upholstery journal, oct/nov 2008, digital edition · auto upholstery. upholstery journal ... the...

OCTOBER/NOVEMBER 2008

UPHOLSTERY JOURNAL

Subscribe at www.upholsteryjournal.info

Bring outdoor fabrics indoorsNew technology and changing lifestyles mean more furniture opportunities

Custom couch case study

Effi cient, inexpensive door panel redo

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http://www.upholsteryjournal.info

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goat skins > pig & goat suedes > sheep/lamb skins for garments

sheep skin leathers > chrome free leathers > leather textiles

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mailto:[email protected]



1UPHOLSTERY JOURNAL | OCTOBER/NOVEMBER 2008

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FEATURES

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ON THE COVER

10 Bring outdoor fabrics indoors Technological advancements and changing lifestyles mean more furniture options for you and your customers by Janice Kleinschmidt

14 Labor of love Communication, problem solving and experience help upholsterer create unique custom sofa for an Adirondack ranch by Mark Weller, Sterling Upholstery

20 Solving a door panel dilemma Rejuvenate tired door panels with this inexpensive, but efficient technique by Marshall Spiegel

2 EDITOR’S DESK Dollars, sense and change

4 UPDATE Sustainable materials used in performance auto; record jump in jute; One Good Chair award winners; fabric recycling program

8 NEW PRODUCTS From Clauss, Dehnco, Mauritzon, Omnova, Phifertex, Teknor Apex, Tri Vantage, Unifi

24 MIND YOUR BUSINESS Plan for the coming boom

27 CALENDAR

27 AD INDEX

28 SAVE MY SEAT A New Yorker’s chair takes a ride on the Western side

OCTOBER/NOVEMBER 2008VOLUME 16 NUMBER 5

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Dollars, sense and change

You may have noticed some aesthetic changes to this issue of Upholstery Journal—an obvious change to the cover, and subtle changes on the

inside to improve the magazine’s look and organization.

Just as upholstery styles and fabric designs change—annually, seasonally

and what often seems like weekly—to keep up with the latest trends, so do

magazine designs, although less frequently and with

less fanfare.

A trade magazine should provide its readers with

topical and useful information that is relevant and

helpful to running and improving their businesses. So,

while the look of Upholstery Journal is different—some

may even say cooler and prettier—the content has not

changed. The magazine’s staff will continue to provide

you with specialized technique and how-to stories for

building and maintaining upholstered products, along with substantial infor-

mation on how to grow your business.

Considering the uncertainty of the current economy, it is my feeling that

trade publications—pretty or not—take on a more important role as com-

panies like yours work to maintain a customer base and find new revenue

streams for lost business.

In order to keep making positive changes, we’d like to hear from you. Tell

us what type of stories you’d like to see that would be helpful to your business

or would teach you a new technique. Tell us the hot products you’re using in

your shop or that your customers are requesting. Tell us if you want to write a

story or be a source for an upcoming article. Let us know how your company

is doing.

Without your input, the magazine would contain a lot of what I think you

want to hear. Instead, I know it’s what you need to hear because you provide

the ideas and expertise.

And those changes make sense for the magazine and more than cents for

your business.

Editor’s desk

Publisher Mary [email protected]

Editorial Director Susan R. [email protected]

Editor Chris [email protected]

Associate Editor Kelly [email protected]

Contributing Writers (this issue)Patrick Astre, Janice Kleinschmidt, Marshall Spiegel, Mark Weller

Production Manager Russell [email protected]

Art Director Marti Naughton

Graphic Designer Cathleen Rose

Production Coordinator/Graphic DesignerKristen Evanson

New Business Development Sarah [email protected]

Advertising SalesJane Anthone, Katie Bryant Lang, Terry Brodsky, Vivian Cowan, Julia Heath, Mary Mullowney, Sandy Tapp, Elizabeth Welsh 800 225 4324

Advertising Account Coordinator Shelly [email protected]

Circulation Manager Mary [email protected]

Circulation Assistant Manager Susan [email protected]

Published by the Industrial FabricsAssociation International

IFAI President Stephen M. [email protected]

MFA Managing Director Beth [email protected]

Upholstery Journal educates readers in the art and craftsmanship of aftermarket and custom furniture, commercial and auto upholstery.

Upholstery Journal® ISSN 1072 5628, Volume 16, Issue 5 is published bi-monthly by the Industrial Fabrics Association International, 1801 County Road B W, Roseville, MN 55113-4061. Periodicals Postage Paid at St. Paul, MN and at additional mailing offi ces. Ridealong enclosed. Post master send address changes to Upholstery Journal, County Road B W, Roseville, MN 55113-4061. Return Undeliverable Canadian Addresses to Station A, PO Box 54, Windsor, ON N9A 6J5. Subscription inquiries, orders and changes contact: Sue Smeed, Assistant Circulation Manager, Upholstery Journal, 1801 County Road B W, Roseville, MN 55113-4061 Phone 800 225 4324 or +1 651 222 2508, fax +1 651 631 9334 e-mail: [email protected]. 1-year USA $39, Canada and Mexico $49, all other countries $69, payable in U.S. funds (includes air mail postage). Reprints: call 800 385 9402, [email protected]. Back Issues: call 800 225 4324, [email protected], www.ifaibookstore.com.

Chris TschidaEditor+1 651 225 [email protected]















http://www.ifaibookstore.com



The 2009 MFA National Convention is the premier event promoting the marine fabrication industry.

CRAZY TOURISTS

2009 MFA National Convention

January 11–13, 2009Hyatt Regency Jacksonville - Riverfront, Jacksonville, FL

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Our lightweight air stapler will help you make short work of virtually any upholstery job. With a magazine capacity of 160 staples and a quick-latch feature, you’ll spend more time stapling and less time loading. Its long-nose design helps you reach into tight spaces, like corners of chairs and sofas, more easily. And the light weight keeps your hands from tiring.

Plus, Rowley Company’s one-stop shopping convenience means you can buy an air stapler, staples, upholstery nails and jute webbing with one phone call, and get same-day shipping – just what you’d expect from your reliable provider of upholstery essentials.

Need upholstery tools and supplies? Visit the new Rowley Company website and make it easy on yourself.

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The Eco Elise from Lotus uses unique green materials in innovative ways that don’t revolve solely around tailpipe carbon dioxide. Traditionally, auto makers concentrate on reducing tailpipe carbon dioxide, however the Eco Elise uses sustainable materials, such as hemp, eco-wool, sisal, and high-tech, water-based paint during production and through-out the vehicle’s lifecycle to make it earth friendly.

Hemp is used for the composite body panels, the hard top and the spoiler, as well as in the lightweight seats. Hemp is a strong fiber that absorbs carbon dioxide through natural photosyn-thesis and is manu-factured using low energy. The hemp mate-rial is used with a polyester resin to form a hybrid composite.

The two flexible solar panels embedded in the composite hemp hardtop contribute power to the electrical system and save energy that would have come from the engine. The solar panels are integrated into the hard top to showcase this technology’s feasibility.

The Eco Elise is 70 pounds lighter than the standard Elise S, which means higher fuel economy and better performance. The philosophy of the Eco Elise is “performance through light weight.”

The materials sourced for this automobile were studied carefully to ensure that each technology used reduces the environmental impact of the vehicle. The life of the com-ponents was analyzed during the production stage, in-use and at the end of the vehicle’s life. The technology used to produce the car, as well as during the lifecycle of the vehicle, aims to offer lower emissions of both solvents and carbon dioxide.

Visit www.lotuscars.co.uk.

Sustainable materials used in performance auto

UPDATE



http://www.lotuscars.co.uk

Westlake fabric production moves to ChinaDecorative upholstery fabric line Westlake will now be produced by Westlake-Rugao in Rugao, China. The line had previ-ously been produced by various Asian mills.


One Good Chair award winnersThe One Good Chair International Design Awards announced winners at the Las Vegas Market. Jessica Konawicz of Raleigh, N.C., and Jittasak Narknisorn of Woodland Hills, Calif., won the top prizes.

The Pandanus Lounge Chair designed by Konawicz is constructed from a single biodegradable and renewable resource material. Positive, the chair designed by Narknisorn, uses metal, plywood and felt in its design.

Fabric recycling programThe Sample Waste Initiative for Furniture and Textiles industries (SWIFT) started a fabric recy-cling program called the Green Initiative for Furniture and Textiles (GIFFT). Discarded fabric is collected and reused in quilts, wheelchair bags and other items for children in need.

The organization aims to col-lect 10 tons of fabric this year. All donations are tax-deductible. After fabric is collected, it is taken to vol-unteer quilting organization Quilts for Kids, where quilts are created and delivered to children in hospi-tals and other care facilities.

Visit www.swiftproject.org.

GIFFT founder Sue Patrolia

Silicone softener from Dow Corning launchesDow Corning introduced its OP-8800 Premium Hydrophilic Softener, a technology that helps fab-ric finish formulators produce better-performing fabric finishes.

The technology provides improved softness and wickability, little to no impact on whiteness and stain release properties, process stability, and because of the low levels of solvents or volatile organic com-pounds, is more environmentally sustainable.


http://www.swiftproject.org


Record jump in juteThe jute industry achieved a record production high by around 30 percent to 1.78 million tons in 2007-08, up from 1.35 million tons in 2006-07. Sacking materi-als saw the highest rise, followed by hessian, carpet backing cloth and yarn production.

The leap is attributed to a high crop yield and demands from the market.

Restricted substances list publishedThe American Apparel & Footwear Association (AAFA) published its third release of the global AAFA Restricted Substances List, which covers home textiles, apparel and footwear.

The list is available free of charge on the AAFA web site. A set of chemical management tools is also available for viewing.

Visit www.apparelandfootwear.org.

Substances

Glen Raven receives environmental awardGlen Raven Custom Fabrics earned membership in the South Carolina Environmental Excellence Program. A vol-untary initiative, the program recognizes facilities exercising environmental leadership in the state.

Glen Raven prevents more than 400 tons of materi-als, packaging and paper from going into landfills. The company reclaims 500 tons of raw material waste for other product applications.

Sunbrella and Glen Raven on the greensGlen Raven and Sunbrella are sponsoring Jerry Richardson Jr. and his quest for a PGA Tour card.

During the next two years, Richardson will wear Sunbrella and Glen Raven logoed golf shirts, and participate in corporate and customer events.

UPDATE



http://www.apparelandfootwear.org

http://www.lebaronbonney.com

http://www.larrydennis.com


Visit our website at www.pyramidtrim.com

1(800) 333-TRIM(651) 645-8126 Fax (651) 645-3645576 North Prior Avenue • St. Paul, MN 55104

Qualityautomobile, marine and aviation trim productsand service for over 35 years.

AircraftFAA certifi ed cloth, leather, sheep skin, vinyl, carpet and foam

AutomotiveOEM cloth, vinyl, and headlining, Leather, Convertible tops, back glasses and curtains, pads and cables, Haartz topping materials, Dorsett carpet, jute underlayment pad, Foss non-woven carpet, trunk liner and sound insulation,Molded carpets, Enduratex & Futura vinyl, and High Spec nylon thread

MarineEnduratex & Futura marine vinyl, Marine hidem, Dorsett Bay Shore and Aqua-Turf carpet, Recacril Acrylic Topping, Top Gun polyester marine topping, Sunguard polyester thread and YKK marine zippers

Upholstery SuppliesOsborne tools, Spradling cloth windlace and embossed pvc welts, Ardwyn bindings, hidem and wire on, SEM Color Coat and Classic Coat dyes and preps, Snap fasteners, Auveco products and More

ServiceA trained, knowledgeable customer service staff Prompt attention to your needsSame day shipment for in stock orders

Call or visitour website for PremAir information!

Carpet manufacturer acquired by textile supplierTextile supplier Milliken & Co. acquired carpet manufacturer Thomas Industries, which filed for Chapter 11 bankruptcy.

Milliken intends to maintain Thomas’ two plant locations and operations without interruption.

Mills increase green fabric outputFabric mills are receiving more requests from their customers for eco-friendly upholstery fabric options.

This trend began with contract sources and has recently crossed over into residential upholstery. Organic cotton and hemp are offered as alter-natives for upholstery manufacturers to consider when covering new pieces.

Some manufacturers are not willing to spend 50 percent more on organic fabric for their furniture, however price does not always influence decision. Manufacturers still consider the way fin-

ished furniture looks and feels, and whether consumers

will buy. Customers still want beauti-

ful products, and are will-ing to pay for them. Some

customers, how-ever, value an attractive product over environmen-tal support.

Also, some companies offer environmentally friendly finishing agents in addition to natural and recycled fabrics.


http://www.pyramidtrim.com


New fabric line from PhifertexMarquésa from Phifertex is 100-percent recyclable and suitable for indoor or outdoor use. The line is based on four design trends and color combinations Phifertex calls Tribal Council, Seaglass Coast, Eclectic Whimsy and Tennis Match. Woven designs are available in dob-bies, wicker weaves, stripes and jacquards. All fabrics are antimicrobial and stain-resistant, and are ideal for deep-seating cushions, sling applications and umbrellas.

Visit www.phifer.com or call 800 221 5497.

Boltaflex offers three new stylesViva, Vista and Venue from Omnova feature bright, vibrant colors and metallic sheens for contract appli-cations. The newest 28-ounce vinyls in the Boltaflex contract upholstery line are leather-like in appearance, but still soft and pliable. Patterns in all three styles coor-dinate, and 49 colors are available.

Designs can be used for interior or exterior projects and include Omnova’s protective Prefixx finish. Custom colors and weights are available.

Visit www.omnova.com.

No-glue berber carpetBerber carpet from Tri Vantage features a specially designed backing that doesn’t have to be glued down. The Aqua Trac backing is baked onto the carpet, pre-venting delamination, cracking and wrinkling, and allowing water to drain.

The carpet mats are constructed of 100-percent UV stabilized polypropylene/olefin fibers. The berber car-peting is available in two patterns of neutral colors and includes a three-year limited warranty.

Visit www.trivantage.com.

Abrasion- and fire-resistant fabricFire-Foil poly cotton fabric from Mauritzon uses a Solarbloc Bionic finish that is water- and abrasion-resistant. The fab-ric is 79 inches wide and comes in 11 colors. A seven-year, full fabric replacement warranty is included.

Call 877 827 7634.

NEW PRODUCTS


http://www.phifer.com


http://www.omnova.com

http://www.trivantage.com


Shears for cutting KevlarBent Kevlar Shears from Clauss are specially designed for cutting Kevlar materials, as well as plastic, canvas and upholstery. The shears feature micro-serrated blades made from high carbon alloy steel with molybdenum and vanadium, and a lifetime warranty.

Visit www.claussco.com.

Titanium bonded utility knifeThe SpeedPak utility knife, a titanium bonded, car-tridge-based knife from Clauss, features easy and safe blade replacement and an ergonomic, slip-free grip. The SpeedPak knife includes one disposable blade cartridge and a lifetime warranty. Round point, hooked and ser-rated blades are available.

Visit www.claussco.com.

Compression cutterThe Advanced Performance Compression Cutting System from Dehnco combines compression cutting technology with precision linear motion for straight cuts with no threading or rough edges. A rotary blade enclosed in the cutter housing cuts in both directions. The machine retains the leading edge of the material for easy access, and multiple materials can be loaded into the cutting system simultaneously.

The Advanced Performance Compression Cutting System can be used on canvas, vinyl, fiberglass, cloth,

foam, rubber, natural and syn-thetic fibers, and woven and non-woven materials. The system has a cutting capacity

of up to 100 inches and can be table-mounted or free-standing. Pneumatic drive systems are available.

Contact Jeri Shadrick at +1 847 382 1579.

Recycled nylonRepreve nylon from Unifi Inc. offsets the need to pro-duce virgin nylon by using all recycled materials for its product, conserving the equivalent of 6 million gallons of gasoline.

Unifi partnered with Burlington Worldwide, a divi-sion of International Textile Group Inc., and United Knitting to develop eco-friendly woven and knit fabrics using Repreve nylon yarn.

Visit www.repreve.com.

Low VOC vinyl trim productTeknor Apex Co. uses a new innovative formulation technology to manufacture flexible vinyl compounds for trim profiles in furniture applications. The formula-tion reduces emissions of volatile organic compounds (VOCs) by 80 percent or more compared to conven-tional counterparts.

The compound can be used to manufacture molded items, extrusion coated fabrics, and extruded and cal-endered sheet used in furnishings. Applications include wall coverings, window treatments, office partitions, fur-niture trim and baseboards.

Visit www.teknorapex.com.


http://www.claussco.com

http://www.claussco.com

http://www.repreve.com

http://www.teknorapex.com


BRING

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Gina Wicker scoffs at the notion that her mother called the place in their house with the sofa the “living” room. “We were never allowed to go in there,” she says. “It was off-limits to the kids.” Today’s living rooms justify

the name, thanks to the transition of outdoor fabrics to interior aesthetics.“When people hear ‘outdoor fabrics,’ they think ‘stiff,’ ‘boardy,’ ‘plasticky,’” says

Jeff Jimison, vice president of sales and marketing for Shuford Mills of Hudson, N.C. “They tend to think of fabrics they might have found on outdoor furniture 10 to 15 years ago.” Now, performance fabrics such as Shuford’s Outdura are woven just like indoor fabrics, with finishing techniques that create softness and draping. “You really can’t tell the difference between indoor and outdoor fabric,” Jimison says. The differences being that “outdoor” fabrics are fade-, moisture- and stain-resistant and are easy to clean.

Pretty is as pretty does“We only use solution-dyed acrylic fibers; the color is locked in, so it can’t be bleached out,” Jimison says. “Even acetone can be used as a cleaning agent without damaging the fabric. We put a water- and additional stain-resistant finish on the fabric, so it repels spills, like water, orange juice and wine.”

Even high-end furniture makers and upholsterers are jumping aboard. “People can spend $12,000 for a sofa and it’s not cleanable,” notes Wicker, design director at Glen Raven Inc., which manufactures solution-dyed acrylic Sunbrella. “I think as Sunbrella becomes more prevalent in that market, furniture makers are saying, ‘You know, it makes perfect sense if we make that sofa in Sunbrella.’

“Customers are finally understanding our story,” Wicker continues. “It has taken a long, long time with interior designers. Every time we are at a trade event, about 50 percent of the designers there have never seen velvet, window treatments and decorative products made with performance fabrics.”

OUTDOOR FABRICS

INDOORS

Technological advancements and changing lifestyles mean more furniture options for you and your customers by Janice Kleinschmidt

Crypton Super Fabrics’ In & Out features an integrated moisture barrier that makes it not only useful outdoors, where cushions can be rained on, but also indoors, where spills can occur.

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The color of contentmentIf using an outdoor fabric indoors brings to mind a red-checked picnic tablecloth upholstered onto Queen Anne dining room chairs, it’s time to step outside and smell the colors.

Gina Wicker of Glen Raven, which makes Sunbrella, notes a few trends from the International Textile Market Association’s Showtime semiannual trade show in High Point, N.C., in early June.

“Textures and basics seem to be very prevalent,” she notes. “We saw a lot of interest in warm/cool combinations.”

Examples include gray, which typically comes across as icy, com-bined with buttercup; charcoal gray and cocoa (which, Wicker notes, complements today’s black finishes and accents); and soft green or gin-ger/clay combined with cocoa.

From a pattern perspective, she adds, people are looking for fresher, more upbeat styles, such as “tradi-tional Jacobian floral or frame dam-ask colored in a contemporary way,” and replacing navy, forest green and burgundy with clay, peridot, cocoa or charcoal gray.

Sarah Hardy, manager of Michael’s Custom Built Inc., an upholsterer in San Rafael, Calif., notes a trend away from earth tones to crisp white and bright colors, such as lime green, bright orange and hot pink.

“In times when the economy is not good, people tend to look for patterns and colors trending to a happier place,” Wicker says. “People gravitate toward things that make them feel good.”

Jeff Jimison of Shuford Mills, which makes Outdura, says he’s seeing a trend toward woven jac-quards, medallion weaves and dobby textures. “Texture is very big right now, whether by weaving technique or novelty yarns,” he says. “Anything that goes in the home in terms of style is expected of us.”

Let the sun shine inSince its debut in 1961, Sunbrella has become well known and respected in boating and coastal communities, where awnings and cushions must withstand the rigors of the sunny, wet and active marine environment. More recently, the fabric sells particularly well in residential areas of the Midwest and New England states. Wicker attributes that development to “the trend toward atrium windows and open floor plans where a lot of light is allowed to penetrate into the house.” In Florida and California, where strong ultraviolet rays often pass through glass walls, fade resis-tance is a key selling point, but that alone doesn’t address the “living” room issue.

“We really sell the customer on cleanability,” Wicker says. “Sunbrella warranties its fabric to the worst-case scenario: three years outside in Phoenix, Ariz. It will last longer than you want it to in some cases.”

Since developing proprietary pigment technology with Monsanto years ago, Glen Raven has used advancing technology to tap into the interior market in the last few years. “We have taken the same fabrics used in awnings and created chenille and bouclé yarns,” Wicker says. “We have changed our weaving construction to make the fabric less boardy.” Because faded detailing can make an otherwise qual-ity piece of furniture look cheap, Glen Raven recommends upholsterers also use Sunbrella trims and thread that can withstand the elements, as well as bleach.

Shuford’s Outdura began as a line for the casual furniture industry in 2003. Now, it comes in more than 1,200 colors and patterns. “We introduce 300 to 400 new styles every fall,” Jimison says. “We have a strong domestic business with traditional

Top: In 2002, Glen Raven Inc. and designer/ TV host Joe Ruggiero forged a partnership. Since that time, Ruggiero has developed a line of about 500 patterns and colors for Sunbrella, including Luxor III (shown here on the sofa and chairs) and Colony (on the ottomon). Bottom: Today’s performance fabrics, such as Shuford Mills’ Outdura (shown here on the sofa) are so similar in look and feel to non-outdoor fabrics that they can be easily integrated into just about any interior design scheme.

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residential furniture manufacturers, and we have a growing international customer base. These fabrics are becoming very popular in Europe.”

“We are online right now looking for hot pink outdoor fabric,” says Sarah Hardy, manager of Michael’s Custom Built Inc., an upholsterer in San Rafael, Calif. “Performance fabrics have become a huge trend. “My collection has more than quadrupled in size.

“I think what happened partly is technology, because it used to be that outdoor fabric came in canvas and awning weight in limited colors,” Hardy says. “They came up with a furniture weight that’s softer and more flexible. I have even gotten velvet.

“If I have somebody come in and they’ve got dogs or kids, and they can take the furniture out and hose if off, that’s pretty major, as opposed to something that’s ‘don’t spill on it; don’t eat around it.’”

The price of performanceAlthough Hardy caters to a high-end clientele in the San Francisco area, she cau-tions that performance fabrics sometimes cost too much when customers weigh their options. “I have gotten over $100, even close to $200 a yard, so some people will turn back because of the price,” she says.

However, Jimison says performance fabrics are no different from other fabrics when it comes to a range of price points. There are indoor-only fabrics also in the $100 to $200 range. And Wicker notes that furniture manufacturers are recogniz-ing economic value beyond the longevity factor of performance fabrics. For the past few years, she says, they have been buying inexpensive fabric from China, but have to buy more at a time, which results in warehousing expenses, and have been disappointed in the quality.

“Several manufacturers have done surveys on whether people would pay a couple hundred dollars more for a sofa with Sunbrella than silk, cotton or linen,” Wicker says. “Overwhelmingly, results show people are willing to pay extra for fur-niture that lasts longer.”

Seamless livingConsumers aren’t just looking for performance fabrics that have the right look and feel for interior applications. The growth of “outdoor living rooms” has further spurred a focus on designs that create a seamless transition between the indoors and out.

“People don’t want to sit on some outdoor fabric,” says Lance Keziah, executive vice president of fabric sales for Crypton Super Fabrics of West Bloomfield, Mich., which manufacturers In & Out at its North Carolina plant. “There are beautiful fabrics out there, and the hand of the fabrics is such that you don’t know they’re performance fabrics anymore.”

In business for 15 years, Crypton, which also makes dog beds and has partnered with William Wegman and Michael Graves for designs, holds 14 patents on technol-ogy and introduced In & Out two years ago. The 200-SKU line includes polyester, solution-dyed acrylic and polypropylene.

“Every yard of fabric we make is highly cleanable, stain resistant, resistant to mold and mildew, and has an integrated moisture barrier,” Keziah says, adding that In & Out is approved by the U.S. Environmental Protection Agency as disinfect-able, and the company has garnered independent certifications for making green products through a green chemical process.

While sunrooms, family rooms and dining rooms comprise the largest segment of the market, performance fabrics are even working their way into bedrooms, espe-cially for children and for window treatments. And manufacturers continue to tap into new applications. Glen Raven, for example, has a line of 118-inch-wide sheers, and Crypton is working on wall-covering applications.

“This is a segment of our business that is rapidly growing, and we are spending a lot of attention and money on the In & Out portion of our business,” Keziah says.

So let the kids be kids, the dogs be dogs, and the living room be the “living” room.

Janice Kleinschmidt is a freelance writer based in Palm Springs, Calif.

Top: Performance fabrics make their way into more intimate areas of the home, as shown by this bedding in the Joe Ruggiero Collection for Sunbrella. Bottom: The technology for performance fabrics has advanced such that they can be made in chenille, as shown by this loveseat upholstered in Sunbrella fabric. Accent pillows are covered in Sunbrella/Ruggiero designs.

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Communication, problem solving and experience help upholsterer create unique custom sofa for an Adirondack ranch

story and photos by Mark Weller, Sterling Upholstery

LABOR

LOVEof




Top: This custom-built sectional by Sterling Upholstery in Moscow, Pa., contains more than 525 individual sewn leather pieces. Repeated designs and figures in alligator-pattern leather were used to book match and create new, original designs. Depending on the look desired in a particular section, regular seam stitching and various size top stitching were used to join leather sections. Heavy density foam rubber was used in the seat cushions; lighter density foam in the backs. Varied thickness Dacron layers and foam applications were used in the sides, panels and outside. This project, which took 120 hours to complete, won a Platinum award in the 2008 Upholstery Journal Design & Craftsmanship Contest. Above: The Sterling staff (left to right) Judy Shaffer, Clint Lamfers, Scott Wilson, Chuck Nahlen, Mark Weller, Andee Weller.

My shop, Sterling Upholstery in Moscow, Pa., received this

unique project because of recommendations from our

satisfied clients. We don’t advertise much; we obtain most of our

business through word-of-mouth. And it seems we always get bet-

ter qualified customers that way.

This particular customer was looking for a sofa to fit a specific area in front of a large stone fireplace in his ranch house. The customer wanted the piece to be a dividing line along a walkway leading to a home theater area, so we designed it with visual interest on all sides. That aspect was a creative hurdle, which came together after we got started.

We had several problems to solve from the start. The clients wanted the piece to have as much seating as possible and include attached table surfaces, but they didn’t want the piece to overpower the area and they had to be able to see over it. I explained to them that they would have to compromise in some areas. The clients’ on-site craftsmen had made cardboard sofa prototypes in an attempt to find a solu-tion, but the models would only seat four with a 15-inch depth on the seat and 12-inch height on the backs. The clients didn’t understand proper lumbars and arches for backs, and minimums of 18-inch depths on the seats—dimensions necessary to allow for proper foam densities, heights of table areas and, most importantly, comfort.

As we discussed these aspects, the shape and sizes of the cardboard prototypes changed drastically. The clients were confused, but I explained all the changes I suggested and that they should allow me to go home, create some sketches, do some figuring and get back to them. They were relieved—but I left more confused than they were.



I’m not good at proposals, so I knew I would have to get some type of cre-ative license from the client and that I would need to convince them to trust me. At our second meeting, I had some sketches that I didn’t like and measure-ments I wasn’t happy with. I couldn’t solve any of the original issues. It just wasn’t working. I brought large rolls of paper to lay out pattern ideas, and

I told the clients that I could meet all their needs if I could make one large sectional instead of two sofas. They never considered that option, but I knew they were open to new informa-tion and I wasn’t disputing any of their original ideas. That’s also when their craftsmen left.

Now I could get the depths I wanted, increase the seating capacity to seven or eight and include 12-inch by 28-inch attached curly maple table tops. Most

importantly, I was in charge now and I could sense the clients’ excitement as they began to see the project unfold.

I started laying down paper and making measurements. I placed long pieces in all the available space, then I began to get the clients’ input on walk-around areas, close-to-the-wall areas, and depths and lengths. I filled as much space as I could with allowances

to adjust. I got final approval from them on sight, said thank you and went back to my shop.

Now I had to figure materials and cost—the part I dislike the most. Cost can deter creativity. I can see a proj-ect in my head, but as I move for-ward something else—usually some-thing better—appears. I’m not patient enough to figure to the last screw, so I add a creative charge of unexpected costs, and then I get started.

My experience has taught me that I never charge enough. My price on this piece was lower than it should have been. I needed more plywood and more leather due to changes I made to enhance the overall shape and final aesthetics of the piece.

I laid out the pattern on my shop floor (photo 1) and showed my crew. They gave me that familiar “you’ve lost your mind” look.

The first task was to determine the size. We have to be able to carry it and it must fit through doorways. We decided to break it into three pieces: a main center piece and two remov-able, bolt-on arm pieces (2, 3). The entire piece needed to be supported effectively throughout and be level when assembled.

The unorthodox shape creates a 90-degree angle at the outside arms, and the inside seating angles presented lots of problems. The side seating is 1½-inches deeper than the center area (4). I had no idea why, so I just adjusted as I went. I didn’t like the outback being so straight, so I rounded it (5). I can envi-sion shapes and angles I want, but then I have to fit them into construction—and that’s where the difficulty lies.

The leather design and application was the biggest challenge. I stared at the frame for a week; I had no idea where to start.

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The fabric applications must flow into the designs. I find ¾-inch and 5⁄8-inch plywood works best for con-struction. It’s easy to cut shapes and angles, and it’s easy to add support to or change a measurement.

I usually shape angles by eye, then make a jig for duplicating the angle on the overall design. This piece had the same shape from the center left to right. I was able to cut double shapes, then reverse them from left to right, which saved time.

To figure final measurements for height and depth, lumbars and the angle of the back, you must know the fillings you are using. Densities are important too. Leather is stiff, so we used softer foam in the seats and backs. A lot of my construction infor-mation comes from general practical knowledge and years of experience with furniture. Different manufactur-ers, styles and shapes seem to repeat over time.

I wanted a hidden floating base. I used 3⁄4-inch flat discs painted black so as not to be noticed under the piece. I made a recessed kick-plate base between the arms. Under the main seating area I angled the back

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about 2 inches and made separate seat units that sit on top. This made for easy installation and upholstery. I always break down my pieces into as many parts as I can, then install each part to build the piece.

I had to make sure that the plate, the front deck and the front bands were in proportion. The deck front should be bigger than the cushion front band, and the bottom kick plate should be the smallest. The measure-

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ment must add up to standard height for the cushion surface, with allow-ance for depression in the seats when sat upon. That’s where all my gen-eral knowledge of furniture comes in, just from upholstering thousands of pieces.

Another detail is the height of the sofa’s arms, so a person’s arms rest comfortably. The arms on this piece are larger than normal, so I had to make sure of their proportion (6).

The tops ended up being a 12-inch by 32-inch flat surface.

I had some really groovy 1¼-inch, highly-figured curly maple planks. I wanted them that large to show off the natural dark veins and figures. The table tops lift off and expose large storage compartments, which are two-toned upholstered and matched inside (7). This is one of the variables I didn’t figure into the proposal, but it present-ed itself and I just had to do it.

Three-quarter-inch plywood is easy to shape and cut into cool designs. It makes glue joints well and usually needs no clamping.

I used drive screws. I have three guns and buckets of different screws—always square-head for torque.

The leather design and application was the biggest challenge. I stared at the frame for a week; I had no idea where to start. I knew I wanted an Adirondack-lodge look mixed with American Indian elements. I’ve always appreciated American Indian quilts and rugs. The designs are geometric, but flow nicely.

We took some measurements and got started laying out strips of leather, switching colors and moving pieces (8, 9, 10). That lasted another week. Judy Shaffer, our expert sewer and pattern maker, was always next to me to make sure what I wanted could be done. When something couldn’t be done one way, we made another way work.

I love the look of top stitching, and it never looks better than when it’s done on leather. We made designs with top stitching by crossing it certain ways (11, 12). We thought we made a mistake in the flow of the stitching by not reversing it in the center book

9 10 11



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matching of the feather design, but it created a groovier look. We carried it out over the entire piece, which need-ed centered designs on 12 panels. I was able to cut that by centering two large designs, one on the inback and one on the outback. I matched the two side seating areas on the inback and outback. Then I matched the arms all around (13).

Once I saw the inback, I had to design something cool and large on the seat surface (14). Then I had to design something on the side seats to complement their inbacks. I used twice as much time in design and prepara-tion, which was necessary to achieve the ultimate look of the art.

The last hurdle was delivery and acceptance. I drove an hour and a half to the clients’ home, thinking about this huge project that I loved and wanted to keep for myself. Well, they freaked out; they just loved it. It looked like the house was built for this incredible sofa. The piece was sur-rounded by all sorts of similar designs in furniture, wall hangings and won-derful art and accessories.

On the way home I looked at my wife and said, “What’s next?”

12

13 14


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Solving a door panel dilemma

Rejuvenate tired door panels with this inexpensive, but efficient technique

story and photos by Marshall Spiegel

How often does a customer roll into your shop with a problem that he wants you to solve for practically nothing? Whatever your answer to this question, the fact remains that this scenario happens too often.

Take door panels, for example. The average vehicle owner is convinced, based on his very limited experience, that you, the auto upholsterer, should be able to perform your magic on his almost irreparable door panels for just less than 13 bucks an hour to cover materials, labor and whatever profit to which you are entitled. By now, you should be smiling broadly and remem-bering the many times this has happened to you.

There are, however, techniques to economically repair some door panel problems. These techniques have evolved from vast experience in the indus-try and the unparalleled creativity of some trimmers and their willingness to “try anything.”

Such a situation happened recently at Bud’s Auto Upholstery in Long Beach, Calif. The customer brought his beautifully maintained 1995 black Audi 90 to shop owner Tom Benson to have the bedraggled interior rebuilt. Apparently, the dozen years of service and the damage done by several “washings” of the interior had left the foam and glue dried and crumbling. Although the vinyl fabric was still in good order, the door panel inserts were flapping in the breeze, and the interior was literally falling apart.

Pricing a rebuild like this with new fabric, new foam and hours of labor could make the average customer cry, especially those guys with that pre-conceived budget of $13 an hour. Fortunately for this customer, one of Bud’s star upholsterers, Max Chavez, is a 50-plus-year veteran of the upholstery industry and a very inventive craftsman. The accompanying photos and cap-tions show how Chavez put the doors of the Audi back in shape beautifully, without destroying its owner’s pocketbook.

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This 1995 Audi 90 looks great, runs beautifully and is good on gas, so the owner decided to have the upholstery shop restore the interior, the car’s only real flaw.

After the owner explained that he had a limited budget, upholsterer Max Chavez began by removing the dried foam and glue from the front door panel. Chavez uses a piece of scrap foam to thoroughly clean the dried foam and glue from beneath the vinyl door panel section.

Chavez then carefully loosens the vinyl panel surrounding the door handle. The final step in removing the dried foam and glue is blowing off the area using a pressurized air hose.

Masking tape is applied to protect the faux-wood trim on the door panel. When Chavez is satisfied that the area beneath the vinyl panel is thoroughly clean, he prepares to begin the next step. Masking tape is applied to the border of the section to be covered.

Chavez then very carefully begins to bond the vinyl section back into position with spray-on upholsterers’ glue. Chavez continues applying the spray adhesive until the vinyl panel and the area beneath it are both saturated.

After the spray adhesive has been applied thoroughly, the protective masking tape is removed.



Now Chavez’s artistry begins as he works the edge of the vinyl panel into the existing depression in the door panel with a screwdriver.

Next, Chavez introduces a strategically placed clear plastic panel that facilitates the rebonding of the vinyl panel. Chavez then adds another layer of protective masking tape.

Satisfied that the vinyl panel is perfectly positioned, Chavez slips the plastic sheet out and bonds the vinyl panel permanently in place.

With the plastic sheet still in place but not bonded, Chavez carefully puts the vinyl panel in position and begins bonding it.

Chavez deftly manipulates his scissors to trim the excess vinyl from the panel so it fits perfectly. Chavez continues trimming the vinyl panel until he is satisfied the edge of the vinyl will fit into the pre-existing depression in the door panel.

Chavez then gently but firmly works the outer edge of the vinyl into the depression in the door panel. Chavez performs each step in the restoration process to both front doors in turn.

After carefully bonding the trimmed section of vinyl in place, Chavez applies silicone to the seams to lock it in place and prevent the vinyl from “lifting.”

Chavez manages to stretch the original vinyl smoothly over the original section it covered, and carefully positions the outer edge into the groove in the door panel.




STATEMENT OF OWNERSHIP

Look closely at this restored door panel, a work of art and craftsmanship utilizing the original vinyl without replacing the dried foam. Pretty and inexpensive. Although the rear doors have a different door panel configuration, Chavez employed the same technique to restore them.



by Patrick Astre

Plan for the coming boom

As the song “Dedicated to the One I Love” by The Mamas & the Papas goes, “...and the darkest hour, is just before the dawn,” it seems that the darkness

of an economic slowdown will never end until it swallows your business like a pelican gulping down a fish. Well relax, that’s not the way it is. Good times follow tough times—it’s inevitable. It’s called the economic cycle, and it’s been around since people started measuring such things. It’s just as important for a business owner to plan for the coming boom as it was for them to prepare for the recession. But when do you start? How does a small business owner know it’s really over?

There are no clear, defining lines from recession to boom. It isn’t like throwing on a light switch in a room; it’s more of a slow, gradual dawn lighting up the eastern sky, taking its time to arrive. We want to find trends, not sudden eruptions from good to bad. We want to go from bad to just a little less bad.

It’s different this time Sure it is, and the check’s in the mail and you’re my one and only. Don’t believe what you hear from the economic pundits. Economics was invented to make astrology look good. In the late 1950s and early ’60s we had an economic boom partly based on new technologies, like transistors. The “nifty fifty” stocks reigned supreme, and surely it was different this time. Then along came the early ’70s and the Arab oil embargo. We were going to run out of oil in eight years, they said. It was different this time. Then we had the inflation and high interest rates of the late ’80s, stock market crash of 1987, the ’90s Internet boom, technology meltdown of 2000 followed by 9/11 and now the sub-prime crisis. Every downturn was followed by an economic boom

and vice versa. It’s never “differ-ent this time” and this is

no exception. So let’s start planning

for the inevitable resurgence of economic growth with two questions: Are we at bottom? And, what business steps should we take if we are entering a recovery period?

To answer the first question, we must first realize that it’s a regional game more than a national one. Las Vegas may be in a boom while New York is in recession. As of this writ-ing, home prices, which are one economic indicator, reflect this regional disparity. US News and World Report states in the June 3, 2008, edition that home prices are up 11.8 per-cent in Mobile, Ala., and 6.7 percent in Jacksonville, Fla., from a year ago. During that same period, the Washington Business Journal’s May 27, 2008, edition states the Standard & Poors/Case-Shiller Home Price Index fell nationally by 14.4 percent.

So to figure out if we’re in a less-bad period, (no one can find the actual, exact bottom) look locally for the signs:

A surge in residential home sales, or at least a drop in the length of time homes stay on the market. Best bet: speak to local realtors.

Mind your business

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M A R K E T P L A C E

For more information on classified advertising in IFAI’s Upholstery Journal, contact Kristen Evanson at IFAI,

1801 County Rd. B W., Roseville, MN 55113-4061 USA. Phone: 800 382 0134, fax: +1 651 225 6966 ,

e-mail: [email protected].

UPHOLSTERY BUSINESS

22 Year Old Upholstery Business in Southwest Arkansas. Asking $50,000.

Email: [email protected]

Call: Jimmy 870-642-5452 days central time.

For Sale

We are a very active upholstery shop in the Sunny Okanagan, British Columbia Must have a minimum of fi fteen years experience with furniture upholstery plus some auto and marine. Wages option: Piece work or hourly.

Please send resume to:

[email protected].

Experienced Upholsterer Wanted

Help Wanted

Increase in new construction means builders are experiencing a demand that will have a ripple effect on the local economy—think appliances, local building materials outlets, etc.

Decrease in vacant commercial properties and increase in commer-cial construction.

Easier credit from local banks.Lower interest rates for mortgages

and consumer credit.Decrease in local unemployment.Increase in “help wanted” ads.All these signs indicate improving

economic conditions locally, in your area of business, which is what mat-ters most to you as the business owner. Once you see these positive signs, it’s time to analyze your business for the right course to take.

Examine how your business performed in similar timesYou should be using a computerized accounting system. QuickBooks is the premier one right now. If you’re using an old paper system and doing your own bookkeeping, your first task is to change immediately. If you’re in a new business, this will not apply, but if you’ve been in business a while, go to the report section of QuickBooks (or the equivalent sec-tion if you use a different system). Examine two sections for a similar period of time:

Sales by item summary. This will tell you what sold best for the equiva-lent recovery last time. Similar items will usually do well.

Income by customer summary. Who’s buying your products and ser-vices during a recovery? Is it main-ly commercial clients, individuals, young, old, blue collar, professionals? This is crucial so you can target your marketing toward those clients.

Now apply the particular and unique aspect of your business to this information. Factor in changes to your market since the last boom time:

Has technology changed? The pace of technological change can be daunt-ing sometimes. Be sure you’re not

caught using outdated technology in booming times.

Have the demographics of your market changed? Do you have young-er customers instead of older ones, families instead of singles, industrial or commercial as opposed to individu-als? Such changes in your market will require different sales strategies, pric-ing and inventories.

What’s the competition like now? At the risk of sounding ghoulish, look around for competing businesses that didn’t survive the recession. Move aggressively to grab the market shares of moribund competitors. Likewise, be aware of aggressive competition and match them blow-for-blow.

What are the factors unique to your industry? Some industries thrive in recession and don’t do as well in recoveries. Look to the unique aspects of your industry.

Loosen the purse strings a tad. Now’s the time to increase advertising and marketing, add to inventories, hire sales people. Be cautious, but move forward.

So there you have it, the basic steps to take advantage of the coming economic expansion. And remember, when things are looking super good and it seems like this boom will never end, that will be the time to prepare for the next recession.

Patrick Astre, Certified Financial Planner, En-rolled Agent, Registered Financial Consultant, is an author, speaker and a recognized tax and financial expert specializing on the economic is-sues of longevity. As the founder of Astre Planning Inc., Astre has been advising individuals, small businesses and corporations for nearly 40 years. He is the author of, “This is Not Your Parents’ Re-tirement,” (Entrepreneur Media Publishing) and “Educated Investing and the Four Seasons of Money.” Contact Astre at +1 631 744 9100 or visit www.prosperousboomer.com.





http://www.prosperousboomer.com

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CALENDAR

The bolded advertisers are exhibitors at IFAI Expo 2008. Plan to attend and visit their booths at the show, which will be held at the Charlotte Convention Center on October 21–23, 2008.

For more information on IFAI Expo 2008, please visit www.ifaiexpo.com.

For advertising rates and information, contact Sarah Hyland at 800 319 3349 or [email protected].

� IFAI member

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Oct. 21–23IFAI Expo 2008In Charlotte, N.C. The largest specialty fabrics show in the Americas.

Contact IFAI Conference Management at 800 225 4324, [email protected] or visit www.ifaiexpo.com.

Related workshops include: Airbags & Electronics: An Evolution in Automotive Technologies; Nanotechnology in Fabric Treatments and Finishes; Pattern Matching Techniques; and Antibacterial Seating Vinyl Cleaning Solutions.

Nov. 4–7SEMA ShowAt the Las Vegas Convention Center. The Specialty Equipment Market Association’s (SEMA) premier automotive specialty products trade event in the world.

Visit www.semashow.com.

Nov. 7–8MFA Great Lakes Regional WorkshopAt Sawmill Creek Resort in Huron, Ohio. Hosted by the Marine Fabricators Association.

Visit www.marinecanvas.com.

Jan. 11–13, 2009MFA 2009 National ConventionAt the Hyatt Regency Riverfront Hotel in Jacksonville, Fla. Hosted by the Marine Fabricators Association.

Visit www.marinecanvas.com.

Jan. 29–31, 2009NECPA Expo 2009At the MassMutual Center in Springfield, Mass. The North East Canvas Products Association’s annual convention, in conjunction with the Marine Fabricators Association Upper Atlantic Regional Workshop.

Visit www.necpa.org,

www.marinecanvas.com.

19 Fasnap Corp. � 800 624 2058 www.fasnap.com

Cv2 Italo Leather Co. 800 344 8256 www.italoleather.com

18 Keeton Supply Co. 800 792 8777 www.keetonsupply.com

6 Larry Dennis Co. � 800 772 7542 www.larrydennis.com

6 LeBaron Bonney 800 221 5408 www.lebaronbonney.com

7 Pyramid Trim Products 800 333 TRIM www.pyramidtrim.com

17 Roden Leather Co. 800 521 4833 www.rodenleather.com

3 Rowley Company � 800 343 4542 www.rowleycompany.com

17 Tedco Industries Inc. +1 410 247 0399 www.tedcoindustries.com

Cv4 Tri Vantage, LLC � 800 786 1876 www.trivantage.com

18 Vinyl Pro 800 750 7939 www.vinylproleather.com

ADVERTISER INDEX


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http://www.necpa.org


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http://www.lebaronbonney.com

http://www.pyramidtrim.com

http://www.rodenleather.com

http://www.rowleycompany.com

http://www.tedcoindustries.com


http://www.vinylproleather.com


Do you have a project you’d like us to feature in Save My

Seat? Send details of your project, along with before–and–after

pictures in the form of print photos or electronic images (tif, eps,

or jpeg of 300 dpi or greater) to Kelly Frush, Associate Editor,

Upholstery Journal, 1801 County Road B West, Roseville, MN

55113, or e-mail them to [email protected]. All images become

the property of Upholstery Journal and cannot be returned.

Urban cowboy

The cowboy chair and ottoman took upholsterer Raken Zielinski much longer than anticipated. Unexpected challenges, like naked-looking legs, popped up along the road. “The legs looked funny,” Zielinksi explains. “I thought about painting them, but decided to cover them in leather.”

A New Yorker’s chair takes a ride on the Western side

by Kelly Frush

Her client is a “cowboy kind of guy,” says Raken Zielinski, which mani-

fests itself in this custom designed and upholstered cowboy-style reading chair and ottoman.

Zielinski decided to saddle up with leather and large-wale corduroy for a Western-style yoke design. The material combination proved challenging for Zielinski.

“I don’t usually work with two different types of fabric at once,” she says. She also used velvet for the welt trim. “The corduroy and velvet were a challenge to work with, and getting the curves right was challenging too.”

The armchair was in good shape, so stripping it down and reupholstering it was a breeze.

“In that sense, it was your basic reupholstery job,” says Zielinski. But she soon felt that the chair was missing some-thing. “A reading chair has to have an ottoman.”

She roped her client into the idea, and the for-mer New Yorker and avid reader of the New York Times gave her the high sign. Zielinski designed an otto-man to hold the

large-format newspaper, and her partner thought to build in a briefcase organizer for holding scissors and clippings. One side of the ottoman is concave to fit snugly into the chair. When the pieces were finished, however, Zielinski thought the bare legs looked out of place. She considered painting them, but ultimately decided that this cowboy needed some chaps, and she covered the legs in leather.

It took over 50 hours of work before the sun could set on Zielinski’s cowboy chair and ottoman. Unforeseen road-blocks made for more work and time involved, but all those challenges and hours went towards reviving her customer’s favorite reading chair.

Save my seat

Project: Cowboy chair and ottoman

Upholsterer: Raken Zielinski, Raken Leaves Industries, New York City, N.Y.




Order online or contact IFAI Bookstore+1 651 222 2508, Fax +1 651 631 [email protected], www.ifaibookstore.com

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It’s the very definition of a family business. A son works for his parents.Learns the trade. Then ventures out to start his own business.

Years later, with parents approaching retirement, the son and his wifeacquire the original family business. And for more than 40 years, we’ve been part of their

extended family. Meeting their company’s needs.No matter what they might be.

It’s all about _____.family

Dan and Barb LeschHusband, Wife and GrandparentsLesch Boat Cover Co.Norwalk, Ohio

We’re all about your goals.

Tri Vantage, LLC, a Glen Raven Company

Visit us at IFAI Expo Booth #7087trivantage.com

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