A Linen Appreciation Post: Why I Choose Linen for Upholstery
Linen has a special place in my upholstery practice. I love how it folds so neatly yet shapes around curves like butter; how itâs both coarse and lustrous with a natural sheen that glows even before dyeing. Beyond its beauty, linen has become integral to the structure of my work â not just a finishing fabric, but the backbone of the build.
When I began upholstering, I rarely used linen. Now, I find myself replacing jute hessian scrims, tarps, and even cotton webbing with linen wherever I can â and always swapping nylon twine for linen thread. In some pieces, linen accounts for over three-quarters of the fibres I use, alongside animal hair and wool.
That shift happened gradually, shaped by learning more about fibre structures, environmental impact, and the history of European and British upholstery. Linen and hemp webs formed the literal foundations of traditional upholstery, and revisiting them connects us to centuries of craftsmanship.
At the recent recent Festival of Upholstery, I watched a live recording of the Sit on This podcast interview with Upholstery Conservator Heather Porter. When asked what future upholsterers will think when they strip back our work, her answer was one word: jute.
She explained that much of todayâs upholstery may simply not survive â jute degrades far faster than the linen found in earlier pieces. Itâs a sobering thought.
A Short History of Upholstery Fibres
Before industrialisation in the late 18th century, linen weaving was a key cottage industry in Britain. The flax fabrics it produced were strong, versatile, and widely used in upholstery â as webbings, base cloths, and casings for stuffing materials such as horsehair and linen tow.
Linen wasnât used much as a decorative top layer; it was the workhorse beneath the surface.
In the 19th century, jute and cotton entered the scene. Cheaper and easier to import from warmer climates, they replaced linen in the hidden layers. That substitution became standard practice â and remains so today.
A good jute hessian is still pleasant to handle, with rigidity that helps achieve neat, crisp work. But longevity tells another story: old chairs often reveal sagging springs and disintegrating scrims, the result of jute fibres breaking down over time.
Flax vs. Jute: Key Differences
Both fibres are âbast fibres,â drawn from the inner bark of plants, but they thrive in very different environments. Jute grows in hot, humid regions, while flax prefers cooler, temperate climates.
After retting, flax yields long, smooth, supple fibres; juteâs are shorter, coarser, and more brittle. The result is that linen lasts significantly longer and resists moisture, moths, and bacteria â properties that directly affect the lifespan of upholstered work.
Sustainability Benefits of Linen
Linenâs durability is matched by its sustainability. Flax needs minimal water, grows well without heavy chemicals, and every part of the plant can be used. Itâs renewable, biodegradable, and truly time-tested â a perfect fit for a craft that values longevity over fast fashion.
The challenge, of course, is cost. Producing linen takes skill and time, and itâs priced accordingly. A roll of linen webbing can cost six times more than cotton, and linen tarpaulin carries a similar premium.
For that reason, I approach each project thoughtfully. When budgets allow, I prioritise linen for the foundational layers â the webbing and base â because they bear the weight of everything else.
Upholstery demands patience and skill. Using materials that extend the life of that work feels like the right way to honour both the craft and the client.
While price will always influence choice, I now make a point of offering linen options to my clients and explaining their benefits. If we start treating the pieces we create today as future heirlooms, linen makes complete sense.
I often think of Heatherâs words. What will upholsterers in the next century discover when they peel back our work?
I hope they find strong linen webbing, stitches still intact â evidence of care and intention. Thatâs the kind of legacy I want to leave: upholstery that not only looks beautiful but endures.
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