

workmanship, material, and construction for a reasonable

time, but not less than twelve months after delivery to the

customer" (Alexander, 1964, p. 118). The manufacturers then

19

issue a warranty bearing the factory's official license

number guaranteeing that the piece is well made, that the

manufacturer will promptly and fairly handle all complaints,

and that the informative literature is accurate (Alexander,

1964, p. 118).

Interior Design Education

According to Andrasko, the education of interior

designers is a major focus point of professionals as the

fields of designing interiors and exteriors continue to

expand (Andrasko, 1973, p. 13).

In a study conducted at the University of Missouri in 1966, questionnaires mailed to 291 firms in the United States revealed a lack of research and understanding between the interior design profession and the interior design educa­tor. The study noted a contradiction regarding how and in what way the sample firms expected their interior designers to learn the necessary skills required of them (Dodge, 1967, p. 19).

The Curriculum Research Committee of the Interior Design

Education Council (IDEC) evaluated the education received

by today's interior designers. Chairman of the council.

Professor Arnold Friedman (1968, p. 137) stated there is a

need for better communication between practicing interior

designers and educators. The council itself reached a

unanimous agreement that a considerable curricular reform is

needed in schools training students in the design profession

(Andrasko, 1973, p. 14).

"A need exists for a relevancy of applied learning

experience in college to actual practice" (Andrasko, 1973,

20

p. 14). The need for interior designers to know the quality

standards of upholstered fumitu^-e is substantiated by

several references. Robb stated in a 1968 report that con­

sumers have a very inadequate awareness of textiles and

labeling terms. Designers are needed to provide the consumer

with accurate knowledge in these areas and unless their

education is improved the consumer is hurt (Robb, 1968,

p. 33). In 1966, in a study conducted by Hoffman, textile

and fabrics were noted to be the most needed elements of

study for designers. She stated the majority of designers

recognized the deficiency of learning in this area and

desired more opportunity for study.

Dodge stated a majority of firms that were included in

his study gave high to very high ratings to 57 skills and

knowledge areas that should be attained before employment.

The furniture production and more specifically the area of

upholstering furniture and the knowledge of its components

is a needed skill that is vital when selling furniture

(Dodge, 1967, p. 19).

The review of education for interior designers indicates

a need of practical research into competencies possessed by

interior design students and professionals in the area of

furniture, its elements and production. This study endeavors

through a questionnaire to obtain professional suggestions

and views for the development of a guide to aid design

students and the consumer to recognize quality standards in

upholstered furniture.

CHAPTER III

DESIGN OF THE STUDY

Restatement of the Problem

This study identified interior designers' and uphol­

sterers' preferences regarding quality factors in upholstered

furniture. The study was accomplished by reviewing furniture

components including fabric, wood and structural character­

istics and recording the results. A multiple choice

questionnaire formulated from the opinions of authorities,

as revealed in the literature, was administered to determine

their judgements concerning the quality standards of uphol­

stered furniture and to measure the extent to which

upholsterers and interior designers agree with the factors.

Hypotheses

Hypothesis I. A majority of the interior designers and

upholsterers will be in agreement that their previous educa­

tion did not sufficiently prepare them for consultation

concerning upholstered furniture.

Hypothesis II. A consensus of the interior designers

and upholsterers will be in agreement that one certain

element will be chosen as the deciding factor to the consumer

when purchasing upholstered furniture.

21

22

Hypothesis III. A majority of the interior designers

and upholsterers will be in agreement that the understanding

of upholstery quality standards is important enough to

justify a guide for consumers to follow when purchasing

upholstered furniture.

Hypothesis IV. A consensus of the interior designers

and upholsterers will be in agreement that upholstered

furniture should have quality finishing features and

assurances.

Assumption

For the purpose of this study it was assumed that

quality factors of upholstered furniture need to be clearly

defined to aid the consumer in effectively purchasing

quality household upholstered furniture.

Definition of Terms

For the purpose of clarity, the following terms are

defined with reference to the meaning as to be presented in

this study:

Interior Designer: professional who creates, fashions

and executes a plan for interiors of certain structures,

Upholsterer: professional who fashions materials such

as fabric, padding, and springs to make comfortable

coverings for seats.

Quality Factors: standards met by upholsterers or

manufacturers that insure durability, beauty and comfor

of upholstered furniture.

23

Frame

Structure: combination of hardwoods put together with

wood glue for a strong frame (McCalls, 1964, p. 125).

Stability: wood cut to a final shape for use that is

permanent or imperishable in service and precludes

warping, twisting, splitting or curling (Schmitz, 1939,

p. 57).

Durability: without a reduction of its resistance to

the usual stresses wood withstands weakening, marring

or breaking easily (Schmitz, 1939, p. 57).

Workability: ready shaping, clean-cut turnings, sharp

edges and smooth surfaces (Schmitz, 1939, p. 57).

Strength: resistance to breakage or distortion under

loads (Schmitz, 1939, p. 57).

Finishability: any finish applied to wood that endures

without deterioration to the wood (Schmitz, 1939, p. 57).

Grain: markings that are the record of growths in a

tree stem. It also denotes coarseness or fineness of

the individual fibers of wood (Schmitz, 1940, p. 46).

Edge Construction

Butt Joint: two pieces of wood joined edge-to-edge or

end-to-end, most elementary joint (Brumbaugh, 1973,

p. 78).

Miter Joint: wood pieces from an angle, strength depends

on method of fastening (Brumbaugh, 1973, p. 78).

24

Rabbet Joint: recessed cut then another cut further

back into two pieces of wood so they fit together to

form an angle (Brumbaugh, 1973, p. 78).

Mortise and Tenon Joint: extension of one piece of

wood fits into a recess of another, strongest and most

frequently used of all joints (Brumbaugh, 1973, p. 78).

Dovetail Joint: numbers of extensions of one piece of

wood fit into recesses of another, most complicated of

all joints (Brumbaugh, 1973, p. 78).

Dowels: wooden sticks that join frames anywhere a

joint is exposed (Bast, 1970, p. 15).

Fastenings: glue, nails, screws, dowels, spline or

combination of these that strengthen joints, especially

butt and miter joints (Brumbaugh, 1973, p. 78).

Fillings

Solid Slab Sponge Rubber: thin slabs of foam rubber

used wherever a thin comfortable padding is desired.

Can be cut into any shape with shears (Bast, 1951,

p. 14).

Cored Sponge Rubber: foam rubber that contains large

open cells which provide a deep cushioning effect. It

can be various thicknesses and compressions. Useful

on seats, backs, and arms (Bast, 1951, p. 14).

Molded Airfoam: handy, one-piece rubber units, must

be hand assembled to make a seat or back cushion (Bast.

1951, p. 14).

25

Appearance Features

Fashion Fabric: outside fabric on a piece of uphol­

stered furniture (Derieux, 1964, p. 271).

Weave: combination of fibers that determines the

texture and the "hang" of the fabric. Common weaves

are cretonne, chintz, monk's cloth, pongee, velvet,

and satin (Wingate, 1970, p. 610).

Sunfast-Tubfast: fade resisting and machine washable

without more than one percent shrinkage (Brostrom,

1964, p. 230).

Welting: cording encased by bias cut strips of the

fashion fabric. Usually placed around arms, backs and

pillows to accent, hide seams and tacks. Wears easily

because it is raised. Contemporary trends are deleting

welting (Bast, 1970, p, 90).

Satin Weaves: those weaves that a large proportion of

filler threads lie on the fabric's surface (Crane, 1972,

p. 76).

Solid Wood: all exposed furniture surfaces are made of

solid wood without veneer, but wood on the inside may

be different (Furniture Buying, 1975, p. 26).

Genuine Wood: all exposed parts are made of a certain

wood veneer over hardwood plywood (Furniture Buying,

1975, ?. 26).

Combination: more than one type of wood is used in

exposed parts of the furniture (Furniture Buying, 1975,

p. 26).

26

All Wood Construction: exposed parts are made of wood

for the full thickness of the panels (Furniture Buying.

1975, p. 26).

Veneer: material consisting of several thin wood

layers permanently bonded to each other with an adhesive

(Furniture Buying, 1975, p. 26).

Development of Questionnaire

The questionnaire used for obtaining data from designers

and upholsterers in this study was of the "mailed-list type."

This type of questionnaire was developed because it enabled

the researcher to set a certain amount of standardization

of response and because geographic distance did not permit

individual interviews with respondents.

The questionnaire requested information concerning the

respondents' business affiliation and educational preparation.

In order to gather specific information which could be

applied directly to the study, questions were designed to

determine uses of certain practices in their business and

their knowledge of these.

The respondents were requested to provide additional

information concerning upholstered furniture quality standards

and suggestions for development of a purchasing guide and

opinions as to its justification for use in the furniture

industry.

The questionnaire was submitted to Dr. F. Morgan Simpson,

a professor of practical research, planning and design at

27

Auburn University at Montgomery, for his comments and

criticisms. The suggestions made by the professor were

adopted and the questionnaire with a letter of introduction

was revised and sent to the respondents in the study.

Selection of Respondents

Interior designers belonging to the American Society of

Interior Designers (ASID) are usually concerned with the

current trends and educational advances in the area of interiors

For that reason members of this organization were chosen to

participate in this study. Practicing upholsterers were

surveyed because of their association with the consumer and

their knowledge of quality workmanship in upholstered furniture.

These professionals, interior designers and upholsterers,

were chosen from Dallas, Texas and Atlanta, Georgia because

of their representative population and widespread reputation

as national trade centers. Using the 1975 Dallas and Atlanta

phone books, every sixth professional interior designer (ASID

listings) and every twelfth upholsterer were chosen to

receive questionnaires. A group of eighty respondents was

chosen from a listing of 360 possible applicants.

Respondents were then equally divided into interior designers

and upholsterers, forty from each city.

Treatment of Data

Responses from the mailed questionnaire to the practic­

ing upholsterers and professional interior designers were

28

organized for tabulation in Chapter IV of the study. The

interpretation, evaluation and implications of the data are

included in Chapter V.

CHAPTER IV

FINDINGS OF THE STUDY

As stated in Chapter III, Hypothesis I proposed that

there would be a majority of the interior designers and

upholsterers that would be in agreement that their previous

education did not sufficiently prepare them for consultation

concerning upholstered furniture. Hypothesis II proposed

that there would be a consensus of interior designers and

upholsterers who would be in agreement that one certain

element would be chosen as the deciding factor to the con­

sumer when purchasing upholstered furniture. Hypothesis III

proposed that a majority of the interior designers and

upholsterers would be in agreement that the understanding

of upholstery quality standards are important enough to

justify a guide for consumers to follow when purchasing

upholstered furniture. Hypothesis IV proposed that a

consensus of the interior designers and upholsterers would

be in agreement that upholstered furniture should have

quality finishing features and assurances. The following

describes the collection of findings of the study.

29

30

Collection of Findings of the Mailed Questionnaire

Eighty questionnaires (Appendix) were mailed to a

random sample of interior designers and upholsterers from

the Dallas, Texas and Atlanta, Georgia area. The sample

was chosen from the American Society of Interior Design

(ASID) listings and the phone books for the respective cities.

Duplicate questionnaires were sent two months later to those

firms that did not respond to the first survey in an effort

to gain a higher return percentage. Still, return percentage

was low and again duplicate questionnaires were sent to those

firms that had not responded to the first or second survey.

This resulted in a total of one hundred ninety-six question­

naires mailed over a six month period. Nineteen of the

questionnaires were completed by the respondents and returned

representing a 23.75 percent return. Data from the question­

naires were collected and tabulated from each question. All

suggestions and comments were analyzed and utilized in the

formulation of recommendations for further study in this

area. Due to the small return from the upholsterers, the

statistical analysis of the hypotheses was not employed pre­

venting the hypotheses' acceptance or rejection. Whereas

40 percent of the designers returned the survey, only 7.5

percent of the upholsterers completed the questionnaire. The

term hypothesis was used for continuity throughout the study

though technically the term assumption would be more correct.

31

The purpose of the first section of the questionnaire,

presented in Tables 1-7, was to establish the credibility of

the respondents and the integrity of the individual businesses

The respondents were questioned concerning their experience

and education in the field of upholstery and certain policies

practiced by their companies.

Business Affiliation and Job Title

Table 1 shows how the nineteen respondents described

their business and job title. Eleven respondents were

affiliated with an interior design office; of these, eight

were presidents of the respective companies, one was a vice

president, two were designers and two declined to comment.

Five respondents associated themselves with retail furniture

stores; three of these were owners, one a manager and one a

designer. The remaining three respondents were owners of

upholstery companies (Table 1).

Table 1. Business Affiliations and Job Titles of Nineteen Respondents

Business Title Respondents

Interior Design Office 13 President/Owner 8 Vice President 1 Designer 2 No Response 2

Retail Furniture Store 5 President/Owner 3 Manager 1 Designer 1

Upholstery Company 3 President/Owner 3

TOTAL 19

32

Sources of Upholstery Training

A four year college was indicated by nine respondents

as their major source of education, while two more surveyed

indicated training through a four year college plus an

additional degree from an art and design school. One

respondent's preparation was gained through a three year

technical school, two respondents received degrees of

certification as designers after one year of specialized

training, and two others received training through adult

education programs. Three respondents indicated no formal

education but practical experience between fifteen and

forty years. Seven of the college graduates listed practical

experience of two to forty-six years (Table 2).

Table 2. Sources of Upholstery Training for Nineteen Respondents

T3rpe of Training Respondents

College Graduate 9 College Graduate and Further Training 2 Technical School 1 Degree of Certification 2 Practical Experience 3 Adult Education 2

TOTAL 19

Professional Affiliation

Thirteen of the nineteen respondents indicated profes­

sional affiliation with the ASID. One listed membership with

the Interior Design Society of NHFA, and the five remaining

respondents listed no professional affiliation (Table 3).

33

Table 3. Professional Affiliation of Nineteen Respondents

Professional Organization Respondents

ASID 13 NHFA 1 None 5

TOTAL 19

Previous Upholstery Education

Respondents were asked whether their previous education

in upholstered furniture sufficiently prepared them for their

present job. Of the nineteen respondents who returned the

questionnaire, eleven indicated they received adequate

education and eight stated that their education was insuffi­

cient. As one designer commented, " . . . education hardly

has time to teach on this--experience is the best teacher"

(Table 4).

Table 4. Previous Education in Upholstery Products

Training Respondents

Adequate 11 Inadequate _8

TOTAL 19

Upholstery Product Training

To an inquiry as to how the respondents acquired their

knowledge of upholstered furniture, six surveyed specified

general course work in upholstered furniture and thirteen

34

stated practical experience. Four respondents cormr.ented

that they had started as factory representatives or in some

capacity within the furniture factory and had found this as

one way to gain the best knowledge of upholstered furniture

(Table 5).

Table 5. Acquisition of Upholstered Furniture Knowledge

Respondents

General Course Work 6 On-the-Job 13

TOTAL 19

Upholstered Furniture Guarantees

Table 6 indicates whether or not the respondent's

business guaranteed the furniture that it sells or uphol­

sters. Seventeen respondents stated yes, that all

upholstered furniture components had their store or

business guarantee for quality. One of those surveyed

commented that his business did not guarantee fabric and

had only a two year guarantee on the frame. The remaining

respondent indicated that his business establishment does

not guarantee the upholstered furniture (Table 6).

35

Table 6. Guarantee of Furniture Quality and Durability

Respondents

Furniture Guaranteed 17 No Furniture Guaranteed 1 Partial Guarantee _J.

TOTAL 19

Consumer Product Information

Sixteen respondents stated that they tried to answer

consumer questions about furniture structure, care, fillings,

wood and fabrics very thoroughly and would volunteer any

extra information that they thought would be applicable.

One respondent commented that answers were given only to

questions asked and the two remaining respondents stated

that they gave very little information about upholstered

furniture (Table 7).

Table 7. Response to Consumer Questions

Extent of Answer Respondents

Very Thoroughly 16 Only Questions Asked 1 Very Little _^

TOTAL 19

The next three tables of data are concerned with the

furniture itself. The purpose of this section was to discover

36

what label information was attached to the businesses'

furniture, whether furniture was closely checked for defec­

tive parts, and if special finishes were applied to

upholstery fabrics.

Upholstered Furniture Label Information

Respondents were asked whether the upholstered furniture

contained six different types of label information: (1) filling

material specifications, (2) Seal of Integrity, (3) Tanners

Council American Seal, (4) special manufacturer's label of

construction care and warranty, (5) frame guarantee, and

(6) a care label. In response to the filling material

specifications, eleven respondents indicated yes, their

furniture did contain this information, eight responded no.

Eight of the nineteen respondents stated their furniture

contained the "Seal of Integrity," a guarantee of quality

workmanship throughout the piece. Only two of the respondents

surveyed indicated the leather goods contained the Tanners

Council of America Seal and five of those surveyed stated

that their upholstered furniture had a special manufacturer's

label of construction care and warranty. Six respondents

indicated that their furniture contained care labels and

only three stated that their furniture's labels contained

frame information and guarantees (Table 8).

37

Table 8 Label Information Attached to Upholstered Furniture

According to Nineteen Respondents

Label

Filling materials specification Seal of Integrity Tanners Council of America Seal Special Manufacturer's Label Care Label Frame Guarantee

Attached

11 8 2 5 6 3

A Not ttached

8 11 17 14 13 16

Quality Appearance Features

In response to whether upholstered furniture is checked

for straight, firm seams, matched patterns and neatly

finished backs, all respondents stated that they definitely

did check for this feature. As one respondent commented,

". . . if we didn't check, our customers sure would."

Application of Special Finishes to Upholstered Furniture

Eleven of the respondents indicated that special

finishes such as Scotchguard, and mothproofing could be

applied by their business. Of those respondents who stated

that a finish was not applied to upholstery fabrics, five

stated that a finish could be applied as requested by the

customer (Table 9).

38

Table 9. Application of Special Finishes

Applied Not Applied Applied Only If Requested

TOTAL

Use of Zippers in Cushions

Respondents

11 3

_5

19

When the respondents were asked whether the loose

cushions of the upholstered furniture for their business

contained zippers, seventeen reported yes. Of those

seventeen, three stated that though the upholstered furni­

ture contained zippers these were only for manufacturer's

use. One commented that after removing the cover, cushions

cannot be reinserted without a stuffing machine and look

the same as when purchased. One who responded no, stated

that the " . . . use of zippers in cushions is a misconcep­

tion. Zippers are not for customer home-cleaning and except

for manufacturer's convenience, we do not recommend them for

cushions" (Table 10).

Table 10. Recommendation of Zippers for Loose Cushions

Respondents

Recommend 17 Do Not Recommend _2

TOTAL 19

39

The third hypothesis of this study concerned the need

for a guide stating in simple terms the quality standards

that consumers should look for when purchasing upholstered

furniture. The next two tables of data established whether

the interior designers and upholsterers agreed with the

third hypothesis and to see if the respondents would

incorporate such a guide into their business.

Need for Consumer Guide

Respondents were asked whether the understanding of

upholstery quality standards was important enough to justify

a guide for consumers to follow when purchasing upholstered

furniture. Fourteen respondents stated yes, there was a

need for some kind of a guide; two indicated no, there was

not a need; and three did not respond (Table 11).

Table 11. Justification of Consumer Furniture Guide

Respondents

Useful 14 Not Useful 2 No Comment 3

TOTAL 19

Use of Consumer Guide

Though fourteen respondents indicated a need for a

consumer guide for purchasing upholstered furniture

(Table H ) , the responses differed when questioned whether

40

their firm would use a consumer guide if available.

Eighteen of the nineteen respondents stated they would not

use one. Some commented that a guide would be: "not needed

by experienced stores," "not important enough to most of our

clients," "too time consuming," "more offensive paperwork,"

and "this information in the hands of the consumer will only

end up confusing her, even in simplified terms." There was

only one respondent that commented ". . .it would be nice

to have one, but would not be used all the time--only when

requested" (Table 12).

Table 12. Development of Consumer Guide

Respondents

Would Use Guide 1 Would Not Use Guide 1^

TOTAL 19

The last section of the questionnaire contained questions

regarding the quality standards of upholstered furniture.

These questions were to indicate what were the main quality

factors according to the respondents and to find out if the

respondents were in agreement concerning the need of con­

sumers to purchase quality products.

Criteria for Purchasing Upholstered Furniture

The first question regarding quality standards was to

identify the most important element to be considered when

41

purchasing a piece of upholstered furniture. Nine

respondents indicated that the frame was the most importan

criteria, five indicated the inner materials, four chose

the fashion fabric and one stated that the integrity of the

manufacturer represented the most vital criteria for pur­

chasing upholstered furniture (Table 13) .

Table 13. Most Important Element Within a Piece of Upholstered Furniture According to Nineteen Respondents

Element Respondents

Frame 9 Foundations 5 Fabric 4 Integrity of Business 1

TOTAL 19

Ten respondents rated the fashion fabric the second

most important element within the upholstered furniture

product, five stated the frame was second, and four indicated

that it was the inner materials (Table 14).

Table 14. Second Most Important Element Within a Piece of Upholstered Furniture

According to Nineteen Respondents

Element Respondents

Frame 5 Foundations 4 Fashion Fabric 1^

TOTAL 19

/

42

In response to questions concerning the most important

element when purchasing upholstered furniture for the low,

middle and upper class incomes, a majority of the

respondents indicated that the frame, inner materials and

fashion fabric were all important for each income level.

As one respondent commented, " . . . consumers, no matter

the income, buy for good construction, high quality spring

construction and filling materials and the wearability, style

and looks of the fabric. All these are usually recognized

by the brand name or merchant's reputation" (Table 15).

Table 15. Purchasing Criteria for Different Income Brackets According to

Nineteen Respondents

Criteria Low Income Middle Income Low Income

Frame 0 4 4 Inner Materials 0 0 0 Fashion Fabric 9 5 5 All Components l^ i^ 1^

TOTAL 19 19 19

CHAPTER V

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

Restatement of the Problem

The study proposed to contribute a solution to the

problems consumers face by redefining the quality factors

in upholstered furniture. The study was accomplished in

five steps. (1) A study was conducted concerning charac­

teristics of furniture components including fabric, wood,

and structural characteristics. (2) Furniture components

were analyzed and interpreted for their association with

quality standards. (3) A questionnaire was developed to

determine if interior designers and upholsterers were in

agreement concerning the importance of different quality

standards. (4) Raw data were organized and tabulated.

(5) Quality standards were defined in terms of interior

designers' and upholsterers' preferences.

Summary of the Procedures and Findings

Review of Literature

In the overview of literature, information was obtained

from seven libraries in order to develop a precise account

of the quality features within the frame, inner materials

and fabrics of a piece of upholstered furniture. In

43

simplified terms, the review of literature indicated the

quality standards to look for when purchasing a sofa or

chair which were broken into three basic areas: (1) frame.

(2) foundations, and (3) fabrics. It was stated that the

frame was hidden but should have sturdy joints such as the

mortise and tenon or double dowel joints. It should not

"give" or make any noise when someone was seated. The

foundations provided the comfort. The inner materials were

a combination of a good spring unit, a comfortable and

durable padding and a muslin cover. When the piece of

furniture was put under strenuous tests for comfort no

"bumps," springs, frame edges or sounds should be felt or

heard. Finally, the fabric should have strong, straight

seams, matched patterns and tight weaves usually with special

backings for durability. The upholstered piece should con­

tain labels for care and material content and the store

should guarantee the product to be free from defects.

Presentation Questionnaire

A questionnaire was designed to obtain information

concerning quality standards in upholstered furniture and

the need for a guide to define these standards for consumer

purchase. The questionnaire was mailed to eighty randomly

chosen professional interior designers and upholsterers.

The information obtained from nineteen respondents, sixteen

designers and three upholsterers, was sorted and tabulated

in Chapter IV. Extensive statistical analysis was not

incorporated into the study because of the small number of

upholsterers returning the questionnaire.

Educational Background of Respondents

Hypothesis I stated that a majority of designers and

upholsterers would be in agreement that their previous

education did not sufficiently prepare them for consultation

concerning upholstered furniture.

Fifty-eight percent of the respondents indicated that

they had received an adequate academic education (Table 4)

in the upholstery area, yet, on-the-job training accounted

for sixty-eight percent of the educational background

(Table 5) and not academic classwork.

The investigator believed this hypothesis cannot be

accepted or rejected because there was a misconception or

a misconstrued meaning within the questionnaire. Therefore,

when comparing the questions of previous education and job

training, responses were inconclusive and conflicting.

Criteria for Purchasing Upholstered Furniture

Hypothesis II of this study stated that a majority of

respondents would be in agreement that a certain element

will be chosen as the deciding factor to the consumer when

purchasing upholstered furniture. Within the questionnaire,

interior designers and upholsterers ranked the elements of

upholstered furniture, that is, frame, foundations and

fabric, into the most important elements (Table 13) and the

46

second most important element (Table 14). Forty-seven

percent of the respondents indicated that they believed the

frame the most important element within a piece of uphol­

stered furniture, twenty-six percent stated the foundations,

and twenty-one percent stated fabric. One respondent

commented that the individual elements did not matter as

much as finding a business that guarantees their products.

No majority afforded a certain element as the most

critical factor within a piece of upholstered furniture.

This is further substantiated when comparing the criteria

in terms of low, middle and high incomes of the consumer.

Fifty-two percent of the consumers, according to the

respondents' opinions shown in Table 15, did not buy a sofa

or chair for any one certain element. As one respondent

commented, " . . . consumers, no matter the income, buy for

good construction, high quality foundations and the

wearability, style and looks of the fabric." Since the

respondents indicated all elements were important, realis­

tically no certain factor would be considered the second

most critical element. Yet, fifty-two percent of the

upholsterers and designers considered the fashion fabric

the deciding factor for purchase of a certain sofa or chair

when all elements reached the standards set by the consumer.

Although the majority stated all three elements were

important, percentages indicated that the fashion fabric

was rated more significant than the frame or the foundation.

Therefore, Hypothesis II is accepted.

7 /

Justification of a Consumer Guide

Hypothesis III stated that a majority of upholstery

and interior design experts would be in agreement that the

understanding of upholstery quality standards is important

enough to justify a guide for consumers to follow when pur­

chasing upholstered furniture.

Tabulation of the data indicated that seventy-four

percent of the respondents felt that the hypothesis was

justified and a guide was needed. But, ninety-five percent

of the respondents would not use the guide in their businesses

commenting, "too time consuming," "more offensive paperwork,"

and "this information in the hands of the consumer would

only end up confusing her, even in simplified terms."

Even though, in terms of percentages. Hypothesis III is

accepted, none of the firms would incorporate a consumer

guide of this type into their business.

Quality Features and Assurances

Hypothesis IV stated that a consensus of interior

designers and upholsterers would be in agreement that uphol­

stered furniture should have quality finishing features and

assurances. In the questionnaire, respondents were questioned

pertaining to product guarantees, labeling, appearance checks

such as matched seams and zippered cushions and application

of special finishes to upholstered furniture.

Eighty-nine percent of the respondents guaranteed their

products free of all defects (Table 6). Yet only sixteen

48

percent of the respondents indicated that their businesses

guaranteed frames (Table 8).

Fifty-eight percent of the firms responding stated

that the required filling materials specification labels

were attached to their upholstered furniture (Table 8),

forty-two percent of the respondents indicated that the

"Seal of Integrity" was attached to their upholstered

furniture, and only eleven percent attached the "Tanners

Council of America Seal." Twenty-six percent of the

respondents indicated the upholstered furniture at their

business contained special manufacturer's labels, and only

thirty-two percent stated their furniture had care labels

attached.

All of the respondents indicated that their furniture

was checked for firm seams, matched patterns and neatly

finished backs. As one respondent commented, ". . . if we

didn't check, our customers sure would." Eighty-four percent

of the respondents stated that special finishes are applied

or would be applied if requested. Several respondents

commented that their business only applies certain finishes

such as Scotchguard and mothproofing if requested.

Eighty-nine percent of the respondents indicated that

the upholstered furniture for their business contained

zippers. A majority of the respondents further commented

that zippers are not recommended for home use. "Zippers

are only for manufacturer's convenience, and should not be

considered a quality factor."

^9

Although Hypothesis IV is accepted, labeling in the

area of upholstered furniture is still limited and until it

can be improved further, consumers are limited to the

education and experience of the salesperson.

Recommendations for Future Study

For the purpose of future research, expansion and

refinement, the respondents were requested to give any

suggestions pertaining to upholstered furniture quality

standards, the questionnaire on the thesis problem.

Recommendations of Respondents Concerning Quality

Standards. Several respondents indicated that more emphasis

should be placed on certain elements both in the study and

the questionnaire. Some comments were: " . . . more emphasis

should be placed on the fabric. It is the only real problem

except for dealing with customer expectations." "A coil

spring unit is the only one to buy but one should be aware

that there are several good alternatives." "Let the industry

do its own informing about quality standards, only let the

public know that furniture must cost enough to be good

enough." Finally, ". . .in purchasing furniture that

conforms to quality standards the advisable thing for either

the high or middle income bracket people to do would be to

purchase from a well rated retail firm and be sure the price

Qf furniture you purchase was manufactured by a nationally

advertised company that would stand behind the piece of

furniture."

TEXAS TECH LIBRAKY

50

Recommendations of Respondents Concerning the Question­

naire. One respondent stated, " . . . the questionnaire does

not really relate to my world. We either specify from

companies such as Knoll, Baker, etc. which meet all require­

ments or we have furniture made by local upholsterers of the

best quality and no labels or instructions are used. The

best upholsterer in the country for custom goods is Thomas

DeAngelis Company, it might be good to check with this

company or other comparable companies for some sort of

comparison of standards, etc."

Another respondent stated that the force-choice manner

in which this questionnaire was constructed tended to elicit

only surface information. Yet the respondent did not offer

any solutions.

Researcher's Recommendations

After a review and interpretation of the findings and

suggestions contained in this study, the researcher recommends

that:

1. A simple consumer guide of upholstered quality

standards be composed for use in retail furniture

situations.

2. A study be conducted comparing the consumers'

viewpoints of product quality versus the interior

designers' and upholsterers' viewpoints.

51

3. Similar studies be conducted including a broader

scope of the country with respondents including

interior designers, manufacturers and upholsterers.

4. A study be conducted to determine the instrument

that will obtain the maximum response from the

professionals associated with upholstered furniture

LIST OF REFERENCES

Books

Alexander, Mary Jean. Decorating Made Simple. New York: Doubleday and Company, Inc., 1964.

Alexander, Mary Jean. Designing Interior Environments. New York: Harcourt, Brace, Jovanovick, Inc., 1972.

Austin, Ruth E., and Jeanette Parvis. Furnishing Your Home. New York: Houghton Mifflin Co., 1^"^^

Bast, Herbert. Making Upholstered Furniture. New York: Bruce Publishing Company, 1951.

Bast, Herbert. New Essentials of Modern Upholstery. New York: Bruce Publishing Company, 1970.

Bendure, Zelma. America's Fabrics. New York: The MacMillan Company, 1947"!

Brandt, Mary L. Decorate Your Home for Better Living. New York: Charles Scribner's Sons, 1950.

Brann, Donald R. How to Repair and Reupholster Furniture. New York: Briarcliff Manor, 1966.

Brostrom, Ethel. Revive Your Rooms and Furniture. New York: Bramhall House"! 1964.

Brumbaugh, James E. Upholstering. Indianapolis: Theodore Audel and Company! 1973.

Coles, Jessie V. Standards and Labels for Consumer's Goods. New York: Ronald Press Company, 1949.

Derieux, Mary. Complete Book of Interior Decorating. New York: Greystone Press, 1964.

Devitt, Connie Dodds, ed. Complete Home Decorating. New York: Galahad Books, 1973.

Hardy, Kay. How to Furnish Or Refinish Your Furniture. New York"! Funk and Wynalls Company, 1951.

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Hardy, Kay. How to Upholster Furniture. New York: Funk and Wynalls Company, 1952.

Howes, C. Practical Upholstery. New York: J.B. Lippincott Company"̂ 1952.

Johnstone, James B. Furniture Finishing and Refinishing. Los Angeles: Lane Books, 1969 .

Johnstone, James B. Furniture Upholstery and Repair. Los Angeles: Lane Books, 1973. '

Kinney, Ralph P. Complete Book of Furniture Repair and Refinishing. New York: Charles Scribner's Sons, 1950.

MacMillan, Donald D. Good Taste in Home Decoration. New York: Henry Holt and Company, 1954.

McCall's Decorating Editors. McCall's Decorating Book. New York: Random House Book, 1964.

Meyer, Elizabeth B. Decorating Liveable Homes. New York: Prentice Hall, Inc., 1947.

O'Connell, C. B. Home Furnishing Self Help. Trinton: The Scarecrow Press, 1968.

Pahlmann, William. The Pahlmann Book of Interior Design. New York: The Viking Press, 1960.

Pope, Blanche Romick. Upholstering Home Furniture. Chicago Manual Arts Press, 1949.

Rutt, Anna Hong. Home Fumishing. New York: John Wiley and Sons, Inc., 1948.

Stepat De Van, Dorothy. Introduction to Home Furnishing. London: 'MacMillan Company, 1964.

Trilling, Mabel, and Florence Nicholas. Design Your Home for Living.' New York: J. B. Lippincott Company, 1953.

Wingate, Isabel B. Textile Fabrics and Their Selection. Trinton: Prentice-Hail, 19/0.

Articles

Crane. Carol L. "Money Wise Guide to Buying Furniture, American Home (September, 1972), pp. 76-77.

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Clemens, Bette. "Faulty Furniture: Who's to Blame?" Better Homes and Gardens (March, 1975), p. 16.

Enright, Evelyn, and Ann Seranne. Happy Living. Los Angeles American Bride Publishing Company, 1970.

Eustis, Marjorie H. The Home Decorator's Guide. New York: The Studio Publications, 1955.

Fagg, Dorothy. "Learning Furniture Quality: If It Hurts, It's Cheap," Sunday (November, 1975), pp. 18-20.

. "Furniture Buying: How to Judge Case Goods," Better Homes and Gardens (May, 1975), p. 26.

Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (December, 1939), pp. 57, 87, 90, 91.

Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (November, 1939), p. 84.

Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (January, 1940), pp. 46, 64.

Unpublished Materials

Andrasko, Tania Day. "Quick-Sketch Rendering Techniques; Development of an Interior Design Instructional Unit." Unpublished Master's thesis. Texas Tech University, 1973.

Campbell, Lucille W. "Factors Involved in the Selection of Furnishings for the Home." Unpublished Master's thesis. Pennsylvania State University, 1964. Microfilm.

Dodge, D. Derrick. "Skills and Knowledge Relating to Occupational Qualifications in Interior Design." Unpublished Master's thesis. University of Missouri, 1966.

Hoffman, Lucy R. "Areas of Study Pertinent to Interior Designers Based on Interviews with Twenty-Seven Interior Designers." Unpublished Master's thesis. University of North Carolina, 1966.

Robb Ann N. "Consumer Knowledge of Household Textile 'Labeling Terms." Unpublished Master's thesis. University of Missouri, 1968. Microfilm.

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Bulletins and Reports

Friedman, Arnold. "Career Briefs," Bulletin of Interior Design Curriculum. Brooklyn, New YorlT! Pratt Institute, XII, No. 1, 1970a.

Little, Lillie B. "Buying Upholstered Furniture." College Station, Texas: Texas A&M University, No. L-845.

Woodruff, Louise, and Alice Mae Alexander. How to Upholster Cushions. St. Paul: University of Minnesota, 1973.

Woodruff, Louise, and Alice Mae Alexander. How to Upholster Overstuffed and Occasional Chairs. St. Paul: University of Minnesota Agricultural Extension Service, 1969.

APPENDIX

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By way of introduction, I am a graduate student at Texas Tech University, Lubbock, Texas. My specialization is Interior Design. As partial fulfillment of the requirements for the Master's Degree, all students are required to com­plete a thesis problem.

My thesis problem is to identify quality factors in uphol­stered furniture and to measure the extent to which upholsterers and interior designers agree with the factors.

I realize that you are very busy, and with this in mind, may I ask you to spend a few minutes of your time in answer­ing the attached questionnaire? Any suggestion and opinions you may have will help in the development of this study.

Your prompt reply will be appreciated.

Sincerely,

CAROLYN CUMMENS

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UPHOLSTERED FURNITURE QUESTIONNAIRE

Directions for completing this questionnaire:

Please read all items and respond to all questions by checking ( ) your response in the appropriate blank by the answer selected. In cases where more than one answer may be checked, specific directions are given.

Please answer all questions becuase if a questionnaire is returned with an unanswered question, it cannot be tabulated and may be of no value.

Your answers are strictly confidential and are to be used only as a part of a group study.

NAME TITLE

BUSINESS NAME

1. Which of the following best describes the business with which you are affiliated? (check one)

a. b. c. d. e. f. g-h.

Interior Design Office Architect Industrial Designer Manufacturer of Interior Furniture Wholesaler of Interior Furniture Contract Department Retail Furniture Store Upholsterer Other

EDUCATIONAL PREPARATION

2. Interior design/upholstery training (check each that applies to you).

a. College graduate (four years) ~~^^ b. Technical school (three years)

c. Degree of certificate (one year) d. Correspondence course

~~~~ e. Practical experience - how long? •~~^ f. Adult education

g. Other (specify) _^

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3. Professional affiliations?

a. ASID b. Other _^__^__ c. None

4. Do you feel your previosu education concerning uphol­stered furniture sufficiently prepared you for the job you are doing?

a. Yes b. No c. Explain

5. How did you acquire your knowledge of upholstered furniture?

a. Specific unit in upholstered furniture quality standards?

b. General course in upholstered furniture, no specific unit?

c. On the job. Explain

d. Other

6. Is an understanding of upholstery qualities, in your opinion, important enough to justify the inclusion of a guide for consumers?

a. Yes b. No

7. Does your place of business guarantee the furniture that it sells or upholsters?

a. b. c.

Yes No Explain

8. How long has your establishment (place of business) been in business?

9. To what extent do you try to answer questions of customers about furniture structure, care, fillings, wood, and fabrics?

a. Very thoroughly b. Only answer questions asked c. Very little d. None e. Other

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UPHOLSTERED FURNITURE CHARACTERISTICS

~P' ^o the labels on your upholstered furniture contain the following:

Yes No

a. Filling materials specifications b. Seal of Integrity - guarantee of quality

workmanship throughout the piece c. Tanners Council of America Seal (leathers

only) d. Special manufacturer's label of construc­

tion care and warranty e. Care label

11. Do you check to it that the fabric on your upholstered furniture fits neat, and has straight firm seams?

a. Yes b. No

12. Do you check to see if the patterns on your upholstered furniture are matched and centered?

a. Yes b. No

13. Do you inspect to see if the backs of upholstered furniture are neatly finished?

a. Yes b. No

14. Do you apply a special finish to your upholstery fabric?

a. Yes b. No

15. Do most of the loose cushions on your upholstered furniture have zippers?

a. Yes b. No

16 What is the most important element to be considered when purchasing a piece of upholstered furniture?

a. Frame b. Inner Materials c. Fashion Fabric d. Other

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17. What would be the second most important element?

a. Frame b. Inner Materials c. Fashion Fabric d. Other

18. What quality factors are the most important when deal ing with the upper income bracket?

a. Frame b. Inner Materials c. Fashion Fabric d. All the above e. Other

19. What quality factors are most important when dealing with the middle income bracket?

a. b. c. d. e.

Frame Inner Materials Fashion Fabric All the above Other

20. What quality factors are considered most important when dealing with the low income bracket?

a. Frame b. Inner Materials c. Fashion Fabric d. All the above e. Other

21. Would your firm use a checklist such as being developed from this questionnaire for consumers to purchase upholstered furniture if available?

a. Yes. Explain b. No. Explain

22. Please give any suggestions you may have pertaining to upholstered furniture quality standards, this questionnaire or the thesis problem.