To upholster the back of a wooden dining chair, you fit foam and wadding to the inner back panel, stretch fabric over it and staple into the rear face of the frame, then cover the reverse with a second panel whose edges are folded under and either stapled or fixed with decorative studs. Expect two to three hours for a first chair, and considerably less once you have worked out the sequence.
Chair backs are more demanding than seat pads for one specific reason: both faces are visible. A seat pad hides its staples underneath. A chair back has to look finished from the dining room and from whatever is behind it, which means every edge needs a deliberate solution.
Wooden dining chair backs come in a few configurations, and the approach differs for each.
An open frame back has a rectangular or shaped opening within the timber, and the upholstery fills that opening. This is the most common type on chairs that were originally upholstered, and it is the most straightforward to work with because the frame gives you defined edges.
A solid panel back is a flat piece of timber that you pad and cover on the front face. The reverse may be left as visible wood, which removes the outer panel problem entirely.
A slatted or spindle back has no continuous surface to upholster. These chairs can only take a tied on pad rather than fixed upholstery, and attempting to wrap fabric across spindles never looks right.
Check what you have before buying materials, because the quantities differ substantially.
You need upholstery foam, usually two to three centimetres thick for a chair back, which is thinner than a seat since backs need shape rather than deep cushioning. Polyester wadding goes over the foam to soften its edges.
You need your face fabric, plus enough for the outer back panel. Allow eight centimetres of surplus on every side of each panel.
Tools are a staple gun with eight or ten millimetre staples, sharp scissors, spray adhesive for fixing foam, a staple lifter, and either a curved upholstery needle or a hot glue gun if you are using decorative trim. Decorative studs are optional but they solve the outer panel edge neatly.
Take a photograph of the chair from every angle before you remove anything. When you are three hours in and unsure how the original panel was fixed, that photograph is genuinely useful.
Remove the outer back panel first, since it is applied last and comes off first. Work a staple lifter under its edge and lift carefully. Keep the panel intact, because it is the template for its replacement.
Then remove the inner back fabric, again keeping it whole. Note where the staples were placed, as the original upholsterer’s staple positions tell you where the frame has enough timber to take a fixing.
Remove all old staples completely. Any left behind will create a visible lump under thin fabric.
Inspect the frame now that it is bare. Check the joints are tight and the timber is sound. A loose joint should be re glued and clamped before you go any further, since upholstery puts tension on the frame and a weak joint will only get worse.
Cut foam to the exact size of the opening or panel, with no surplus. Foam that overhangs the frame will bulge at the edges and the fabric will not sit cleanly.
Fix the foam with spray adhesive, pressing it down evenly and leaving it to bond for the time the product specifies. Rushing this stage means the foam shifts while you are stretching fabric over it.
Cut wadding roughly three centimetres larger than the foam on every side and lay it over the top, wrapping the surplus around the foam edges. Wadding is what stops the foam outline showing as a hard rectangle through the fabric, and skipping it is the most common reason a home upholstered back looks amateur.
You can staple the wadding lightly at the edges to hold it in place, but keep the staples where the fabric will cover them.
Cut your fabric using the old inner back piece as a template, adding surplus if the original was cut tight.
Position the fabric over the padded area, checking any pattern is straight and centred. Start with a single staple at the centre of the top edge, stapling into the rear face of the frame rather than the visible front edge.
Move to the bottom centre, pull the fabric down firmly, and staple. Then the centre of each side. Work outwards from these four anchors, alternating opposite edges to keep tension balanced.
Where the frame is curved, snip small notches into the fabric surplus so it can follow the curve without bunching. Cut towards the frame but stop short of the stapling line.
At the corners, fold the fabric into a single neat pleat rather than several small gathers, and staple through the folded layers. Trim surplus once you are satisfied with the front appearance, not before.
This is the step that finishes the chair, and there are two established methods.
The folded edge method involves cutting the outer panel with a three centimetre surplus, folding that surplus under all the way round so no raw edge shows, then stapling close to the folded edge. The staples remain slightly visible, which is why this method suits chairs where a matching braid or gimp trim will be glued over the staple line.
The stud method uses decorative upholstery studs placed at regular intervals along the folded edge. The studs both fix the panel and become a design feature. Space them consistently, and mark their positions with chalk before hammering any in, since an irregular line is very noticeable.
Whichever method you use, pull the outer panel taut but not tight. A slightly relaxed outer panel looks correct, while an overstretched one distorts the frame line.
Fabric that puckers along an edge means uneven tension, and the answer is to remove staples across that section and re stretch rather than pulling harder at one point.
A hard rectangular outline showing through the fabric means the wadding layer was too thin or omitted.
Staples that split the timber usually mean they are too long for the frame thickness, or they are being placed too close to an edge. Move in from the edge and use shorter staples.
An outer panel that will not sit flat is generally because the inner back fabric was trimmed too generously and its bulk is sitting underneath. Trim the inner surplus back before applying the outer panel.
A well made wooden chair with sound joints is worth upholstering, particularly if it is part of a set you like. The frame is the expensive part and it is the part that survives.
Chairs with loose joints, split rails or timber that has been repaired repeatedly are a different proposition. New upholstery on a failing frame is effort spent in the wrong place.
It is also worth being realistic about a full set. One chair is a satisfying afternoon. Six chairs is a project measured in weekends. If the set is not something you particularly love, replacing it may be the better use of your time, and the modern wooden dining chairs UK sale range covers a wide spread of frame styles with the upholstery already properly fitted.
Newly upholstered backs also change the balance of a room, so consider how they sit against the rest of the space, whether that is one of the wooden dining tables UK sale options or a glass topped table where a solid chair back adds welcome weight. If the whole room is due a refresh, the wider selection at Furniture in Fashion is a useful starting point for seeing how frames, finishes and fabrics work together.
Two to three centimetres is usually sufficient. Chair backs need shaping rather than deep cushioning, and thicker foam pushes the sitter forward and distorts the frame line.
Only if the reverse of the frame is exposed. Chairs with a solid timber back panel can be left with the wood visible, which removes the most demanding part of the job.
Either glue a matching braid or gimp trim over the staple line, or use decorative upholstery studs spaced evenly along the folded edge so they become part of the design.
Not with fixed upholstery. Fabric cannot be wrapped convincingly across open slats, so a tied on cushion pad is the practical option for that style of chair.
The wadding layer over the foam is missing or too thin. Wadding softens the foam edges, and without it the fabric reads as a hard rectangle under tension.
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