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All our production is undertaken within our frame-making and leather and upholstery workshops in Peenya, Bangalore.
From its early origins, deep buttoning has offered both strength and durability, alongside luxurious decoration. This is a skill we are extremely proud to have mastered over decades of making Chesterfield pieces.
The covered buttons visible on the surface of each piece are attached to the structure by waxed, high-strength yarn which runs all the way through the piece. Creating this effect is a slow and highly skilled process that must be undertaken by hand but which ensures the buttons are secure and never lose their original tension, even as the piece flexes and moves with use and time.
The detailing of a Chester’s piece is the final touch in an authentically finished piece of design. It is also practical in that we seek to ensure the utmost strength and durability. Elements such as piping around the edge of a cushion offer both a sharp, clean edge, but also provide additional strength to areas of the piece which see the most friction and tension.
Whether on a modern ottoman or a three seater Chesterfield, edging cushions, hand stitching leather panels, and adding brass tacks are just a few of the final touches which are sometimes subtle, yet fundamental parts of the care and attention we give to each piece.
Many of our carpenters come from across India and have worked for us for decades, passing on the same skills that were acquired by our original team who trained in Europe. Beneath the exterior upholstery of our furniture, we use a carefully applied combination of solid steam beech and Canadian pine. We have refined this combination over decades, ensuring that the wood we use for each piece of the frame is suitable for its role and the load it will carry.
All the visible frames of a Chester’s piece are made from Burma teak. We lacquer this wood to provide a protective layer and a flawless finish.
The cabriole leg’s curving form was popular in European furniture of the late 17th and 18th century, and is seen in some of the finest French and English pieces of the period. This serpentine line, influenced by earlier Chinese furniture, was considered to be the epitome of beauty by 18th century artist and theorist William Hogarth in his Analysis of Beauty.
Turning allows for the creation of curvaceous and graceful forms which perfectly complement the soft curves and surfaces of Chester’s furniture. Their creation on the lathe ensures these legs are perfectly symmetrical throughout.
Either square or circular, tapered legs retain their form throughout a piece, while getting progressively slimmer from top to bottom. Different proportions suit different furniture styles, with narrower legs preferred on modern furniture, for example.
Often used for the rear legs, and paired with cabriole legs at the front, sweeping legs add a touch of elegance to Chester’s furniture. Frequently seen in ancient Greek imagery, this form became popular in European furniture in the neoclassical period.
With their lower centre of gravity, these feet can support greater weight than other kinds of legs and are proportionally better suited to larger pieces, such as Chesterfields. Chester’s make feet in two distinct forms: square block feet and rounded bun feet. Both provide style and support to Chester’s furniture.
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