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@hareinthechair

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Learn Upholstery
I run small, bespoke upholstery and soft furnishing classes from my workshop on the outskirts of Bristol.
Details and Class booking can be found here.
Squab Cushion Workshop -Exploring techniques.
What is a Squab? A squab is a type of seat cushion constructed like a mattress, with a top and bottom joined by a border and traditionally filled with wool or hair. The sides are stitched to give a firm upright edge and the cushion is âtuftedâ through the stuffing to help it remain in place. Squabs were very popular in the eighteenth and nineteenth centuries, often made for cane seats of day beds and couches.
This squab cushion course may be interesting to you if you are an upholsterer who wants to explore historical methods or as a beginner looking to make seat cushions for your own furniture that will be durable and avoid the use of foam.
On this course we will explore methods based on historic pieces. You will come away with a sampler where you will have gone through the basic process of creating the cover, stuffing, tufting and stitching. You will also have the opportunity to test out different stitch combinations to achieve different shapes and densities. You can then transfer these skills to your own specific projects.
Course Length: 2 days
Next available dates: Wednesday 6th May and Wednesday 13th May + Optional online Zoom meeting 2 weeks after the course - date and time to be confirmed.
If you are interested in the course but these dates don't work for you contact me here.
More information and Booking
Course aims: -To gain a practical understanding of how to make a traditional squab cushion based on historic examples. -To explore how to gain a variety of densities and shapes through different means of stitching up. -To gain an understanding of historical context, cover materials and fillings to help inform future choices.
Experience level: This course is suitable for beginners but an understanding of traditional upholstery techniques is advantageous.
What is included? -All materials needed to make the squab sampler including linen fabric and wool fillings. -Tools and equipment are also all provided, however if you have some pins or fabric clips you can bring along these may be helpful after Day 1 when you will take home the partially finished pad. -Tea and coffee also provided.
What will I leave with? -A handstitched squab sampler, with a examples of different stitch combinations on each side. (approx 30cm in size) -An illustrated handout, both printed off and PDF copy, -Access to pre-recorded video demonstrations (with a valid Gmail address), -Lots of practical tips and tricks -Historical knowledge about the humble squab.
Online follow up: A 40 minute online video call will be provided to give follow up support to anyone requiring it for example -if they needed to finish their work at home or wanted to discuss a further project.
#Welcome to the booking page for my **Weekly Classes**, **1-2-1 Consultations**, **Workshops** and **Chairs and Chat Upholsterer's Coffee Mo
Chair Stories
Scroll down to find out about some of the beautiful and varied chairs I have had the pleasure of working on in the last few years.

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Restoring a 19th-Century Wingback Chair: A Labour of Love
There's something truly magical about breathing new life into an antique piece. Recently, I had the pleasure of working on a stunning 19th-century wingback chair, transforming it from a dilapidated state to a cherished centrepiece in a Georgian house in London. This project was a testament to the beauty of craftsmanship, the importance of collaboration, and the stories embedded in every stitch and panel.
The Beginning: A Client's Vision
My client approached me with a cherished chair and a vision. Alongside the chair, they had sourced exquisite fabric panels from Dorset based artisans Bonfield Block Printers. These panels were made from antique linens, complete with the original stitched hems and initials "D.B." The initials hinted at the fabricâs storied past, though the full history remains a mystery.
The Chair: A Detailed Description
The chair itself is a classic 19th-century wingback modelled on chairs from a century earlier, featuring a fixed seat, elegant wings, curved scroll arms, and cabriole legs adorned with light relief carvings of foliage and five-toed paw feet. However, years of use and multiple layers of upholstery had taken their toll.
The Restoration Process: A Journey Back in Time
1. Stripping Down: The first step was to strip away the layers of old stuffing and upholstery. This revealed a frame riddled with tack holes, to the point of disintegration. It was clear the chair wasn't in any condition to be reupholstered as it was.
2. Frame Repair: To salvage the frame, I took it to a skilled local joiner, Harry T. Morris. His sympathetic repairs ensured the frame was sturdy enough to tack into again while preserving its historical integrity.
3. Reupholstering: Once the frame was restored, I began the meticulous process of reupholstering:
Platform: I used cotton herringbone webbing and linen tarpaulin.
Padding: The original horsehair was re-teased and mixed with new horsehair to build up the upholstered pads.
Stitching Techniques: The 19th-century frame was modeled on earlier 18th-century chairs, so I employed a combination of techniques from both eras. This included replicating some unusual stitching techniques I discovered during the initial deconstruction.
Covering: A layer of cotton calico and wool was used to cover the horsehair, creating a base for the final fabric panels.
4. The Fabric Panels: The final step was arranging the antique printed panels from Bonfield Block Printers. These panels, part of their 'Lost Series,' had been hand-dyed through multiple dips in weld and indigo and printed on an antique press by Cameron Short. While some of the print inevitably didnât fit perfectly, the overall look was harmonious and celebrated the fabric's history. We made sure to highlight the faded lines and original hems, with the stitched initials taking pride of place.
The Finished Piece: A New Chapter
The result is a beautifully restored wingback chair that looks lived-in and loved, just as my client wanted. It's now a cherished addition to their Georgian home in London, where it will be enjoyed for years to come by both the family and their dog.
Acknowledgments: A Collaborative Effort
This project was a true collaboration, involving multiple craftspeople whose skills and dedication made this transformation possible. My heartfelt thanks go to:
The original frame maker and upholsterer
The unknown talented carver of the chair's legs
The weaver and embroiderer of the antique linens, possibly D.B.
Cameron Short and Janet Tristram of Bonfield Block Printers for the stunning fabric panels
Harry T. Morris for the impeccable frame repair
Restoring this chair was a labour of love, blending historical techniques with modern craftsmanship. Itâs projects like these that remind me why I am passionate about traditional upholstery.
Consultations
I offer one-off consultations either In-person or via Online video link.
This could be to help you:
Plan a project
Ask about a specific element of a project
Problem-solve
The One hour consultation includes: 15 minutes of pre-consultation preparation - for example looking through photos that you send in advance.
45 minutes of face to face discussions.
If applicable I will then share resources relevant to the consultation with you. ÂŁ40
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'Chairs and Chat' - The Upholsterer's Coffee Morning.
Every two months I open up my workshop for an informal get- together of upholsterers who want to step out of their work spaces and meet others.
The first Chairs and Chat took place in January 2026. It was absolutely delightful. As one attendee put it "Thank you for a lovely coffee morning with delicious treats at your studio on Wednesday. Â It was great to catch up with old friends and meet new ones, so many snippets of information and fabrics to look at!"
Invites with the details will go out via email to those who have put their name on the interested list.
So, if you would like to come along, meet others, share ideas and knowledge, problem solve, or just have a chat please add your name to the list and I will be in contact with the details of the next event in March.
Sign Up to the Invite List
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.
Why Longevity Matters
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 Cost Factor
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.
A Personal Pledge
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.
The Legacy of Linen
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.
Upholstery Clinic - Small group upholstery classes
Learn, create, and restore in a friendly, hands-on workshop environment.
A course designed around you
At Hare in the Chair Upholstery, classes are deliberately small â with a maximum of 3 students â so you get plenty of one-to-one support in a relaxed and welcoming space. Whether youâre a complete beginner or have some experience already, youâll have the chance to work on your own project at your own pace.
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What youâll learn
These courses are truly bespoke. You can:
Start from scratch as a beginner and learn essential upholstery skills
Restore a much-loved chair or stool with expert guidance
Focus on a particular technique or challenge if you already have some experience
Build confidence with tools, materials and traditional/modern methods
You can choose how many sessions you would like to attend depending on the scale of your project.
Iâll be there to guide you step by step, but youâll have the freedom to shape your project and explore your creativity.
Learn in a professional working studio
My workshops take place in the same studio where I create my own commission work. This means youâll benefit from:
A well-equipped workshop with professional tools and resources
Access to high-quality traditional materials that I use daily in my own practice
An inspiring environment surrounded by real upholstery projects in progress
Insight into how traditional skills are applied in a professional setting
While I can teach both modern and traditional techniques, my main focus is on traditional upholstery and antique furniture. Iâm passionate about craftsmanship and the quality of finish that comes from using time-tested methods and the best possible materials.
Course details
When: Friday mornings, 9.00â12.00
Where: Hillside Studios, Easter Compton, Bristol
Group size: Maximum of 3 students
Cost: ÂŁ50 per induvidual session or
ÂŁ190 for 4 sessions
ÂŁ280 for 6 sessions
ÂŁ370 for 8 sessions
Suitable projects
Smaller to medium-sized items such as dining chairs, footstools, or armchairs work best. If youâre unsure, Iâll happily advise you before booking. (Please note that large pieces, such as sofas, canât be accommodated in group classes, though they may be possible in one-to-one sessions.)
Whatâs included
Expert tuition from an experienced upholsterer and tutor
Use of workshop tools
Tea, coffee, and a friendly creative atmosphere!
Not included: Materials and fabrics â you can either bring your own or order through me at cost.
Why choose small group learning?
With a maximum of three students per class, youâll have space to focus on your own project while also benefiting from the energy and inspiration of learning alongside others. Itâs the perfect balance between personalised guidance and group creativity.
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
Consultations
I offer one-off consultations either In-person or via Online video link,
This could be to help you:
Plan a project
Ask about a specific element of a project
Problem-solve
The one-hour consultation includes:
15 minutes of pre-consultation preparation - for example looking through photos that you send in advance.
45 minutes of face to face discussions.
If applicable I will then share resources relevant to the consultation with you.
ÂŁ40
Contact me to book your session.
Create your own Stripy Wool Draft Excluder - One Day Workshop
Join us for a hands-on day workshop where youâll design and make a beautiful, bespoke wool draft excluderâperfect for keeping your home cosy as the colder months arrive.
During the session, you will:
Choose from a range of high-quality wool fabrics and colours to create a draft excluder tailored to the exact length of your doorway.
Learn how to construct the cover using a sewing machine, including professional top-stitching techniques.
Discover the best natural fillings and insider tricks to achieve a high-quality, durable finish.
Complete your draft excluder to take home the same day, ready to use.
All materials are included, and youâll also receive a step-by-step guide so you can continue making more at homeâfor your own spaces or as thoughtful handmade gifts.
Workshop Details:
Time: 10:00 AM â 4:00 PM (with a 30-minute lunch break)
Group Size: Maximum of 4 participants, ensuring plenty of guidance and support
Suitable for: Beginners and improvers alike
Location: Studio 1 Hillside studios, Berwick Ln, Easter Compton, Bristol BS35 5RU (5 minutes from Cribbs Causeway shopping Mall)
Cost: ÂŁ130 per person including all materials.
This workshop is the perfect seasonal project, a lovely gift experience, or a creative day to enjoy with a friend.
Available Dates:
No current dates in the diary - but if you are interested in this course please contact me as I can arrange a date on demand.
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Introducing Upholstery Clinic
Upholstery Clinic is a flexible way for you to develop your upholstery skills. Upholstery Clinic works in 3 ways;
One off sessions
1 or 3 hours in which you can come along to discuss a specific problem or have guidance on how to approach a project. Flexible days and times available.
Weekly upholstery classesBring your own choice of project to work on in our small group sessions. With a maximum of three students per session, youâll receive plenty of individual attention while benefiting from a shared learning environment. The sessions are suitable for both beginners and those with some experience.
Skill specific sessions These are occasional workshops focussing on skills such as making bolster cushions or exploring pre 1750 stitching techniques.
One to One
If you prefer to have the space (and me!) to yourself, you can also book One-to-one sessions for fully personalised guidance â perfect for tackling complex projects or learning at your own pace.
This elegant mahogany dining chair came to me stripped as part of a âjob lotâ of chairs I bought when doing my upholstery training. It has a simple shield-back shape; hand-carved with a pierced back splat and curved âcamel-backâ top rail, which are typical of late 18th century chairs. The squared legs are constructed with a H stretcher, a simple but robust construction. The legs extend up into âhornsâ an ingenious way of supporting the corners of the upholstery work, which in this case is a fully upholstered seat pad. Despite it's age there was only a slight wobble and a bit of tack damage, which was easily rectified, the frame was otherwise in very good condition, demonstrating its good quality construction.
I had always been very fond of the chair and knew I wanted to do it justice. It had been waiting patiently for me to decide what this was for the last ten years or so. Over the summer, I was looking for a project to do with one of my children. He is an avid history lover and adores looking at old maps and then drawing his own. I had often thought that his drawing style could translate into stitch really naturally, and since he needed a chair for his bedroom, we came up with the idea of him designing a map specifically for a chair. It appeared the time had come to get this 18th century chair back in action.
As a traditional upholsterer, I am of course fascinated by the development of upholstery techniques and for me one of the best ways to research is to practically test out a method. I was keen to upholster this chair in a way that was contemporary to its age. Upholstery was still in its relative infancy at this time, with techniques gradually developing. I came across a chapter in the book âUpholstery in America and Europe from the seventeenth century until World war 1' by Edward S.Cooke. Jr, that demonstrated one way in which upholstery fillings were held in place in chairs very similar to this one using a webbing strap called âover the rail upholsteryâ.
According to the article the use of a webbing as a side support had all but died out by the mid 19th century and not much evidence of it survives. The authors Gusler, Graves and Anderson had recreated the technique through their research. Although I cannot be sure that this was the technique used on my chair originally, I felt comfortable that it is one that was being deployed on chairs contemporary to it.
Therefore I endeavored to recreate the process described by the authors, using similar materials. The method included tacking a web around the edge of the chair, using the aforementioned horns as the gauge of seat height. A âFrench rollâ of hair was created by stitching linen fabric onto the platform, filling this with hair and then rolling it back to meet the webbed edge where the two were stitched together. Doing this was really fascinating, it got me thinking about how the techniques had evolved into what we commonly use today. The webbing helped create a very solid straight edge, especially when stitched into. but I came across some pit-falls and discovered that keeping even a minimal overhang of the stuffing over the frame with this method takes work, giving me an insight into why the methods would have evolved from this over time.
My son drew out the map onto a template that we had drawn around to make the shape of the chair. I then used this to stitch the design as close as possible to what he had drawn. towards the end we discussed adding / subtracting areas of his design- but it was all given the go ahead by him. I don't think he could believe how long it took me!
The chair now sits proudly in his bedroom. It was a very special personal project, both for the opportunity for a bit of professional development but more importantly to work with my son to create a chair that he will hopefully treasure for many years to come.Â

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
"Harriet has recently repaired a well-loved Victorian chair that I inherited. Â The chair is especially precious as it is covered in a tapestry worked by my aunt, signed and dated 1971.
Harriet was able to repair the seat with traditional techniques and materials and preserve the covering and character of the original in a way that was sensitive and skilled.
I am very grateful for the care she took and am delighted with the restored chair." RM"