UpholsteryJournalMag.com | May 14, 2012

Glen Raven Custom Fabrics will continue the growth of its Sunbrella® branded offerings this month with the premiere of a full portfolio of Sunbrella Contract fabrics during Hospitality Design Expo 2012 in Las Vegas. The fabrics are designed specifically for indoor and outdoor use in the hospitality and healthcare markets.

“The Sunbrella brand is known for beautiful, durable fabrics for the furniture, awning and marine industries,” said Allen Hawks, contract fabrics market manager for Glen Raven Custom Fabrics. “Our move into the contract market was done with careful consideration, years of R&D work and the development of partnerships with leading decorative jobbers in the industry.”

Sunbrella Contract fabrics are currently available through Robert Allen Contract, Design Tex, CF Stinson and Maharam. Each of the companies carries its own exclusive Sunbrella Contract fabrics, providing a wide portfolio of fabric selections. Two of the fabrics, a filling-face twill and plain-weave canvas, were the first to attain Silver level conformance with the NSF/ANSI 336-2011 Sustainable Assessment for Commercial Furnishings Fabrics. The conforming fabrics are available through Robert Allen Contract and Design Tex.

Glen Raven Custom Fabrics is also promoting its Recycle My Sunbrella program, which reclaims post-industrial and post-consumer Sunbrella fabric waste. The company turns the post-consumer fabric waste into industrial products such as felt, insulation and padding. Additionally, the company uses a portion of the post-industrial recycled fiber in its Sunbrella Renaissance Rug program with CMI and in the Sunbrella Heritage upholstery program, which is certified for contract use.

Sources: Sunbrella

UpholsteryJournalMag | May 8, 2012

By Maura Keller

Upholstery shops have one thing in common: a desire to maximize their shop layouts and rack space to optimize profits, inventory and shop efficiencies. For many upholsterers, breaking away from the “buying bulk” philosophy means streamlining production processes. For others, having plenty of stock on hand may mean higher degrees of product selection for their customers. This balancing act of supply versus demand is an age-old tenet that works in different ways for different upholsterers.

Inventory know-how

For Jeff Viehmeyer, owner of Alameda Canvas & Coverings in Alameda, Calif., being located near the distribution centers for some of the largest suppliers allows him to obtain needed materials and supplies on short notice, even same day for many items. “We can keep on-hand inventories relatively lean,” Viehmeyer says. “We plan a material run each week or so based on the shop schedule for major projects, and pick up general shop stock as needed on those runs.”

The key for Jay Hanks, owner of Allerton Harbor Canvas, Hull, Mass., is to keep an inventory of the commonly used items and for all employees to monitor inventory of labeled bins and clear drawers after using the item.

“They write on a supply order sheet when the quantity falls low,” Hanks explains. “Some items have their own order sheet and orders are batched together to save on shipping. It is important that you align vendors that have overnight shipping or may have a weekly van delivery. Most of our fabric is ordered by cut yardage and normally is delivered the next day.”

Some critical items do require longer lead times, so the Alameda team keeps sufficient stock of those items to cover normal small-project needs for longer periods.

“We have noticed an increasing tendency for suppliers to be out of stock on important items, or not to have all parts of an assembly available at one time, so we adjust our shop stock upwards accordingly,” Viehmeyer says.

“We stock ‘wide and shallow’—a little bit of everything, especially hard-to-get items, so we can get going on almost any project immediately if needed, obtaining the additional material while commencing work. This also allows us to have samples of many items on-hand for customers to see and touch, so they can decide and formalize the project plans.”

Tom Matson at Afton Marina & Yacht Club in Afton, Minn., generally stocks the items that they use on a regular basis: clear vinyl sheets, zippers, fasteners, webbing, hook-and-loop and thread.

“Most of these items are generally stocked in black or white, so they will work on most jobs,” Matson says. “We order the fabric for each project on a per-job basis.”

Seasonality and region play a big role in inventory methodology for many upholsterers and marine fabricators. “We work on smaller boats, and our season is really short so we are a volume-type business, doing as many as we can in as short an amount of time as we can,” says Mike Charpentier at Paul’s Custom Canvas in Denver, Colo. “We keep just about everything that we use daily in stock. This includes materials because we try to turn most jobs within a week. If a boat comes in and the customer wants a certain color, we want to have that color in stock so we can get their boat done within the week.”

Inventory tracking tools

When it comes to embracing inventory technology tools, Viehmeyer finds that the time required to set up items, establish appropriate stocking levels (which vary by season), enter substitutions if available, and track usage is greater than the benefit received.

“We would have to be running a big warehouse or distribution center for the payoff in time to be worth it,” Viehmeyer says. “A simple mininum/maximum system for most items, posted on the storage container, works just fine for small shops.”

Hanks agrees. “We don’t track most of the items due to the fact that there are so many low-price items and the process of inventory would be a drain of our product time,” Hanks says. “We do track our larger tool and fixed assets through QuickBooks, as well as all purchases.”

Being part of a large marina, Afton Marina & Canvas has access to a marina management software program called DockMaster, which allows them to create purchase orders, receive inventory, and enter the inventory into each work order.

“We do not utilize PDAs or tablets,” Matson says. “I do use an iPad for customer estimates and sales presentations and I also have one of our supplier’s catalogs on the iPad.”

Ed Skrzynski, owner of Marco Canvas in Marco Island, Fla., says that for software it is garbage in and garbage out. “If someone takes an item out but fails to record it, the software is none the wiser and you soon find your nice inventory software is not accurate,” Skrzynski says. “Software-managed inventory is only accurate if you tell it what is truly happening and the only way that works is by hiring a full-time stock room manager to log items in and out. But that is just adding costs that smaller fabricators cannot handle.”

So Skrzynski and his team use KANBAN, an unattended system that is so simple everyone will use it and it saves them time and money. “KANBAN means ‘card signal’ in Japanese,” Skrzynski says. They set up an inventory rack and locking cabinets and use blue parts bins with plastic bin dividers in the middle. The front of the bin has a picture or taped sample item on the front to make the item easier to locate.

“The front bin has what is called ‘active inventory’ and that is what the fabricators use as needed,” Skrzynski says. “Once that supply is consumed there is a ‘reserve inventory’ behind the active inventory. That reserve inventory is still just a small amount that is in a box or bag that has a laminated KANBAN card on it. When the reserve is needed, the fabricators must remove the card to get to the inventory. The card is placed in a dedicated box and the reserve inventory is moved to the active inventory. At the end of the day, we pull the cards and reorder the supplies. Our cards have all the information needed to reorder so we don’t waste time trying to identify what it is and whom we should buy it from. Information on the card includes supplier name, part number, grade, how much to order, our retail price (in case we get someone off the street wanting to by the item), and the stock location, such as cabinet letter, shelf number and position.”

The cards also have the supplier’s part number in bar code so they can go right to their website and scan the part number to further reduce human entry error. They then use the card as receivable confirmation. When the items are shipped, they match the cards to the items to ensure they received the correct item and amount and then place the card back on the box or bag.

“Using the stock location ID on the card tells us exactly where that item needs to go and so it gets put back in the ‘reserve’ bin and the cycle repeats,” Skrzynski says. “So we always have a small amount of each item, about enough for one or two jobs, and never run out and shut down a job, never over spend on buying too much, reduce our time and costs to reorder supplies, and we do not need a dedicated person to manage inventory. We do not track our inventory per se, but we do know what we use and we know that we actually spend less as the 11 staff no longer hoard inventory as they know we will always have what they need to get the job done.”

Denver-based Paul’s Custom Canvas uses the old-fashioned paper and pencil method of monitoring its inventory. “Because of our short season, we just can’t spend the time taking an ongoing inventory,” Charpentier says. “We definitely keep track of what we are using, but we also use Microsoft Excel to know what we’ve purchased in previous years and what we will need for our season.”

Purchasing parameters

The purchasing activities of shops—both large and small—play an important role on their inventory management and storage solutions. One of the key factors in purchasing decisions lies in the effect inventory levels have on cash flow.

“Inventory cost can be a significant drain on cash flow, especially if expensive items are unused for extended periods or get damaged,” Viehmeyer says. “We pay for the materials needed for large projects from the 50-percent deposit we receive up front when taking on new projects.”

Skrzynski says buying in bulk means sitting on your cash for a long time and he simply doesn’t condone such methods. “I tend to like just-in-time deliveries of what is needed,” he says. “That said, as shipping costs go up due to fuel costs, we have made arrangements to change from smaller daily orders to larger weekly orders and have negotiated shipping costs to place one order a week versus daily for many items. This helps both us and our suppliers reduce costs.”

Overhead costs are fixed and are not typically a variable cost like inventory and labor, and as such, do not weigh much on purchasing decisions for Marco Canvas. “However, if we know that sourcing a particular item will consume administration labor time, then we add a small amount into the job to cover sourcing costs,” Skrzynski says. “Other than that, I urge companies to learn and separate fixed from variable costs and once you do you can then understand what your burden rate is. Your burden rate then should help determine a shop rate so that you are covering overhead costs, variable costs and desired gross profit margin versus just your variable costs.”

What’s in storage

Inventory management goes hand-in-hand with the practice of storing supplies and materials.

“Shop rental is expensive in our area,” Viehmeyer says. “We work to have shop layout be as efficient as possible, utilizing every square foot in a flexible manner.” At Alameda Canvas, material rolls are labeled for the job and stored in upright drums, as are windows. Shop perimeter walls are all lined with pegboard for in-process tools and small supplies or storage shelves for larger supplies and tools, utilizing the cube as high as possible to the ceiling.

“This frees the shop interior for working space,” Viehmeyer says. “Work tables and sewing machines are all on wheels, the same height, so they can be reconfigured or separated as needed according to the workflow in house.”

Hanks keeps his supplies organized and reminds his team to participate in watching for low levels. “Anticipate what you will need and order in time for the start of the project,” he says.

Where you store inventory can make a big impact on your productivity. That’s why Skrzynski has dedicated different parts of his shop to produce different items. “For example, for enclosures, covers and upholstery, core materials for each are mostly different,” Skrzynski says. “So items that are used for each department are stocked near that department. Items that are shared by both are in a centrally located stocking position. This keeps the supplies close to where they are used and reduces labor, time, fabricator’s frustrations and your costs.”

Skrzynski says employee buy-in to inventory management is critical. If they fail to use the systems then items can be found without stock. “If you don’t have buy-in from your entire team, you could be fighting a losing battle,” Skrzynski says. “It is best to get them involved up front. Show them the problem and then, as a team, come to a solution.”

Maura Keller is a freelance writer and editor based in Plymouth, Minn.

By Carol Racine

We’ve all been there. You start a new upholstery job by removing the old fabric and find a little surprise: rotten wood. And although you were aware that some of the pieces would have to be replaced, there was no way of knowing that the damage was so extensive.

Now you have to contact the customer and explain the options and your recommendations.

Replacement options include marine plywood, PVC board and plastic board. You may have other products that you can use, such as composites, but, in this case, we are sticking with the three basics.

At our shop, we start with marine plywood—not CDX (C-grade and D-grade wood with exterior glue) or treated plywood.

Most customers do not understand why marine plywood is so expensive. Marine plywood is veneer, consisting of five plies for the ½-inch version and seven plies for the ¾-inch. It is all A-grade fir with 12 percent moisture content. Any knots in the veneers are removed and replaced with a triangular plug. The result is plywood with no voids. And due to the moisture content and number of veneers, it will not warp like standard plywood.

Regular CDX has a moisture content of 18 to 24 percent, which makes it susceptible to warping if it gets wet. Voids caused by knots will sweat in high humidity and start to rot. Delaminating of the plies is what we see the most.

Treated lumber is coated and has 28 percent moisture content due to a pressure-forced antifungal liquid. It is designed to be used in areas with good air circulation. Problems arise when upholsterers put plastic over the foam to ease installation. We do this in our shop, however, we are careful to ensure the plastic does not block the venting holes. While the upholstery is being installed and the fabric is pulled in place, we pull some of the plastic out to allow ventilation. Some of you may be shaking your heads. I have seen a cushion with water-filled foam.

Please do not use particle board or furniture core board in the marine environment. If it’s not marine grade, we don’t use it. Your customers will usually blame you when plywood starts to warp and rot. But they don’t realize the differences in wood—just the differences in price.

Quality substrates are very important to making your hard work end up looking good for years to come. Routing of the wood edges to make the fabric pull over smoothly and cutting hard corners to the diameter of a quarter will help to make corners look good. Be sure you install vents for the cushions to breathe, and remove any plastic that may be covering the vents.

We drill 1-inch holes into the bottom of seat cushions. I sew mesh into the bottom edge of side bolsters, provided it is out of sight. This provides for drainage, so the bolsters don’t become waterlogged.

We are careful in deciding the type of fastening device. T-nuts and bolts satisfy most applications, except where access behind is not available. In that case, we build a fastening device for the special application. Usually it is an aluminum strip, bent so the substrate can clip into a 1½-inch hole that has been strategically located in the back.These are similar to the E Z Clips that are available from some suppliers.

Build the entire bolster assembly and install all of it into the boat before you cover it with fabric. Ensure that the spacing between the bolsters allows for the compression of the foam and fabric and does not create a pucker where they meet.

Make sure the bolsters line up flush with each other. When all the wood lines up properly, drill the holes throught the bolster material into the fiberglass. A ¼-inch bolt requires a 5/16-inch T-nut hole, which also allows the bolt to be able to adjust a tiny bit when installed. Always use Loctite on bolts when installing them through T-nuts. We always space at least two ½-inch stainless steel staples in the back of the T-nut to ensure it does not come out or spin in the substrate.

PVC board, sometimes referred to as foam board, is great for long-term use and will hold up excellently in any environment. However, we don’t use it on horizontal surfaces to span open storage areas. PVC is not structural, and someone will eventually jump in the boat from the dock and crack and break the board. Be sure the substrate spanning an area is thick enough to support the span. Sometimes we use ¾-inch for a center seat and ½-inch for the smaller seats on each side. We make up the difference by adding ¼-inch foam to the thinner ones so they all come out level. You want each cushion to flow into the next cushion, which makes the job look great.

We heat and bend PVC board, which provides a molded look to cushions and allows them to conform to the inside and outside corners. Try your hand at it with a quality heat gun. You may be pleasantly surprised and you could get extra money for doing it that way.

The ultimate in long-lasting board is the plastic board, like Star Board or C Teak. Prepare your customers for the additional cost and the additional weight.

If you don’t have a local source for plastic board, make sure you get a quote from a supplier, including shipping costs, before quoting a price to your customer. Remember that you can not glue two pieces of plastic board together. You must fasten pieces together with screws. We have tried expensive adhesives that claim they are specifically designed to bond plastic boards together. The claims did not hold true. Someone out there may have had better luck than we did. We just gave up on the idea of bonding plastic board to plastic board.

We have used some cheaper versions of plastic board and we were seriously disappointed. We had issues with even small pieces warping, although staples held well in the plastic.

Fasteners that are quite common are the Christmas tree fasteners. They are designed for single use, but once a bolster has been removed, the fasteners can’t be reused.

Recently, there has been a wide array of new types of panel fasteners that we are experimenting with that show great potential for a multitude of applications. But that’s for another story.

Carol Racine is owner of Racine Design in Jacksonville, Fla.

Story and photos by Sally A. Hart

In the fall of 1995, I was eating lunch in the teacher’s lounge when a colleague dashed into the room exclaiming, “I found your dining room chairs!“ Her enthusiasm led me to the annual school garage sale. And there they were. Two Bergere chairs—just waiting for me.

The parent who donated them told me they were from a Radisson Hotel re-do and several others like them had been put in the trash. I moaned. I’d been looking for dining room chairs since I moved into a new townhome and found these orphans in my own backyard. And the best thing of all was the price: $7.00 apiece.

Immediately, I rescued them and crammed them into the back of my Jeep for the ride to their new home. My dining room was large enough for a 42-inch round table, and these two beauties pulled up to it like they belonged there. They looked chic, but shabby.

Dressed in mauve striped silk (with frame painted to match), they were dowdy. I found a yellow, green, off-white and coral silk plaid for the seat and front of the chair back and used the same floral fabric that covered my sofa for the back of the seat back. My project in the evenings became the challenge of removing the mauve silk and sanding and painting the frame in a soft yellow.

Once the chairs were painted, I called Gary Przymus of Przymus and Sons Upholstery in Dayton, Minn., who assured me the chairs were solid, needed no additional tightening or gluing and that the fabric I chose was gorgeous. (He always says that.)

Since that fall of 1995, Gary has recovered every piece of furniture in my house, some pieces two or three times. He knows I seldom start with brand new furniture but will search for months and sometimes years to find the right piece at the right price. Only once did I buy a new Martha Stewart sofa because I liked the shape and size, but not the fabric (sorry, Martha) and Gary picked it up immediately to replace the drab gray-green with a red, rose-covered linen.

The beautiful silk plaid chairs are now covered in black floral linen with black plaid on the back. The frames are beige and probably will remain that way. I hope they, and the story that goes with them, remain in my family for a long time.

But, lately I’ve been thinking about redoing my dining area, maybe in shades of green... .

Sally A. Hart is a freelance writer from Edina, Minn.

Textile innovator Camira is using this year’s Neocon to introduce Hemp, the company’s most sustainable fabric to date.

Designed and manufactured following years of research and development, Hemp combines two of nature’s renewables, wool and hemp, to make a natural and biodegradeable fabric. Hemp is available in 25 shades, has a soft hand, and is backed by a five-year wear warranty.

The company’s hemp is grown on farms in England as an agricultural crop under licence from the U.K. government. This bast fiber plant—like nettles, flax and jute—contains naturally occurring textile fiber just inside the outer bark. Hemp is one of the fastest growing biomasses known, reaching over 12 feet in just 120 days, without the need for agrochemicals.

The combination of blending bast fiber with pure new wool, makes an inherently fire-retardant fabric without the requirement for FR chemicals, post treatments or backcoating. Providing enhanced fire security for commercial interiors.

Camira is exhibiting at Neocon where the company is also presenting recycled polyesters and vertical surface fabrics.

Camira designs and manufactures innovative and environmentally sensitive fabrics for commercial offices, hospitality, government, institutional interiors, healthcare, cinema and auditoria. Camira is an independent U.K. textile company with two manufacturing facilities in England and a mainland European manufacturing plant in Lithuania. The company’s North America operation is centered in Indianapolis, Ind., where it holds stocked inventory and operate a cut yardage program. Camira is registered to ISO 9001 (quality standard), ISO 14001 (environmental management) and OHSAS 18001 (health & safety).

Sources: Camira

UpholsteryJournalMag.com | April 23, 2012

SilverState fabrics™ announces Artisan Tribe, their latest performance Sunbrella® collection. Designed by inspiring scenes and patterns from northern Africa, this collection offers a color palette that includes solids, stripes and intricate cultural motifs.

“Inspired by the rich architecture of the Arabic regions in north Africa, Artisan Tribe brings us the richness of the artistry and intricacy in design so rich with color in palaces throughout the area,” said Manoli Sargetakis, principal of Silver State Inc. “This Sunbrella group shows ornate pattern as well as sun-rich colors in a depth of palette not previously seen before,” said Sargetakis.

Colors of a desert oasis are the forefront of the Artisan Tribe color combinations, presenting color families such as Plumberry, Ocean, Fire, Desert Rust and Emerald. Rich neutrals of cool grays, taupe, sand and stone are intermixed. The colors transition from indoors to outdoors, providing the designer with flexibility.

SilverState fabrics™ offers a line of fabric and vinyl to suit multiple applications: residential, commercial, healthcare and hospitality. SilverState fabrics are available in various textures, patterns and colors, many of which repel stains, moisture, mildew and bacteria. Fabrics are designed with durability and fade resistance in balance with style and touch, using brands such as Sunbrella, Crypton®, Nanotex® as well as the environmentally intelligent SmartLife™ and SilverState vinyl and polyurethanes.

Sources: SilverState fabrics

Camira, a global textile innovator, has recently completed a restyle of its website. The site provides a new design aesthetic as well as richer user experience, easier navigation, improved search capabilities and access to fabrics.

The fabric sample service’s search function has greater flexibility. Memo samples and swatch cards may be ordered by adding them to the shopping cart. Also on offer are an electronic swatch card download option and the new Project Folder facility to manage fabrics. ACT standards are represented by five symbols on the product description page, which summarize key technical data and performance standards.

The company’s current price list, technical certificates and company literature can all be downloaded from the Documents section. Get Inspired features a selection of fabric design stories and installations.

Camira is again exhibiting at Neocon; booth activities will be featured on the company’s blog.

Camira designs and manufactures environmentally sensitive fabrics for commercial offices, hospitality, government, institutional interiors, healthcare, cinema and auditoria. Camira is an independent U.K. textile company with two manufacturing facilities in England and a mainland European manufacturing plant in Lithuania. The company has been recognized for product innovation and environmental stewardship, gaining Queen’s Awards for Enterprise in Innovation and for Sustainable Development.

Source: Camira

UpholsteryJournalMag.com | April 16, 2012

This project won a 2011 IAA Award of Excellence in the residential upholstery category.

We designed this chair as the focal point of our display at a local Home Show as a showcase of refurbishing a used, well built, quality piece of classic furniture in a contemporary custom look.

We purchased a basic wing chair from a used furniture store for $50, and removed the fabric and refinished the legs. A black and white color scheme of fabrics was cut so that the angles of the sunburst line up across the back, wing, arm and existing feather cushion. The fabric pieces were then sewn together onto Dacron and muslin to give the back and cushion a quilted look. The completed sections were then applied to the chair to create the overall design. Black rope cording was used in place of welt cord.

UpholsteryJournalMag.com | April 16, 2012

This project won a 2011 IAA Award of Excellence in the automotive and transportation upholstery category.

This dogsled bag was designed and fabricated for use in wilderness distance dogsled racing. The bag was used in back-to-back 1,000+ mile races in 2011. The musher and his team of 16 dogs traveled over 100 miles per day over wilderness mountains, rivers, tundra and sea ice in temperatures ranging from 30 degrees to minus 50 degrees. The bag needed to carry a specified amount of food, water, supplies and survival gear for the musher and dogs, which is verified at periodic checkpoints. Sled dogs need 10,000 calories per day when racing. The fabric must be abrasion and tear-resistant and shed water and snow. Visibilty of the sled to snowmobilers (and searchers, if necessary) is the primary aesthetic concern.

Zippers must not ice up and the interior must be organized so the musher can access his/her gear easily in the dark, snow and wind while sleep-deprived. As the musher will often sleep inside this bag when camping in extreme cold/wind, all interior dividers must be collapsible and zipper slides must be double-sided.

As the driver can be virtually blinded from dark, cold, snow, wind and exhaustion, we try to make the bag “operate itself.” Just as our marine customers neglect to fully zip or snap closures, our mushers will fail to close a critical flap to keep their gear dry. We add boning stiffeners to those areas so the flap closes automatically when the lid is zipped.

This client is a returning customer who is introducing a new line of high-tech competition dogsleds. His major innovation is a carbon fiber runner that replaces a two-part aluminum runner with a plastic insert that had to be replaced several times during a race (eliminating the need to carry a bulky replacement). He wanted durable bags to match and accentuate the black and orange color scheme on his sleds. Aesthetically, the most important aspect for these customers is visibility to avoid being hit by snowmobilers at night. We found that we get the best conspicuity when we wrap the reflective tape over welting cord—it refracts the light far better than flat tape.

The most challenging aspect of this project is securely attaching the bag to the sled. The sleds are subjected to extremely rough terrain and traditional snaps and hardware do not hold up. They bounce off trees and rocks and slide down ravines on their side, often with a bale of straw for dog bedding lashed to the top of the bag. Any sick or injured dog must be safely carried in the bag, along with the cooler, cooker, dog jackets, booties, sleeping bag, first aid kit, clothing, ax, snowshoes and rifle.

The primary attachment is a 1-inch tubular webbing tensioning strap running forward from the handlebar to the brushbow (bow) secured with acetal nylon super ladderlocks. For lateral stability and to anchor the vertical compression straps, webbing strips are sewn across the bottom of the bag with “tails” that tie to the stanchions on either side of the sled.

We use lashing straps, pockets and removable/adjustable dividers to organize and stabilize the interior load. As sleep-deprivation is the norm, we add color-coded reflective tails and tabs to all zipper pulls, pockets and access points for ease of use. We install vinyl window pockets for promotional items that must be produced for inspection at each checkpoint on the race. Carol Dykes’ triangulation methods have enabled us to fabricate our bags from builder specs which greatly increases our capability to provide bags for more Alaskan drivers who are not able to ship sleds to us for patterning.

UpholsteryJournalMag.com | April 12, 2012

Robert Allen is introducing distinctive textile collections rich in color, pattern and style. Designers who are looking for a fresh interpretation of historic Americana will be pleased to discover Robert Allen’s new collection, Williamsburg Classics II. Inspired by the most graceful classic looks of the 18th century, this second Williamsburg collection for Robert Allen features modern colorations mixed with couture-like details. In many cases, patterns are direct reinventions of motifs popular in Colonial homes and fashions of early American society. Inspirations are as varied as Colonial dresses and lace caps, pottery, dishware and copperplate engravings.

The Robert Allen design teams have given the Williamsburg Classics II collection a modern, rich and saturated color palette with an Asian flair. Fabrics are coordinated, providing versatile solutions for a wide range of projects. Bold colors such as citron, fuchsia, cinnabar, spicy gold and crimson have been taken directly from the fashion runways. Collection standouts include Salem Red, a coral red and Azalea, a saturated pink hue often accented with hints of lime.

According to Jennie Wilde, senior vice president of design and marketing for Robert Allen, “We are thrilled to be bringing our second Williamsburg collection to market. This line continues to evolve and feels fresh and of the moment, yet with historic roots. Our clients appreciate this mix as it works well in a range of settings and styles.”

Williamsburg Classics II offers a variety of design constructions and layouts and includes both large-scale and chair-scale patterns. All prints feature 100 percent linen grounds and are appropriate for accessories, light upholstery or window treatments. The wovens are soft to the touch with intricate detailing and include designs appropriate for heavier upholstery projects.

Some of the patterns in the collection include Kingsgate, Courtyard Vine, Fleur de Lace, Eliza's Garden and Tavern Toile.

The Robert Allen Design Group designs and produces decorative fabrics for the interior design trade. Based in the USA, the company sells its products under the Beacon Hill, Robert Allen, Robert Allen Contract, and Robert Allen@Home brands, and developed the Robert Allen Color Library, the recognized industry standard sample book. The Robert Allen Design Group has showroom locations throughout the U.S., Canada and the U.K. and a worldwide agent showroom network.

Source: Robert Allen

UpholsteryJournalMag.com | April 11, 2012

Story and photos by Marshall Spiegel

Door panels were a distant memory by the time a bright red 1959 Dodge Town Wagon arrived at Long Beach Auto Trim & Upholstery in Signal Hill, Calif. To expert upholsterer Raul Najera fell the job of updating the vehicle’s existing seating and interior trim, and recreating missing components so that they, too, could be upholstered.

Najera began by fashioning sections of 1/8-inch plywood to match the depressions in the two front doors where door panels used to reside. Next, he marked the wood where it would be drilled to accommodate openings for door handles and power window switches.

He then removed the plywood in order to sketch on it the position of stylized flames. Enduratex™ white vinyl from C.G.P.C. America Corp. was chosen for the covering. Next, using a universal street rod door panel template from RodDoors, Chico, Calif., Najera scored the template’s flame pattern onto the vinyl.

Then, Najera placed the panels on the doors to double-check the fit and to finalize the location of the armrest planned for each door panel. Once satisfied with the plywood forms, he then bonded together 1/8- and 1/2-inch foam, glued it to the plywood, and covered it with the flame-embossed vinyl to create an upholstered door panel.

The plastic armrest forms that the customer provided were too long. No problem. Najera shortened each form by cutting it on either side of its center, removing the center section and connecting the two remaining sections by screwing a wooden bridge to their undersides. The armrests were then covered in red Enduratex vinyl to match the body color of the vehicle and provide a striking contrast to the white door panels.

The end result? A pair of handsome door panels for the front doors. Najera followed the same steps to create panels (not shown) for the vehicle’s rear “barn” doors, so-called because they open in the middle, with one door swinging open to the left, the other to the right.

Creating classic door panels: Start to finish

Upholsterer Raul Niajera, Long Beach Auto Trim & Upholstery, begins creating door panels by fashioning panel forms out of one eighth-inch plywood.

With plywood forms clipped in place, Raul marks the wood where it will be drilled to accommodate openings for door handles and power window switches.

Flames are sketched in chalk onto plywood forms.

The flame pattern is transferred onto vinyl by pressing the pattern from the universal street rod door panel into the vinyl, and scoring the flames.

The vinyl cover for each door panel is trimmed.

With foam padding and vinyl cover in place, the plywood form is almost ready for installation.

Raul installs the completed door panel.

Marshall Spiegel is a freelance writer in Signal Hill, Calif.

By Carol Racine

When someone inspects a piece of furniture, such as a chest of drawers, they remove a drawer to see how it was constructed. What are they looking for? Dovetail ends, of course. Even though these are not visible from the outside, the craftsmanship instills a sense of quality and adds value to the piece.

Upholsterers want to know how our cushions are viewed by the customer. I see two areas that are overlooked. The first is what the customer sees when coming out of the cabin. In most situations, the customer gets a close-up look at the bottom of the helm seats. We pull and tug fabric to get the top looking pristine, but the bottom of the cushion is a mess of stapled wrinkles and raw edges. This can reflect on how the customer feels about the entire job and raises their concerns that you did not take enough care with other elements of the job.

This also applies to seat cushions that are designed to be removed. If their bottoms are messy, your customers will feel that the rest of the job may be slipshod. Always put yourself in the position of the customer. What would you expect to see as a finished product?

The same may be said of the forgotten zipper, the unseen detail that speaks volumes about the amount of care taken in the upholstery work.

Cushions with zippers are the second item on my list that should be addressed. Again, know where the cushion is located on the boat and how it will be viewed by the customer. For example, when looking up at the flybridge from the cockpit of a sport fish, you should see a finished zipper. However, I frequently see the rough edges of the fabric where the zipper was just stitched on the back of the fabric and the fabric was cut open.

It has become the norm to use this technique on mesh or underlining and then cut the fabric down the center of the zipper. I understand why a boat manufacturer would prefer this method. After all, it is cheaper for both labor and material. I have even used this particular way of installing zippers in certain applications.

Do yourself a favor when you do this type of zipper installation. Don’t get skimpy with the zipper. I will put in the longest zipper I can. A longer zipper will make stuffing the cushion a breeze. This may not seem like a savings at the moment, but when you do the math, it makes sense.

Taking five minutes to stuff a cushion doesn’t seem like a big deal. But multiply that by six cushions. You have spent a half hour wrestling with foam and small zippers. Time is money in this case. A longer zipper may have easily reduced the stuffing process by two or three minutes per cushion. Since I charge the customer per foot for zippers—I even charge for the zipper glides—I am actually coming out ahead. And the customer will appreciate this feature if they should ever want to remove the foam themselves.

If you are making cushions with a finished zipper, think bigger. I like to bring the zipper around the back corners by 6 to 8 inches, depending on the overall size of the cushion. I believe that the larger the opening, the easier it is to stuff and fluff the cushion.

Remember that it is important to have all the seam allowances laying the same way inside of the cushion. If the seam allowances flip from the top of the foam to the sides, your seams will not appear to be sewn straight. If you have welt cord on these seams, this flip flop will be even more evident.

When I am making cushions that may be seen from the back, like the flybridge cushions I mentioned above, I want them to have a finished and attractive look. I also want to protect these cushions from the elements.

The best way to do this is to provide a cover over the zipper.

Cover zippers: Start to finish

I allow an extra 1/16-inch to make up for the fold on thicker vinyl. This will be the top of the zipper and the flap that covers it.

This measurement will always be the same, no matter how thick the foam is going to be.

Stitch along the outside edge of the fold. Note that the folded vinyl is the same width as the zipper.

Lay the zipper on the folded vinyl and stitch down along the inside edge of the folded vinyl.

Flip the piece over and you should have something looking like this.

Cut the other side of the zipper fabric.

This side of the zipper we are going to fold over ½-inch, so I mark the fold at 1-inch.

I like to stitch the outside edge of this piece as well. It doesn’t take long to do and it is easier to get the zipper straight.

A good idea is to put a few matching marks on before sewing.

Place the zipper on the folded vinyl and stitch down.

Put on the zipper glide.

The result is a protected and invisible zipper. This formula gave me the 3/8-inch seam allowance I was looking for. It’s a good idea to run the zipper a little longer than the fabric to make the zipper glide easier to install.

Carol Racine is owner of Racine Design in Jacksonville, Fla.

Show off your work to other upholsterers. Take a photo of an existing project before you start your work, and then take another photo of the improved, finished project. Write a description of the work and send it all to cptschida@ifai.com.

UpholsteryJournalMag | April 11, 2012

By Barb Ernster

Despite all the focus on cutting government budgets, including across-the-board military cuts, Uncle Sam still needs good contractors.

Winning a government contract is not easy, but once you learn how to navigate the system, a host of opportunities can happen that might not have been on your radar.

Wes Fue spent 30 years in federal law enforcement and was a source selection official for the Transportation Security Administration under Homeland Security before he retired and began consulting with businesses on how to obtain government contracts. The chance of landing a government contract on your first try is about one in 1,000, and of the hundreds of businesses that Fue has consulted, several have won a first contract. But when people ask him if government is right for their small business, his unequivocal answer is “yes.”

“Nobody buys more goods and services than the federal government,” Fue says. “People are told it’s very hard to do business with the government. It’s not hard, but it is cumbersome. There are at least nine different areas where a marine fabrication shop could enter to do business, and some offer a tremendous revenue opportunity that should not be ignored.”

The North American Industry Classification System (NAICS) is the standard used by Federal statistical agencies in classifying business establishments’ size, and their products or services code.

“On the marine side for fiberglass and composites, the single overriding NAICS code is a three-to-five-billion dollar opportunity,” Fue notes. “If you’re working within the medium of canvas and composite coverings, there are many areas you can go into—Merchant Marines, Army, Navy, Coast Guard and Customs, which all have boats.”

The Department of Defense is the obvious place to look for contracts, but is not always the best, according to Fue. He notes that there are more than 1,100 other agencies to contract with; you just need to find out where they are posted and how to market directly to them. This is where his services can be beneficial.

Where to start

This first step to bid on any government opportunity is to register on the Central Contractor Registration site and the online representations and certifications application (ORCA).

“I find it is important for everyone to be CCR registered even if they’re never going to bid on a contract,” notes Teresa Bouchonnet, a business development specialist with the North Carolina Military Business Center in Franklin, N.C., who specializes in government contracts for the textile industry. Its website (www.ncmbc.us) has a number of links and helpful data for anyone wanting to enter this market.

At the end of the CCR, you will be asked to set up a Dynamic Small Business Profile on the U.S. Small Business Administration site (small business classification is generally fewer than 500 employees). This profile includes a capabilities statement with keywords to describe your products and services. It is an important marketing tool where government agencies search for companies and prime vendors search for subcontractors. Foreign companies can also search the site for U.S. partners.

“When I’m consulting with businesses, I show them what their competition has posted or where they have failed to post any information,” Bouchonnet says. You can also identify your company’s capabilities by NAICS codes, but most people will search by key words.

Most government bids for more than $25,000 are posted on FedBizOpps which currently lists more than 16,000 active opportunities, including more than 50 related to marine equipment and fabricated products for such agencies as the Department of the Navy and Homeland Security. Bouchonnet recommends monitoring the site several times a week.

Another site to monitor is the Defense Logistics Agency (DLA) which posts opportunity items on the DLA Internet Bid Board System (DIBBS). This is a web-based application that provides the capability to search for, view and submit secure quotes on requests for quotations (RFQs) for Defense Logistics Agency items of supply. DIBBS also allows users to search and view requests for proposals (RFPs), invitations for bid (IFBs), awards, military specs and other procurement information.

Government departments produce a procurement forecast each year that is published in print and online, searchable through their websites. The forecast provides a heads up on what each department is seeking to purchase, point of contact, and when the RFP will be issued. Companies can call for an appointment with the contact person, and send out a capabilities proposal in advance.

Companies can also attend agency-sponsored conferences (in person or by webcast) to learn what the agency is planning and meet the program contacts. “Businesses have won contracts based on price, product and quality of goods, but it also helps that the government can put a face to a business,” Bouchonnet says. “Over the last few years, more textile businesses are working with the government in this changing field so that new products can be added to their plans.

Current events can help inform what is happening with our military operations worldwide. The recent announcement by the Obama Administration calling for a shift in some focus from the Middle East to Asia and more reliance on the Navy and Air Force, will give some insights into what type of textile products might be needed, Bouchonnet states.

Pros and cons abound

Sheri Fisher, military sales manager at BondCote Corp. in Pulaski, Va., says the challenge of working with the government is that it can be really good or really bad.

“Contract awards do not happen in a short period of time,” she says. “We’ve seen some take two years to be awarded. This business is continually changing; specifications, appropriations, regulations are one thing today, but tomorrow may paint a very different picture.”

BondCote Corp. supplies coated, laminated and composite fabrics to government and performance specifications for the military, FEMA and Homeland Security. It is considered a first-tier supplier to the prime contractors, but also sells directly to government agencies. Most of its contracts, either direct or non-direct, are out of the procurement agencies for Army, Navy, Air Force and Marines.

There are shipping and marine opportunities within the government through many procurement offices for FSC (Federal Supply Class) 2040, 2050, 2060 and 2090, for example, balloon floats, boat covers, various other covers and bags. Fisher recommends that small businesses tap into their state’s PTAC office. Congress created this program to help small businesses move and grow in the government, state and local contracts, and it’s free.

“All you need to do is set up a meeting,” Fisher says.“A program will be built around your contract interests. The company will receive leads daily based on those interests for federal, state and local, as well as Canada. They also provide assistance in past purchase history of an item.

Besides the SBA, FBO and DLA mentioned above, Fisher also suggests registering at NECO (Navy). Once you set up your profiles with NECO and FBO, you will receive daily leads based on interests. BondCote designed a page on its website to provide quick access to the most popular government links.

A phone call away

Katie Bradford, owner of Custom Marine Canvas in Noank, Conn., started working with the Coast Guard in the mid-1980s after getting a call to measure a boat at Governor’s Island in New York harbor. The captain called 12 other boats for her to measure that day, which resulted in some immediate orders and others that came two years later. Eventually, 30 percent of her business was coming from government orders. That has decreased over time, but Navy and Coast Guard orders from Maine to the Gulf Coast continue to be a steady part of her business, which primarily serves the recreational boating market.

Bradford has never registered with the government and didn’t go looking for contracts. At the time, the government was slow to pay through its purchase order system, and many people didn’t want to work with it. The government started paying with a credit card, and that hasn’t been an issue for her.

“The government streamlined the purchasing business so that they are easier to work with,” Bradford says. “They can check off on their box that I’m a woman-owned company and that’s important to them. Our location is definitely good for us. We’re four miles from General Dynamics Electric Boat (the primary manufacturer of submarines for the U.S. Navy) and the Coast Guard Academy is located here. We do a fair amount of work for the boats that belong to the academy, the submarine base and the Navy sub contractors.”

GSA contracts are another route

General Services Administration (GSA) contracts can be a great way for companies to expand sales of products and services. It’s a quicker way for the government to purchase products and services because the GSA contract holder is prequalified and terms are prenegotiated. More and more federal agencies are requiring products and services to be purchased through a GSA contract instead of through competitive bidding options like the FedBizOpps website.

The government procurement process is a challenging field to navigate and might not lead to contracts immediately, but it can lead to long-term business and certainly increases visibility of your company among senior military leaders, program managers, procurement staff, prime contractors and bidders. Even if you are not the winner of a bid, always ask for a debrief within two days of a contract award. This will help you learn how to improve your bid next time. If the contract bid award is too low, Bouchonnet says, remember that you are in the business to make money.

Barb Ernster is a freelance writer based in Fridley, Minn.

The annual “Call for IFAI board candidates” from the Industrial Fabrics Association International was sent to the association’s voting membership on Monday, April 9. Applications are due May 28, 2012.

In June, the IFAI board’s Leadership Development Committee meets to consider the qualifications of the candidates. In July, the association’s membership is notified of committee’s recommendations.

Election results are announced at the 2012 IFAI Expo Americas, Nov. 7–9 in Boston.

IFAI members are encouraged to recommend candidates for the board:

Cherie M. Schmit
Executive Assistant to the President
Industrial Fabrics Association International
1801 County Road B. West
Roseville, Minnesota 55113
U.S.A.
Ph: +1 651 225 6985
Fax: +1 651 225 6977

UpholsteryJournalMag.com | March 28, 2012

Taking advantage of new technology in the contract textile industry, Robert Allen Contract is bringing to market the first Sunbrella Contract collection. This group of outdoor fabrics debuts Sunbrella’s first contract-grade upholstery and is garnering sustainability kudos. Two patterns in the collection, Optima and St. Tropez, are the first to attain Silver level compliance with the NSF-ANSI 336 Sustainable Assessment Standard for Commercial Furnishing Fabrics, a new industry-accepted guideline developed by the Association of Contract Textiles (ACT) to provide common measurements and language for sustainability designations.

Jane Riback, design director for Robert Allen Contract, states “We are pleased to introduce an industry-first and show leadership in the area of sustainability with beautiful outdoor textiles for the contract market. We believe it is important to our customers to have a standard for environmental sustainability that they can feel confident about specifying.”

These designs are all bleach cleanable, recyclable, have enhanced UV performance, and prove their safety and credibility with a GREENGUARD Children and Schools Certification.

Polo Beach, Boca Linda, Fiesta Key, Marco Island, Optima and St. Tropez all passed extensive Double Rubs on the Wyzenbeek and are available in multiple colors.

Robert Allen Contract is a provider of coordinated fabric collections for the hospitality industry. Robert Allen Contract combines design with durable constructions that meet stringent contract industry standards. Robert Allen Contract has the capability to fabricate finished product including custom-designed finished bedding ensembles, window treatments and bath essentials.

For over 50 years Sunbrella has provided the world with beautiful, durable and easy-care fabrics available in thousands of styles, patterns and colors for wherever people live, work and play.

Source: Robert Allen Contract

Bedding and upholstered furniture manufacturers say they are bracing for foam price hikes that are expected to hit double digits.

“With significant price increases, products would need to be de-speced or bedding prices would go up,” said Therapedic president Gerry Borreggine. He also said the timing would be “most inopportune” for his group, which just launched the most successful all-foam bedding line in its history.

The bedding producers said the foam price hikes are coming in the wake of shortages of key chemicals used in foam production, shortages that are expected to lessen in the months to come, when foam prices could moderate but still remain at a higher level than they were earlier this year.

Jim Wiygul, owner of Independent Furniture Supply, a foam fabricator in Tupelo, said that chemical prices rise periodically, “but this is the worst since (Hurricane) Katrina.” He said foamers are expecting price increases of 17 to 22 percent due to shortages of the chemical toluene disocyanate (TDI), a derivative of oil. “My customers get sick and tired of hearing this statement but the reality of it is, just go to the gas pump and it’s the same thing.”

Upholstery producers are worried about the pressure they're going to get from retailers to hold the line.

Dan White, president of upholstery maker Norwalk, said the past 18 months have seen a seesaw of price escalations and rollbacks in foam, and is heading up in double digits now. “So don’t tell me inflation is under control,” he said.

“We had that absolutely nuts situation because of the shortage of cotton,” White said, referring to the doubling of cotton prices earlier because of droughts and floods in cotton producing countries. “People started using more polyester so the price of that went up.”

Other products will follow the foam, according to Jim Sneed, president of Affordable Furniture. “Freight, of course, fiber, some kits and some roll goods (are going up),” he said. “When that happens along come the supplies—thread, plastic bags, springs. I expect a general increase at the April market if not before.”

Source: Furniture Today

Phifer Incorporated designs products for porch, patio and backyard. The Passion Fruit collection offers palettes of sunset and coral mixed with zinc and oatmeal in tweedy, feedsack-like textures.

The Baltic Breeze line is synonymous with a nautical trend, reminiscent of summer beach houses, with tones of navy, cornflower, cream and yellow in zigzag, vermicelli and ikat patterns.

Designed Fabrics—plush, 100 percent recyclable GeoBella® Cushion Fabrics and slingable Phifertex® Outdoor Fabrics—are available in dobbies, wicker weaves, stripes and jacquards.

These fabrics promise stability and strength as well as softness in outdoor settings. Phifertex’s performance fabrics can be used in awning, umbrella, pillow and new exterior fabric applications.

Source: Phifer Incorporated

Glen Raven Custom Fabrics announced that two of its new Sunbrella® Contract fabrics—a filling-face twill and plain-weave canvas—have attained Silver level compliance with the National Science Foundation/American National Standards Institute (NSF/ANSI) 336-2011 Sustainable Assessment for Commercial Furnishings Fabrics. The company is the first to declare compliance under the standard, which was adopted by the Association of Contract Textiles (ACT) in 2011 to provide the industry with a universal measurement and language for sustainability.

“Glen Raven was active in the development of the NSF/ANSI 336 standard and has been committed to designing fabrics that would be compliant well before the standard was finalized,” said John Gant, manager of sustainable development for Glen Raven Custom Fabrics, and a member of the NSF Joint Committee dedicated to formalizing the standard. “We worked with more than 12 suppliers to evaluate their formulations, which helped us discover opportunities for chemistry improvements in our fabric. It is a lasting legacy of our dedication to sustainability.”

As past president of ACT, Carol Derby was instrumental in the establishment of the standard and believes it puts companies on even footing regarding their environmental reporting in the contract fabric industry.

“The standard was intended to fully describe the life cycle approach to a product…,” Derby said. “The NSF/ANSI 336 standard provides a common vocabulary that will help us deepen the meaning of sustainability in our industry.”

The NSF/ANSI 336 Standard is a voluntary self-assessment tool that encompasses a range of environmental issues, including fiber sourcing, safety of materials, water conservation and water quality, energy, recycling practices, air quality in manufacturing and social accountability. ACT recognized the need for the standard in 2003 and initiated a collaboration with GreenBlue for the framework and with NSF International as the standards- writing organization. NSF assembled more than 75 member organizations and stakeholders to ensure the creation of the multi-attribute standard, which ANSI published in March of 2011.

Robert Allen Contract and Designtex will be the first companies to carry the Silver-level compliant fabrics as part of their contract fabric offerings.

Source: Sunbrella

UpholsteryJournalMag.com | March 7, 2012

By Melissa Kaudy

The couch is Victorian, circa turn-of-the 20th century, according to upholsterer Barbara Burbey of Milwaukee, Wis., owner of Mid-Metro Upholstery. What was once grandma’s couch soon became the “sole property” of a new resident of the customer’s home. The customer, a prominent psychiatrist, had adopted a three-legged dog named Freckles. The antique couch left much to be desired before the restoration, and Freckles didn’t help the matter much with his unusual navigation, which was a quick body turn (executed to compensate for the lack of the fourth leg) that tore up the barely tolerable fabric with his sharp toenails

At first glance, Burbey had crucial doubts about the project: “I almost said to the customer ‘Why don’t you just pitch this?’” Even she couldn’t see that the couch had “a great kidney shape and really good lines” until she began stripping it down to the frame.

Once the frame was stripped, it had to be reglued. New webbing and springs had to be retied in the seat and back. Remaining true to authenticity, no synthetic materials were used in the restoration, so the original method of padding with cotton and horsehair commenced. Burbey had to use new horsehair because the original stuff was incredibly saggy.

New down was used for the construction of the cushion. The coil spring job also had its moments of tension: the wire edge unit had been built on an edge roll, so it was necessary to do a lot of extra ties to get the deck as flat as possible. “I don’t sacrifice quality for a deadline,” Burbey states matter-of-factly. “A quality job takes time, and there are a lot of things you can never anticipate about an upholstery job until you take it apart.”

Burbey also refinished the legs, restoring the deep-cherry-red glory of the Victorian period.

The labor-intensive aspect of the project had much to do with the customer, who had a very difficult time deciding the fabric with which he wanted to crown this regal achievement.

“It took the customer forever to pick out the fabric,” Burbey says, in spite of the fact that she had numerous sample books at the ready and allowed him to take them home for convenience and expediency.

At last he settled on the Duralee floral pattern in Cinnamon. A better choice of cover, Burbey notes, could not have been possible.

The customer was so thrilled with the finished antique couch that he paid Burbey a cash bonus. For her part, Burbey supplied a little extra something for the true “owner” of the piece: Freckles has a matching “sleeping bag” in Duralee Cinnamon, keeping him cozy while protecting the new fabric against errant toenails.

By Carol Racine

If you do any upholstery in the marine industry you will use a pleated vinyl at some point. Customers often request that I not use pleated because they want something that is easier to wipe clean and doesn’t have all the grooves in it. But the pleated vinyl provides visual interest as opposed to flat, white vinyl.

We are all familiar with pleated or channeled vinyl that we can purchase from our suppliers, but what if you need to match a specific color and must pleat your own? I have used several different methods to pleat special colors. I don’t believe that there is only one way to do it, but some techniques are easier and quicker than others.

I had a customer bring in a 1957 FeatherCraft that he was restoring. The boat had no upholstery in it, and the customer wanted something that would keep the vintage look. The first stumbling block was the light blue color that he had used to paint the boat. In addition, the customer had a special logo that he wanted embroidered on the seat backs. If you are ever lucky enough to get to the customer before the project begins, try to get them to pick out the upholstery fabric first, and then match the paint to the fabric.

The deciding factor on the design had to do with the size of the two small bench seats. I had to think small, yet I wanted to make them appear larger than they were. The design came to me fairly quickly, and with the customers’ approval I began.

We cut new marine plywood and firm foam, and proceeded to the fabric. Once I determine the size of the center panel, I divide the balance of cushion width by the size of pleats I would like to have. The size of the pleat that I wanted to end up with did not divide evenly, so I intentionally left the two outside pleats wider. That ensured that I would not have a pleat seam interfering with the end cap.

Although there are numerous other ways to work around this little issue, choose the solution that helps complement the cushion. I could have changed the size of the center panel, changed the size of all of the pleats, or used a larger pleat somewhere other than where I did.

All the pleats in this instance are individual pieces with ¼-inch sew foam attached to each one.

Once I have all the pleats and center piece sewn together, all I need to do is determine the actual size it needs to be. Because of the amount of slack that the pleated vinyl creates, you will want to pull some of it out to get the true size.

So, how do you know exactly how hard to pull on the fabric? Remember that we have a board that the skin is going to be stapled to. We are going to use the board. We know what our seam allowance is going to be, so stretch the pleated fabric across the board and clamp. Don’t forget to let your seam allowance hang past the board.

The top of the backrests are attached the same way. By stretching the top piece of the cushion—the piece with the embroidery on it—and clamping on to the board, I can staple the two together. Now I can run it through the sewing machine without any doubt that it will fit like a glove.

The perfect fit is having the outside seam line the exact size of the board. If the skin is larger than the board, you will have wrinkles. If it is smaller than the board, you will have the wooden edges trying to poke through the vinyl.

Photos: Start to finish

The boat was brought in with no upholstery at all.

The rear bench seat was a mini version of the front bench. I wanted to be sure that the two looked good together before I started to cut or sew.

To determine the correct size of the pleated panel, lay it on the board.

Stretch the skin across the board and clamp it in place. You can trim it smaller or add another strip at this point.

Once you determine that it is the size you need, go ahead and staple on the boxing.

Note how much slack there is in the edge piece once you release the clamp from the pleated piece. Go ahead and sew it together.

Now clamp the pleated piece to the board again. Stretch the next piece of the cushion on top and clamp in place.

Staple the two pieces together and sew. This is also where I am going to add the stretcher.

Add the cord for the finishing touch and install in the boat.

Carol Racine is owner of Racine Design in Jacksonville, Fla.

UpholsteryJournalMag.com | March 7, 2012

By Shelby Gonzalez

Estimating job costs is one of the cornerstone skills of running a successful upholstery business. The more accurately you can estimate the amount of labor and materials a given job will require, the better the job will go and the more satisfied the customer will be. And satisfied customers lead to repeat business and great word-of-mouth advertising.

What are the basic steps in making an estimate? What tools and changes can improve your estimating procedure, making your business more efficient and profitable? What are the most common problems and mistakes upholsterers make when estimating the cost of a project, and how can you avoid or fix them?

Experienced upholsterers and marine fabricators from across the country answer these questions and share their expertise, insights and tips for estimates that lead to profitable jobs and satisfied customers.

Phone estimates

Often, initial contact with a customer happens over the phone. When a potential customer calls you, first ask what they are looking for or what problem they want fixed. Get as many details about the project as you can.

“We identify exactly what they’re looking for,” says Chris Ritsema, owner of Canvas Innovations in Holland, Mich. “Basically, we’re just getting a good description. Then I give an estimate.”

About 30-percent of the estimates Ritsema gives are over the phone. “I’m very clear that it’s an estimate only, and I can’t commit to it unless I can see the project.”

Of course, over the phone is not the best way to come up with a cost estimate. Ideally, once you’ve had phone contact with a potential customer and given a rough estimate, he or she will agree to set up a meeting so you can visit the job site and discuss the job in more detail.

At the job site

At the job site, you can take measurements, upsell products and services, answer questions and gather information that will help you come up with an accurate estimate. Take lots of notes.

“I come to the project site with samples and products, like the type of thread we use,” Ritsema says. “The first thing I’m going to explain is the materials. I like to go into detail, explain how we fabricate products compared to the competition. I try to upsell our products and give options.”

When Justin Jones, owner of Custom Covers in Salt Lake City, Utah, visits potential job sites, he snaps photos of problem areas, which he later includes with his estimate.

The estimate itself

“It’s important to come up with a good, honest, fair price,” Jones advises. “You want to make sure you’re charging a fair market rate for your time and materials, and that you’re not leaving money on the table or shorting yourself.”

How do you come up with a good, honest, fair price? When Ritsema gets back to the office after visiting a job site, he sits down and estimates the materials the job will require. “From that point, we go ahead and estimate labor, sewing and fabrication,” he says. “Instead of just bulking it all in with a price at the bottom, we do itemized quotes so the customer can really see what they’re getting. Sometimes I will give a streamlined quote and then include different options at the bottom.”

Katie Bradford, MFC, of Custom Marine Canvas in Noank, Conn., offers a method that can help experienced fabricators refine their labor estimates.

“For frequently produced items, we add up time and materials for several jobs and divide by a unit of measure to come up with a reasonable estimate,” Bradford says. “For example, we get an average number of hours per cushion in an interior.”

An alternate way to standardize the estimating process comes from Chandler Clark, co-owner of Signature CanvasMakers in Hampton, Va.

“Give yourself a baseline to work from on core products,” he advises, “then set pricing for add-ons. This helps to take the guesswork out of estimating, takes less time and ensures that you maintain price integrity and consistency.”

On your itemized estimate, remember to include details about products.

“I think it’s important to give the customer a detailed estimate so he knows what he’s getting,” Ritsema says. “If I’m giving a lifetime warranty on our thread, that should be on the estimate.”

Common mistakes and how to avoid them

The mistake: Too low an estimate. “I think what angers people more than anything is if you give them an estimate and secure the job, and at the end you give them a price that’s $300 or $400 higher than you quoted,” Ritsema says.

The fix. With a recession still breathing down our collective necks and everyone keeping a wary eye on their wallets, it may be tempting to be optimistic about how long a given project will take. The lower the price, the more attractive for the customer. But underestimating the cost of a project will only hurt you in the long run.

At the end of the project, you’ll either have to rush to stay within your estimated time (risking lower-quality results), eat the difference between your estimated and actual labor costs, or charge the customer significantly more than you quoted.

Needless to say, that’s not the kind of choice you want to have to make. So resist the urge to lowball your estimates.

The challenge: Upselling. Upselling products and services can significantly increase the value of a project. But it’s hard to persuade people to part with more money.

The fix. Identify areas where you can add value and services. Then show the customer why the quality and extra services they will receive are worth the added expense.

“When I get onto a boat, I look at other areas, besides the one the project involves,” Ritsema says.

Upselling doesn’t necessarily mean adding to the scope of a project. Quality in craftsmanship or products, like zippers or thread that carry lifetime warranties, can be a big upsell when trying to secure a job or justify a premium price.

“We always sell quality,” Jones says. “That’s our niche. We’re not the cheapest in town, but we can justify the cost because we can show them physically why we’re better or why our products are better and will last longer.”

Clark also underscores the importance of added value.

“We’ve aimed toward the higher-end market with a quality product, a little extra customer service and the addition of added-value that adds little cost in production to us, but provides high ‘perceived value’ to the customer,” he says. “This has served us well in the recent slowdown. We have been able maintain a steady business flow this year without reducing prices, profit margin or quality.”

The challenge: Large or new-to-you jobs. “Since everything we do is custom, the hardest part is determining how long an item will take to build,” Bradford says. Other fabricators echo her sentiments.

The fix. “I would say time is the hardest part of estimating, especially if it’s something you’ve never done before,” Jones says. “Or sometimes you’ll get a unique project that’s really tough to determine in advance how much time it will take. Our policy with projects like that is to ‘underpromise and overdeliver.’ I think that goes a long way with finishing the sale and getting the good word of mouth for future customers.”

Refine your estimates, boost your profits

“The economy has affected us greatly,” Jones says. “We’re doing a lot of different types of estimates, more for repair and replacement. The percentage of people who follow through with estimates has also decreased.”

In a time when every penny counts, it might be worth your while to review your estimating tools and procedures. The quality of your estimates can have a big impact on your bottom line.

Shelby Gonzalez is a freelance writer. She welcomes comments and inquiries at shelbygonzalez@gmail.com.

Carnegie has introduced new color palettes to four of Creation Baumann’s most popular fabrics. Allegro, Naxos, Palazzo and Soprano have been updated with a total of 115 new color choices for classic Baumann patterns. The increased options enhance window couture with applications appropriate for hospitality, residential, office décor and other environments.

Combining sustainability and performance, the lines are woven from 100 percent Trevira fibers. Trevira uses no solvents, nitrogen, halogen, synthetic resins or formaldehyde during manufacturing. The fabrics offer durability, color brilliance and fire resistance.

Creation Baumann is ISO 14001 certified and all textiles are produced in a facility that has been rated, inspected and must show improvements in environmental areas ranging from energy reduction to waste management.

Source: Carnegie

By Jessica Sellers

These three antique leather chairs were to go in an executive’s office, but the brittle, ripped leather was far past its prime. Robert Burkart of Sewline Upholstery, Medicine Hat, Alberta, Canada, transformed them into better versions of the original.

Using stressed texture Capri burgundy leather from Vanville Leather Ltd., Vancouver, British Columbia, Burkart was able to preserve the original antique look. The seats were completely redone. Burkart rewebbed the bottoms with three-inch jute webbing and hand-tied five-inch coils.

Cotton batting and medium-density foam padding rounded out the seats’ shape. The corners are pleated, in keeping with the chairs’ original look.

The chairs’ backrests of original straw and cotton were still in good condition. Burkart added 1/4-inch foam to freshen the padding, and covered the curve in eight pieces of leather. Over each seam, reinforced strapping finished the look.

The edges feature new, carefully spaced nails, provided by the customer. Burkart stripped the wood himself before restaining, finishing and gluing.

The entire project required about 18 hours of work.

UpholsteryJournalMag.com | February 8, 2012

By Claudette Sandecki

Tuck-and-roll refers to hand-stuffed channels that are typically used to form a decorative panel in automotive interiors. Classic tuck-and-roll is time consuming to fabricate because it entails hand stuffing individual channels. The result is a luxurious crown, and a seat with extra cushioning.

Faux tuck-and-roll takes less time to make because there is no channel stuffing involved. Instead, face fabric and padding are sandwiched together and pleated, resulting in a flat pleat with minimal cushioning.

Materials for faux tuck-and-roll

• Leather, vinyl or woven face fabric
• Scrimback foam or sew-foam. Scrimback is foam that’s available in sheets one-quarter or one-half inch thick that are glued to a non-stretchy backing. Sew-foam is glued to tricot backing. For heavy-duty applications, you can construct your own pleat-filler by adhering a sturdy material, such as canvas, to a sheet of foam.

Materials for classic tuck-and-roll

• Leather, vinyl or woven face fabric
• Muslin or light canvas
• Cambric
• Cotton or padded felt
• Two large spring clamps
• Aluminum or wooden yardstick

Faux procedure

Scrimback accommodates pleats of any reasonable length, as long as the foam/face fabric sandwich doesn’t become too unwieldy to sew straight. Shorter, narrower panels are easier to manipulate; a width of 24 inches or narrower is the easiest panel width to fabricate. Size is limited by whatever size roll of scrimback fits easily under your sewing machine arm.

To ensure straight, smooth pleats, use pencil-drawn lines and a carpenter’s square to square face fabric, as well as all other fabrics used in this project, before cutting or sewing.

Determining panel width

Measure the size you’ll need to cover with your faux panel before patterning.

For a panel 10-inches-by-14-inches wide that contains seven pleats, each two inches wide, allow a one-half inch seam allowance for each pleat on either side of the panel.

Add one inch of width just in case, for a total panel width of l9 and one-half inches.

To determine panel height, add one inch to the up-and-down length of pleats. You will end up with a total height of 11 inches.

Cut a scrimback rectangle that’s 11 by 19 ½ inches.

Starting from the left edge of the foam, use a pencil or felt-tip marker to draw parallel stitching lines that are parallel to each other, and to the left and right sides of the panel. In this example, the stitching lines are parallel to the 11-inch dimension. The first line should be three-fourths of an inch from the left edge, then every two inches across the width of the panel. Set scrimback aside.

To calculate face fabric dimensions, give each pleat a three-fourth inch stitching allowance.

In addition, allow a three-fourth inch seam on either side of the panel.

The width of the face fabric will be three-fourths plus three-fourths plus (seven by two and three-fourth inches), for a total of 20 ¾ inches.

Determining panel height

Panel height is the same as for scrimback. Cut a rectangle of face fabric 11 inches by 20 ¾ inches.

Turn face fabric face down. Beginning on the fabric’s right-hand edge, pencil a parallel line one-half inch to the left of, and parallel to, the cut edge. Proceed leftwards, drawing lines every 2 ¾ inches.

Sewing pleats

The first step is to make a sandwich of scrimback and face fabric. Begin by placing the left side of the fabric face up on top of the left side of the scrimback. Align the top left side of the fabric with the top left side of the scrimback.

Stitch a line from top to bottom, one-fourth inch from the cut edges. (Note: If too bulky to fit under the machine arm, turn the sandwich around and stitch this first line from bottom to top.)

Fold the fabric to the left on its first pleat line. Align this fold along the next line on the backing. Topstitch one-fourth inch to the left of the fold. This seam width keeps the machine foot from sliding off the face fabric.

Stitch successive pleats. Sew any remaining fabric flat to the scrimback, keeping the stitching line near the right edge of the scrimback. You now have a panel.

Stretch the panel, if necessary, to match the 11-by-19 ½-inch dimension you are aiming for. Stitch across top and bottom ends of pleats, three-eighths of an inch from the panel’s cut edge, and your panel of faux tuck-and-roll is complete.

Classic procedure

This calls for one inch rather than one-half inch seam allowances on either side of the muslin backing, and the addition of two inches rather than one inch to the panel’s length.

Face fabric measurements remain the same as for faux tuck-and-roll. The only procedural change, other than sewing face fabric to a muslin backing instead of to scrimback, is the way in which pleats are filled. Pleats are more properly called channels in the classic method because they’re individually stuffed.

Make a test strip to determine how much cotton you’ll need to create a pleasingly plump pleat. Doing so will also tell you the width of cambric required to encase the yardstick and cotton in a roomy enough space so that the cotton will not tear as it moves along the channel. Once you have a satisfactory test strip, cut one strip of cotton to those dimensions for every channel. Cut a strip of cambric for each channel, too, but note that the cambric strip must be six to eight inches longer than the strip of cotton, for a reason that will be explained shortly.

Stuffing Channels: Clamp the bottom of the sandwich to the edge of your work table, by placing one clamp on either side of the channel you’re going to stuff.

Move clamps and muslin slightly together to enlarge the channel. Use a yardstick (one to two inches wide, depending upon the width of the pleats) as a spatula to convey the cotton into the channel.

Load a cotton strip on the yardstick, flush with the leading end of the yardstick. Swaddle the cotton and yardstick with a strip of cambric, lapping six to eight inches of cambric over the leading end of the ruler. If you’re using a wooden ruler, tap a tack through the cambric into the leading end of the yardstick to secure the cambric.

Scrunch the sides of the cotton to fit on the yardstick, snug the cambric to the underside, and push the yardstick into the channel until it exits at the top of the pleat. Remove the tack if you tapped one into the yardstick. The channel should be uniformly padded. If not, pull the padding out and start over.

Remove yardstick. If necessary, adjust padding by tugging cambric up or down. Leave cambric in the channel. Stuff remaining channels. Instead of cambric, you can encase cotton and yardstick in plastic, such as a strip cut from one side of a shipping tube. But removing the plastic from the channel—a must—can prove difficult.

Tuck in or tear off excess cotton at both ends of the channels, and sew across the panel from side to side, three-eighths of an inch from the panel’s cut edge, while stretching the panel to its original backing measurements.

Claudette Sandecki is a retired upholsterer in Terrace, B.C., Canada.

By Mark Brock

In today’s business climate, everyone is looking for growth opportunities, including upholsterers who have felt the effects of consumers holding on to hard-earned cash. One of the most promising areas for profitable growth for upholsterers is actually very close at hand.

“Any upholsterer or marine fabricator who is not doing cockpit and cabin up-fits is leaving cash on the table,” says Tom Koster, marine products manager for Tri Vantage, the nation’s largest distributor of marine fabrics and components. “Granted, biminis and cushions are very different products, but you use the same machines and the same skill sets for both. It’s more a matter of mindset than anything else.”

Skilled labor

The mindset among many marine fabricators is that cockpit and interior work is tedious, time consuming and not as profitable as exterior canvas. This conventional wisdom is being challenged everyday by upholsterers such as Needle Loft in Kemah, Texas. Owned and operated by Linda Delgado for 32 years, this thriving enterprise has proven that interior work is profitable and a natural extension of work above deck.

“As a registered interior designer, I do have an advantage in work below deck,” Delgado says. “To be successful with interiors, you have to take the time to listen to your customers and find just the right look for them. But it pays off. I have customers who have owned three and four boats over the years, and I’ve done work on all their boats, inside and out.”

According to Delgado, one of the major challenges is finding skilled labor. When she recruits an employee with solid sewing skills, good aptitude and attitude, she is willing to do on-the-job training.

“The Marine Fabricators Association (MFA), a division of the Industrial Fabrics Association International, sectional groups and even community colleges offer courses that help get you started with interior work,” she says. “There are so many opportunities when you do boat interiors, including cushions, draperies, pillows, bedspreads and mattresses. Down here in Texas, we welcome the opportunity to get out of the sun and work on interiors during the hottest months.”

The right time

The seasonality of marine canvas is another reason that fabricators and upholsterers should consider diversifying their offerings. Spring and summer are typically boom times for marine fabricators with more work than there are hours in the day. Winter months are typically much slower, which could be an ideal time to make cushions, curtains and accessories in the warmth of a fabrication shop.

“During the height of the season, time is of the essence for marine fabricators,” Koster says. “You want to do the most work possible, and boat owners want the work completed as soon as possible so they can enjoy being on the water. In the off season, it is an entirely different story when marine fabricators may have time on their hands and when boaters are no longer using their boats every weekend.”

Jay Stroker, who was a marine fabricator for more than 20 years before joining Tri Vantage as a senior account representative, says cockpit and interior work requires that marine fabricators and upholsterers take a broader view of opportunities for profitable growth.

“We encourage fabricators and upholsterers to expand their horizons and recognize a broader diversity of opportunities within boating, from cruisers and run-abouts to sport fishers and yachts,” Stroker says. “The family yachting experience has really expanded in recent years with a great deal of emphasis on comfort below deck. Plush appointments, designer color schemes and comfortable sleeping all represent opportunities for marine fabrication and upholstery.”

New materials

Marine fabricators and upholsterers who decide to take the leap into cockpit and cabin projects are assured of a wide assortment of materials for virtually every application and every pocketbook. Non-woven fabrics, such as vinyl and vinyl-like materials, come in a great diversity of colors, textures and performance characteristics. Non-woven fabrics range from the basic to offerings that have the look and feel of fine leather. UV and mildew resistance are engineered into most offerings, as is ease of sewing.

For boaters who want the look of home upholstery, there is a diverse offering of Sunbrella® performance fabrics for cockpits and below deck. The design and color of these fabrics have been inspired by home interiors, yet are influenced by the marine lifestyle. Durability, fade and mildew resistance and ease of cleaning continue in the Sunbrella performance tradition.

High performance, skid-resistant marine carpets are also available for a great diversity of needs, inside and out. Gas, oil and sun are no match for marine carpets, which are designed for easy installation. There are even marine carpets that mimic the look and feel of fine Berber carpets found in many homes today.

“We have wonderful materials to work with for boat interiors,” says Katie Bradford, owner of Custom Marine Canvas of Noank, Conn. “Not only has the Sunbrella line expanded, but Glen Raven licenses Sunbrella yarns to design houses that are creating extraordinary patterns. Nonwoven vinyl materials are also getting better all the time. There is constant development work in this area with new patterns and leather-like offerings.”

For Custom Marine Canvas, offering interior up-fits has been a substantial financial benefit given the effects of the economy on the marine industry. As boaters are keeping their vessels for longer periods of time before trading up, the ability of a marine fabricator or an upholsterer to suggest up-fit opportunities has never been more important. An investment in new canvas above and below deck is a cost-effective way for a boat owner to have the feeling of a new boat at a fraction of the cost.

“We had a similar experience with the recession of the 1980s when people were holding on to their existing boats rather than buying new,” Bradford says. “We tell customers that for 10 percent of the cost of a new boat, we can give them new sails, completely new canvas and a new interior.”

Bradford says that marine interior work is not for all upholsterers, but there are benefits of growth and stability for those who are willing and able to diversify.

“Interior work is a challenge, but we love to do it, and we’re good at it,” she says. “Accuracy, accuracy and accuracy are the secrets to success. If you are a meticulous craftsman, then you should be able to succeed with interiors work.”

Mark Brock is a writer, public relations consultant and boat owner who has been working in the marine industry for more than 20 years.