A STUDY TO DETERMINE QUALITY FACTORS IN UPHOLSTERED HOUSEHOLD FURNITURE BY INVESTIGATING THE PREFERENCES HELD BY INTERIOR DESIGNERS AND UPHOLSTERERS by CAROLYN CUMMENS ABBOTT. B.S. in H.E.

A THESIS IN HOME AND FAMILY LIFE

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN HOME ECONOMICS Approved

May, 1977 ACKNOWLEDGMENTS

I am very indebted to Dr. Richard W. Henton for his encouragement, criticism and direction of this thesis, and for the other members of my committee, Dr. Reid Hastie and Mr. Walter L. Calvert, for their guidance and support. I would also like to thank Dr. Jane Coulter for her assistance and suggestions during the initial planning of this study.

11 TABLE OF CONTENTS

Page ACKNOWLEDGMENTS ii LIST OF TABLES LIST OF ILLUSTRATIONS vi CHAPTER I. INTRODUCTION 1 Purposes and Procedures 3 Limitations of the Study 5 II. REVIEW OF LITERATURE 6 Elements of Upholstered Furniture Appearance Features 15 Interior Design Education 19 III. DESIGN OF THE STUDY 21 Restatement of the Problem 21 Hypotheses 21 Assumption 22 Definition of Terms 22 Development of Questionnaire 26 Selection of Respondents 27 Treatment of Data 27 IV. FINDINGS OF THE STUDY 29 Collection of Findings of the Mailed Questionnaire 30 V. SUMMARY, CONCLUSIONS AND RECOMMENDATIONS ^3 Restatement of the Problem 43 Summary of the Procedures and Findings 43 Recommendations for Future Study ... 49

11• 1• Page LIST OF REFERENCES 52 APPENDIX . 56

IV LIST OF TABLES

TABLE Page 1. Business Affiliations and Job Titles of Nineteen Respondents 31 2. Sources of Upholstery Training for Nineteen Respondents 32 3. Professional Affiliation of Nineteen Respondents 33 4. Previous Education in Upholstery Products ... 33 5. Acquisition of Upholstered Furniture Knowledge 34 6. Guarantee of Furniture Quality and Durability 35 7. Response to Consumer Questions 35 8. Label Information Attached to Upholstered Furniture According to Nineteen Respondents 37 9. Application of Special Finishes 38 10. Recommendation of Zippers for Loose Cushions 38 11. Justification of Consumer Furniture Guide ... 39 12. Development of Consumer Guide 40 13. Most Important Element Within a Piece of Upholstered Furniture According to Nineteen Respondents 41 14. Second Most Important Element Within a Piece of Upholstered Furniture Accord­ ing to Nineteen Respondents 41 15. Purchasing Criteria for Different Income Brackets According to Nineteen Respondents 42

V LIST OF ILLUSTRATIONS

FIGURE Page 1. Miter Joint 12 2. Butt Joint 12 3. Rabbet Joint 12 4. Mortise and Tenon Joint 12 5. Dowel Joint 13 6. Dovetail Joint 13

VI CHAPTER I

INTRODUCTION

Today, as never before, the consumer is the focal point of many public and private organizations. Product quality has received renewed attention by commercial, political and educational institutions. Private organizations promoting consumer interests are supporting the right of every consumer to expect satisfaction with product performance (Clemens, 1975, p. 16). In order to alleviate some of the problems consumers face when purchasing household upholstered furniture, this research project was designed to redefine the quality standards as interior designers and upholsterers perceive them. Specifically, what characteristics should be con­ sidered when buying upholstered furniture and what standards must be met by the upholstered item that would denote quality, durability and wearability? "Upholstered furniture represents a comparatively large portion of a family's furnishing money, and it is expected to make a major contribution to the comfort as well as the beauty of the home" (Derieux, 1964, p. 271). Fagg explains it this way: A sofa or any large upholstered piece of furni­ ture should be considered a lifetime possession. It could be an heirloom, something to be passed down to the children and grandchildren. So when comparing prices, consider what has gone into the piece (Fagg, 1975, p. 18). The consumer is faced with a large problem when ­ ing what has gone into the piece since many elements of the construction are hidden within the piece of furniture (Meyer, 1947, p. 169). According to Nichols a significant number of consumers are dissatisfied with recent purchases of major home furnishings (Nichols, 1971, p. 10). Betty Clemens comments: Traditionally we consumers lay the blame for inadequate product information and substandard product perfonnance squarely at the door of the manufacturer or dealer. Sometimes that's exactly where the blame belongs and sometimes it isn't. We as consumers have a responsibility to gather all the product informa­ tion we can before making a buying decision. The manufacturer and/or retailer is responsible for providing us with information we can understand and rely on as being true and accurate. It's when this chain of responsibility is broken that problems arise (Clemens, 1975, p. 16). It is necessary, therefore, that consumers recognize that the "chain of responsibility" has been broken (Clemens, 1975, p. 16). Consumers are faced with three main problems when purchasing upholstered furniture. First, an upholstered piece of furniture is one of the most difficult items to distinguish whether it is well made or poorly constructed because structural elements are hidden within the piece of furniture. How is the average consumer to know about good or bad joint construction and reinforcement, foundation quality, durable edge construction and ample filling materials? How is the consumer to know whether the estab­ lishment is reputable, their products guaranteed and their sales personnel honest? Many times labeling of products can be an answer, but it also can lead to a second problem. Secondly, little labeling is required by law and unless the consumer is acquainted with , carpentry, upholstery methods, or manufacturer's terminology, he is able to acquire little information. This little information is a result of a third problem, lack of comparative shopping. Thirdly, it is the responsibility of the consumer to investigate dealers, prices and terms before buying (Pahlmann, 1960, p. 99). Otherwise, the consumer must rely on the sales person's knowledge and integrity and personal intuition. The intui­ tion may lead to mistakes. Bright colors, pretty fabrics, and interesting designs can cover poor joint construction, saggy springs and improper stuffing.

Purposes and Procedures This study attempted to contribute a solution to the problems that consumers face by redefining upholstered furniture quality standards as interior designers and uphol­ sterers perceive them. The study was accomplished using the following five steps: 1. A study was conducted concerning characteristics of furniture components including fabric, wood, and struc­ tural characteristics. 2. Furniture components were analyzed and interpreted for their association with quality standards. 3. A multiple choice questionnaire was developed to evaluate interior designers' and upholsterers' views concern­ ing the quality factors of upholstered household furniture. 4. The raw data were organized and interpreted by the student "t" test. 5. Quality standards were defined according to designers' and upholsterers' preferences. Interior designers and upholsterers were chosen from two cities, Dallas, Texas and Atlanta, Georgia, because of their influence and reputation in the interior design market. Using the 1975 Dallas and Atlanta phone books, every sixth professional interior designer (ASID listings) and every twelfth upholsterer were chosen to receive questionnaires. A group of eighty individuals and firms was chosen from a listing of 360 possible respondents. These were equally divided into upholsterers, twenty each from Dallas and Atlanta, and forty designers, twenty from each city. Data were collected from these eighty randomly selected interior designers and upholsterers by means of a mailed multiple choice questionnaire. The raw data were organized and interpreted to determine the correlation between upholsterers' and interior designers' viewpoints concerning the quality standards of upholstered furniture.

Limitations of the Study The limitations of the study included the media used for the questionnaire, the amount of pure and basic research done in the area of interior design and upholstery, and the locations of the investigator and the respondents. CHAPTER II

REVIEW OF LITERATURE

This researcher used books and articles to substantiate the standards of good upholstered furniture construction since the review of literature revealed a lack of informa­ tion concerning pure or basic research in the upholstery area. The major objective of the overview of literature was to develop a background enabling the researcher to develop a questionnaire that was sent to interior designers and upholsterers and to provide information for a preliminary checklist which will be analyzed and redefined after record­ ing results from the questionnaire. The literature collected and reviewed has been grouped into the following areas: Elements of Upholstered Furniture Wooden Frame Foundations Edge Construction Fillings Appearance Features Education of Interior Designers

Elements of Upholstered Furniture An upholstered piece of furniture is one of the most difficult items to distinguish whether it is well made or poorly constructed because the elements are hidden within 6 the piece of furniture. Still, there are ways to arrive at a sound and reasonable choice (Austin, 1961, p. 115). According to C. B. O'Connell:

• • in addition to good appearance a piece of upholstered furniture must have hidden durability. This is determined by the wood of the hidden frame, the type of webbing or other foundation, the type of edge construction and the quality and amount of filling material (O'Connell, 1968, p. 118).

Wooden Frame. "No upholstered piece is any better than its frame" (MacMillan, 1954, p. 179). The frame or structure should have five major characteristics: (1) stability, (2) durability, (3) workability, (4) strength, and (5) finishability (Schmitz, 1939, p. 57). To have stability, the frame should be constructed with kiln dried medium-hard hardwood (Pope, 1949, p. 27) that has a straight close grain and no evidence of knots, especially where tacks, dowels or other fasteners are used (Johnstone, 1973, p. 4). Durability is determined when the frame withstands stress and strain over long periods of time (Stepat De Van, 1964, p. 205), or when the frame outlasts all the other chair or sofa components without weakening or breaking easily (McCalls, 1964, p. 127). Workability of the wood insures secure tacks, screws and other supporting devices plus smooth, even joints (Brumbaugh, 1973, p. 78). Strength of the wood permits firmness under pressure without "tell-tale squeaks," or undue distortion (Rutt, 1948, p. 248). This is accomplished by using screws, glue, steel clips, comer blocks or corner metal plates when 8 reinforcing comers and joints (Rutt, 1948, p. 248). Finally, the frame should be smooth to prevent snagging or padding and covers on all sides of the wood (Eustis, 1955, p. 52). The finishability of the wood permits it to last for the life of the piece without deterioration to the wood itself (Schmitz, 1939, p. 84). Woods that have these characteristics include hard maple, alder, birch, poplar, ash, hickory, and pecan. Others that are satisfactory and work well are soft maple, gum and pine (Hardy, 1951, p. 158).

Foundations. There is a special order in which materials are placed on a spring type upholstered piece of furniture. From top to bottom this includes: (1) fashion fabric, (2) , (3) padding, (4) burlap, (5) springs, (6) webbing, and (7) (Brann, 1966, p. 8). The burlap, springs, webbing, cambric, and the materials associated with these are called foundations (O'Connell, 1968, p. 120). Burlap is used to cover springs, make edge rolls and cover webbing where no springs are present (Bast, 1951, p. 10) There are many grades of burlap and two major types: (1) synthetic, and (2) (Bast, 1970, p. 32). A ten ounce jute burlap is best for all uses but because of its shortage, synthetic burlap is being used more and more to cover springs or webbing (Bast, 1951, p. 10). The purpose in covering springs or webbing is twofold: (i) to provide a strong material to protect padding from constant friction, and (2) to catch filling materials from falling into the springs (Brann, 1966, p. 22). The third purpose of burlap is to provide the outer material for edge rolls. Edge rolls are biased strips of burlap stuffed with paper, or synthetic materials to make a firm roll of padding that is placed along frame edges. Edge rolls have four major purposes: (1) to keep padding from working away from the edge, (2) to give a firm foundation to other padding, (3) to keep wood edges from wearing the foundation and filling materials (Woodruff and Alexander, 1969, p. 3), and (4) to provide comfort and a pleasing appearance for the individual (Woodruff and Alexander, 1973, p. 3). "The shape, comfort and durability of the chair depends a great deal on the springs and how well they are tied" (Woodruff and Alexander, 1969, p. 8). There are three types of springs: (1) cone springs on a band or bar, (2) hour­ glass shaped springs, and (3) the zigzag springs (Woodruff and Alexander, 1973, p. 7). But, according to Enright and Seranne, ". . .no spring construction is better than any other type" (Enright and Seranne, 1970, p. 60). Each gives a different "look" and should be chosen from that standpoint (Enright and Seranne, 1970, p. 60). The main thing to look for in spring construction is that the steel springs are close together without touching (Austin, 1961, p. 116; Stepat De Van, 1964, p. 215), and are tied with the best grade of spring twine or metal connectors (Bast. 1951, p. 10). 10 The springs are sewed to the webbing, the main founda­ tion material, with flax or jute twine (Bast, 1951, p. 10). The webbing is an interlaced structure that supports the entire upholstered framework. Jute webbing is considered the best type, though steel and rubber webbing are often used (Austin, 1961, p. 117). The closeness of the webbing strips parallels the sturdiness of the structure and the quality of the workmanship (Enright and Seranne, 1970, p. 60). Finally, the cambric is attached to the bottom of the chair frame. It is normally black cotton that has been made dustproof by sizing and glazing (Bast, 1970, p. 72). It has two purposes: (1) to prevent dust of the stuffing from falling to the floor, and (2) to give a neat appearance to the bottom of the chair (Bast, 1951, p. 11). However, cambric can cause problems for the consumer when checking the workmanship because it covers all the interior construc­ tion (Howes, 1952, p. 60), and the consumer must trust the salesman's word for the quality of the furniture (Austin, 1961, p. 115).

Edge Construction. The quality of construction is easily determined by the edge or joint construction (Schmitz, 1939, p. 84). There are four ways parts can be joined: (1) glue, (2) nails, (3) screws, and (4) joints (Furniture Buying, 1975, p. 26). Glue should never be trusted alone (Schmitz, 1939, p. 84), but, in combination with joints, it is the "most critical element" (Furniture Buying, 1975, p. 26) 11

"Starved glue joints" can easily lead to loose joints when the moisture departs and the glue becomes brittle. Sloppy application of glue or when the glue can be seen is a good clue to poor furniture construction (Furniture Buying, 1975, p. 26). LNail' s are not reliable holding devices and should be used only for temporary locating of parts or glue clamping (Johnstone, 1973, p. 4). Nails are a sure sign of inferior workmanship (MacMillan, 1954, p. 181). Flathead wood screws are used to secure comer blocks (Bast, 1970, p. 14) which are used to reinforce joints, the best manner of edge construction (Rutt, 1948, p. 248). There are six main types of joints: (1) miter, (2) double dowel, (3) rabbet, (4) butt, (5) mortise and tenon, and (6) dovetail (Brumbaugh, 1973, p. 78). The miter (figure 1), butt (figure 2), and rabbet (figure 3) are very weak joints unless reinforced with glue, dowels and/or comer blocks (Schmitz, 1939, p. 84; Rutt, 1948, p. 248). The mortise and tenon (figure 4), double dowel (figure 5), and dovetail (figure 6) are the most popular joints and usually reflect quality furniture and strong construction (Brumbaugh, 1973, p. 74). The main thing to look for in edge construction is that the joint is sturdy, smooth, and tight fitting "without plastic filler to make them that way," (Furniture Buying, 1975, p. 26) and that the joint is reinforced for durability and strength (Bast, 1970, p. 15). 12

MITER. JOINJT BUT" ^'Ol\JT

Figure 1 Figure 2

M

SIABBET JCINJT M0R.TI5E i TENON JOINT

Figure 3 Figure 4 13

^^ 0 (P

DDNA^L JOLfNTT DOVETAIL JOINJT

Figure 5 Figure 6

Fillings. Filling materials are those paddings that provide the comfort, look and therefore the purpose to the sofa and/or chair (Pahlmann, 1960, p. 100). In the past, ". . . unscrupulous manufacturers have been accused of using paper, carpets, and old mattresses as stuffing for new furniture, sometimes without fumigating them" (Rutt, 1948, p. 250). Now almost every state has a law requiring that stuffing and cusioning materials be described on a tag attached to the piece of upholstered furniture (Enright and Seranne, 1970, p. 60) and that they are ample to hold the shape of the piece (Stepat De Van, 1969, p. 216). Still, regulating the "unscrupulous manufacturer" is difficult 14 (Rutt, 1948, p. 250), and "... the labels do not indicate the grade or quality which may vary greatly" (Stepat De Van, 1964, p. 216). The main idea concerning filling materials is that ". . . if a piece of furniture is not labeled and the salesman seems unwilling to tell what is in it, don't buy it" (Alexander. 1964, p. 118). Label terms and materials to look for include moss, hair, foam rubber, polyurethan, down, Dacron, Fortrel, and Kodel (Enright and Seranne, 1970, p. 60). Less expensive stuffings would include cotton and ; and finally, excelsior, the most inferior of paddings (Enright and Seranne, 1970, p. 60). Down is the most luxurious and resilient filling and in the long run the most practical and long lasting than the other stuffings (Bast, 1970, p. 109). It gives a soft look to furniture, but must be plumped continually (Enright and Seranne, 1970, p. 62). Moss is one of the best fillers, but should not be used as the main stuffing because of expense and comfort factors. It is very resilient and will maintain the shape of an upholstered piece for a long time (Bast, 1951, p. 14). Dacron, Fortrel and Kodel are man made fillers that give the soft look, feel and resilience of down without the continual plumping (Enright and Seranne, 1970, p. 62). Cotton stuffs spring filled furniture and loose cushions. It prevents dust and hair in the main filling from coming through the cover and smooths lumps from spring indications. It has many grades which result from linters 15 (Bast, 1970, p. 113). Today's most popular filling is foam rubber. It is easy to handle and cut to shape (Devitt, 1973, p. 11). It simplifies the upholstering process by eliminat­ ing all foundations (Alexander, 1972, p. 178), and it is long wearing, comfortable and resilient (Enright and Seranne, 1970, p. 62). There are three types of foam or sponge rubber: (1) solid slab, (2) cored utility stock, and (3) molded air foam (Bast, 1951, p. 14), each with its own uses and properties (Bast, 1970, p. 114). Covering the entire filling and foundation is muslin. Muslin is a white cotton fabric that is light weight and opened textured (Bast, 1951, p. 11). Its purpose is to add long-lastingness to the outer fabric and to prevent shadows when using light fashion fabrics (Meyer, 1947, p. 176).

Appearance Features Fashion Fabric. The fabric on a chair or sofa is the appearance feature that makes the strongest, longest lasting impression and has the greatest impact on a decorative scheme than any other part (Crane, 1972, p. 76). Fabrics fall into two categories: (1) and (2) flat. Pile fabrics include mohairs, , freizes and (Wingate. 1970, p. 610). These are the best type of fabrics for rough wear because of their long wearing qualities (McCalls, 1964, p. 127). Flat fabrics are the jacquard or woven fabrics. They are the most popular fabrics (Alexander, 1964, p. 117) 16 and are divided into two groups: (1) patterned and (2) unpattemed. Patterned fabrics include , tapestries, and brocateles; unpattemed fabrics include plain weaves, , and basketweaves (Bendure, 1947, p. 589). Both types of woven fabrics are considered smooth surface materials and resist dust better than the pile fabrics (Derieux, 1964, p. 272). All quality upholstery fabrics should be firmly woven to withstand stain and sifting dust (Crane, 1972, p. 77) and made from durable . , cotton, , synthe­ tics and are the major fibers used because of their distinctive qualities. Linen and cotton are very durable, come in a variety of weaves, retain colors well and clean beautifully (Brostrom, 1964, p. 236). Wool is long wearing, luxurious and distinctive. It should have a mothproof finish to protect it (Rutt, 1948, p. 294). Synthetics have dis­ tinctive characteristics that vary from chair to chair. Care instructions and wearing qualities should be labeled for each piece of furniture where synthetics are used. (Brostrom, 1964, p. 230). Usually, if is present in a large percentage, the fabric is considered very durable and easily cleaned (McCalls, 1964, p. 127). Silk is the least durable of the fibers yet most expensive. It cleans well and is distinctive and unique in appearance (Brostrom, 1964, p. 230). 17 There are special finishes that can be applied to fabrics to aid in the durability. These include: dyefast. mothproof, and flameproof finishes. Each should have a buyer's guarantee for effectiveness, cleanability and wear­ ing qualities (Rutt, 1948, p. 250).

The total appearance of a fabric is lastly due to the construction techniques (Crane, 1972, p. 77). Quality workmanship is shown when all construction lines are firm, straight and smooth (Austin, 1961, p. 115). Welting is straight, smooth and biased cut with ample seams (Stepat De Van, 1964, p. 214). All patterns are matched and centered (Austin, 1961, p. 117), and that the fabric adds to the unity and design of the total piece of furniture (Trilling and Nicholas, 1953, p. 210).

Exposed Wood. "In December, 1963, The Federal Trade Commission promulgated Trade Practice Rules for the Household Furniture Industry. False and misleading representation of wood and imitations used in furniture are prohibited" (Stepat De Van, 1964, p. 205). Furniture labels must indicate whether the piece is solid wood, genuine wood, combination, all wood construction or veneer (Furniture Buying, 1975, p. 26). The fine types of exposed wood include: mahogany, birch, walnut, cherry, sugar maple and whiteoak (Hardy, 1951, p. 158; Alexander, 1972, p. 183). There are four main types of furniture finishes: (1) penetrating finish, (2) shellac, (3) lacquer, and 18 (4) varnish (Kinney, 1950, p. 155). Each type of finish should meet three main requirements: (1) appropriateness, (2) serviceability, and (3) beauty. Appropriateness of the finish makes the wood beautiful and brings out the "grain" (Brandt, 1950, p. 126). Serviceability means that the finish will protect the surface from bleeding, blistering, and the grain rising. Finally, the finish should highlight, embellish and emphasize the characteristics of the "beauty" of the wood (Brandt, 1950, p. 126). When comparing finishes do not look for identical color and texture from piece to piece, "... more expensive furniture will have varying finishes as a result of individual treatment, versus mechanical treatment, that brings out the best qualities in the individual pieced'(Johnstone, 1969, p. 6). We as consumers have a responsibility to gather all the product information we can before making a buying decision. The manufacturer and/or retailer is responsible for providing us with information we can understand and rely on as being true and accurate (Clements, 1975, p. 16). The best information from the manufacturers and retailers is issued by the National Association of Furniture Manufac­ turers in the form of a "Seal of Integrity." The seal, issued to qualifying manufacturers, is a guarantee that the item on which it is used is ". . . free from any defects in workmanship, material, and construction for a reasonable time, but not less than twelve months after delivery to the customer" (Alexander, 1964, p. 118). The manufacturers then 19 issue a warranty bearing the factory's official license number guaranteeing that the piece is well made, that the manufacturer will promptly and fairly handle all complaints, and that the informative literature is accurate (Alexander, 1964, p. 118).

Interior Design Education According to Andrasko, the education of interior designers is a major focus point of professionals as the fields of designing interiors and exteriors continue to expand (Andrasko, 1973, p. 13). In a study conducted at the University of Missouri in 1966, questionnaires mailed to 291 firms in the United States revealed a lack of research and understanding between the interior design profession and the interior design educa­ tor. The study noted a contradiction regarding how and in what way the sample firms expected their interior designers to learn the necessary skills required of them (Dodge, 1967, p. 19). The Curriculum Research Committee of the Interior Design Education Council (IDEC) evaluated the education received by today's interior designers. Chairman of the council. Professor Arnold Friedman (1968, p. 137) stated there is a need for better communication between practicing interior designers and educators. The council itself reached a unanimous agreement that a considerable curricular reform is needed in schools training students in the design profession (Andrasko, 1973, p. 14). "A need exists for a relevancy of applied learning experience in college to actual practice" (Andrasko, 1973, 20 p. 14). The need for interior designers to know the quality standards of upholstered fumitu^-e is substantiated by several references. Robb stated in a 1968 report that con­ sumers have a very inadequate awareness of textiles and labeling terms. Designers are needed to provide the consumer with accurate knowledge in these areas and unless their education is improved the consumer is hurt (Robb, 1968, p. 33). In 1966, in a study conducted by Hoffman, and fabrics were noted to be the most needed elements of study for designers. She stated the majority of designers recognized the deficiency of learning in this area and desired more opportunity for study. Dodge stated a majority of firms that were included in his study gave high to very high ratings to 57 skills and knowledge areas that should be attained before employment. The furniture production and more specifically the area of upholstering furniture and the knowledge of its components is a needed skill that is vital when selling furniture (Dodge, 1967, p. 19). The review of education for interior designers indicates a need of practical research into competencies possessed by interior design students and professionals in the area of furniture, its elements and production. This study endeavors through a questionnaire to obtain professional suggestions and views for the development of a guide to aid design students and the consumer to recognize quality standards in upholstered furniture. CHAPTER III

DESIGN OF THE STUDY

Restatement of the Problem This study identified interior designers' and uphol­ sterers' preferences regarding quality factors in upholstered furniture. The study was accomplished by reviewing furniture components including fabric, wood and structural character­ istics and recording the results. A multiple choice questionnaire formulated from the opinions of authorities, as revealed in the literature, was administered to determine their judgements concerning the quality standards of uphol­ stered furniture and to measure the extent to which upholsterers and interior designers agree with the factors.

Hypotheses Hypothesis I. A majority of the interior designers and upholsterers will be in agreement that their previous educa­ tion did not sufficiently prepare them for consultation concerning upholstered furniture. Hypothesis II. A consensus of the interior designers and upholsterers will be in agreement that one certain element will be chosen as the deciding factor to the consumer when purchasing upholstered furniture. 21 22 Hypothesis III. A majority of the interior designers and upholsterers will be in agreement that the understanding of upholstery quality standards is important enough to justify a guide for consumers to follow when purchasing upholstered furniture.

Hypothesis IV. A consensus of the interior designers and upholsterers will be in agreement that upholstered furniture should have quality features and assurances.

Assumption For the purpose of this study it was assumed that quality factors of upholstered furniture need to be clearly defined to aid the consumer in effectively purchasing quality household upholstered furniture.

Definition of Terms For the purpose of clarity, the following terms are defined with reference to the meaning as to be presented in this study: Interior Designer: professional who creates, fashions and executes a plan for interiors of certain structures, Upholsterer: professional who fashions materials such as fabric, padding, and springs to make comfortable coverings for seats. Quality Factors: standards met by upholsterers or manufacturers that insure durability, beauty and comfor of upholstered furniture. 23 Frame

Structure: combination of hardwoods put together with wood glue for a strong frame (McCalls, 1964, p. 125). Stability: wood cut to a final shape for use that is permanent or imperishable in service and precludes warping, twisting, splitting or curling (Schmitz, 1939, p. 57).

Durability: without a reduction of its resistance to the usual stresses wood withstands weakening, marring or breaking easily (Schmitz, 1939, p. 57). Workability: ready shaping, clean-cut turnings, sharp edges and smooth surfaces (Schmitz, 1939, p. 57). Strength: resistance to breakage or distortion under loads (Schmitz, 1939, p. 57). Finishability: any finish applied to wood that endures without deterioration to the wood (Schmitz, 1939, p. 57). Grain: markings that are the record of growths in a tree stem. It also denotes coarseness or fineness of the individual fibers of wood (Schmitz, 1940, p. 46).

Edge Construction Butt Joint: two pieces of wood joined edge-to-edge or end-to-end, most elementary joint (Brumbaugh, 1973, p. 78). Miter Joint: wood pieces from an angle, strength depends on method of fastening (Brumbaugh, 1973, p. 78). 24 Rabbet Joint: recessed cut then another cut further back into two pieces of wood so they fit together to form an angle (Brumbaugh, 1973, p. 78). Mortise and Tenon Joint: extension of one piece of wood fits into a recess of another, strongest and most frequently used of all joints (Brumbaugh, 1973, p. 78). Dovetail Joint: numbers of extensions of one piece of wood fit into recesses of another, most complicated of all joints (Brumbaugh, 1973, p. 78). Dowels: wooden sticks that join frames anywhere a joint is exposed (Bast, 1970, p. 15). Fastenings: glue, nails, screws, dowels, spline or combination of these that strengthen joints, especially butt and miter joints (Brumbaugh, 1973, p. 78).

Fillings Solid Slab Sponge Rubber: thin slabs of foam rubber used wherever a thin comfortable padding is desired. Can be cut into any shape with shears (Bast, 1951,

p. 14). Cored Sponge Rubber: foam rubber that contains large open cells which provide a deep cushioning effect. It can be various thicknesses and compressions. Useful on seats, backs, and arms (Bast, 1951, p. 14). Molded Airfoam: handy, one-piece rubber units, must be hand assembled to make a seat or back cushion (Bast. 1951, p. 14). 25 Appearance Features Fashion Fabric: outside fabric on a piece of uphol­ stered furniture (Derieux, 1964, p. 271). Weave: combination of fibers that determines the texture and the "hang" of the fabric. Common weaves are cretonne, , monk's cloth, , , and (Wingate, 1970, p. 610). Sunfast-Tubfast: fade resisting and machine washable without more than one percent shrinkage (Brostrom, 1964, p. 230). Welting: cording encased by bias cut strips of the fashion fabric. Usually placed around arms, backs and pillows to accent, hide seams and tacks. Wears easily because it is raised. Contemporary trends are deleting welting (Bast, 1970, p, 90). Satin Weaves: those weaves that a large proportion of filler threads lie on the fabric's surface (Crane, 1972, p. 76). Solid Wood: all exposed furniture surfaces are made of solid wood without veneer, but wood on the inside may be different (Furniture Buying, 1975, p. 26). Genuine Wood: all exposed parts are made of a certain wood veneer over hardwood plywood (Furniture Buying, 1975, ?. 26). Combination: more than one type of wood is used in exposed parts of the furniture (Furniture Buying, 1975, p. 26). 26 All Wood Construction: exposed parts are made of wood for the full thickness of the panels (Furniture Buying. 1975, p. 26). Veneer: material consisting of several thin wood layers permanently bonded to each other with an adhesive (Furniture Buying, 1975, p. 26).

Development of Questionnaire The questionnaire used for obtaining data from designers and upholsterers in this study was of the "mailed-list type." This type of questionnaire was developed because it enabled the researcher to set a certain amount of standardization of response and because geographic distance did not permit individual interviews with respondents. The questionnaire requested information concerning the respondents' business affiliation and educational preparation. In order to gather specific information which could be applied directly to the study, questions were designed to determine uses of certain practices in their business and their knowledge of these. The respondents were requested to provide additional information concerning upholstered furniture quality standards and suggestions for development of a purchasing guide and opinions as to its justification for use in the furniture industry. The questionnaire was submitted to Dr. F. Morgan Simpson, a professor of practical research, planning and design at 27 Auburn University at Montgomery, for his comments and criticisms. The suggestions made by the professor were adopted and the questionnaire with a letter of introduction was revised and sent to the respondents in the study.

Selection of Respondents Interior designers belonging to the American Society of Interior Designers (ASID) are usually concerned with the current trends and educational advances in the area of interiors For that reason members of this organization were chosen to participate in this study. Practicing upholsterers were surveyed because of their association with the consumer and their knowledge of quality workmanship in upholstered furniture. These professionals, interior designers and upholsterers, were chosen from Dallas, Texas and Atlanta, Georgia because of their representative population and widespread reputation as national trade centers. Using the 1975 Dallas and Atlanta phone books, every sixth professional interior designer (ASID listings) and every twelfth upholsterer were chosen to receive questionnaires. A group of eighty respondents was chosen from a listing of 360 possible applicants. Respondents were then equally divided into interior designers and upholsterers, forty from each city.

Treatment of Data Responses from the mailed questionnaire to the practic­ ing upholsterers and professional interior designers were 28 organized for tabulation in Chapter IV of the study. The interpretation, evaluation and implications of the data are included in Chapter V. CHAPTER IV

FINDINGS OF THE STUDY

As stated in Chapter III, Hypothesis I proposed that there would be a majority of the interior designers and upholsterers that would be in agreement that their previous education did not sufficiently prepare them for consultation concerning upholstered furniture. Hypothesis II proposed that there would be a consensus of interior designers and upholsterers who would be in agreement that one certain element would be chosen as the deciding factor to the con­ sumer when purchasing upholstered furniture. Hypothesis III proposed that a majority of the interior designers and upholsterers would be in agreement that the understanding of upholstery quality standards are important enough to justify a guide for consumers to follow when purchasing upholstered furniture. Hypothesis IV proposed that a consensus of the interior designers and upholsterers would be in agreement that upholstered furniture should have quality finishing features and assurances. The following describes the collection of findings of the study.

29 30

Collection of Findings of the Mailed Questionnaire Eighty questionnaires (Appendix) were mailed to a random sample of interior designers and upholsterers from the Dallas, Texas and Atlanta, Georgia area. The sample was chosen from the American Society of Interior Design (ASID) listings and the phone books for the respective cities. Duplicate questionnaires were sent two months later to those firms that did not respond to the first survey in an effort to gain a higher return percentage. Still, return percentage was low and again duplicate questionnaires were sent to those firms that had not responded to the first or second survey. This resulted in a total of one hundred ninety-six question­ naires mailed over a six month period. Nineteen of the questionnaires were completed by the respondents and returned representing a 23.75 percent return. Data from the question­ naires were collected and tabulated from each question. All suggestions and comments were analyzed and utilized in the formulation of recommendations for further study in this area. Due to the small return from the upholsterers, the statistical analysis of the hypotheses was not employed pre­ venting the hypotheses' acceptance or rejection. Whereas 40 percent of the designers returned the survey, only 7.5 percent of the upholsterers completed the questionnaire. The term hypothesis was used for continuity throughout the study though technically the term assumption would be more correct. 31 The purpose of the first section of the questionnaire, presented in Tables 1-7, was to establish the credibility of the respondents and the integrity of the individual businesses The respondents were questioned concerning their experience and education in the field of upholstery and certain policies practiced by their companies.

Business Affiliation and Job Title Table 1 shows how the nineteen respondents described their business and job title. Eleven respondents were affiliated with an interior design office; of these, eight were presidents of the respective companies, one was a vice president, two were designers and two declined to comment. Five respondents associated themselves with retail furniture stores; three of these were owners, one a manager and one a designer. The remaining three respondents were owners of upholstery companies (Table 1).

Table 1. Business Affiliations and Job Titles of Nineteen Respondents

Business Title Respondents

Interior Design Office 13 President/Owner 8 Vice President 1 Designer 2 No Response 2 Retail Furniture Store 5 President/Owner 3 Manager 1 Designer 1 Upholstery Company 3 President/Owner 3 TOTAL 19 32 Sources of Upholstery Training A four year college was indicated by nine respondents as their major source of education, while two more surveyed indicated training through a four year college plus an additional degree from an art and design school. One respondent's preparation was gained through a three year technical school, two respondents received degrees of certification as designers after one year of specialized training, and two others received training through adult education programs. Three respondents indicated no formal education but practical experience between fifteen and forty years. Seven of the college graduates listed practical experience of two to forty-six years (Table 2).

Table 2. Sources of Upholstery Training for Nineteen Respondents

T3rpe of Training Respondents College Graduate 9 College Graduate and Further Training 2 Technical School 1 Degree of Certification 2 Practical Experience 3 Adult Education 2 TOTAL 19

Professional Affiliation Thirteen of the nineteen respondents indicated profes­ sional affiliation with the ASID. One listed membership with the Interior Design Society of NHFA, and the five remaining respondents listed no professional affiliation (Table 3). 33

Table 3. Professional Affiliation of Nineteen Respondents

Professional Organization Respondents ASID 13 NHFA 1 None 5 TOTAL 19

Previous Upholstery Education Respondents were asked whether their previous education in upholstered furniture sufficiently prepared them for their present job. Of the nineteen respondents who returned the questionnaire, eleven indicated they received adequate education and eight stated that their education was insuffi­ cient. As one designer commented, "... education hardly has time to teach on this--experience is the best teacher" (Table 4).

Table 4. Previous Education in Upholstery Products

Training Respondents

Adequate 11 Inadequate _8 TOTAL 19

Upholstery Product Training To an inquiry as to how the respondents acquired their knowledge of upholstered furniture, six surveyed specified general course work in upholstered furniture and thirteen 34 stated practical experience. Four respondents cormr.ented that they had started as factory representatives or in some capacity within the furniture factory and had found this as one way to gain the best knowledge of upholstered furniture (Table 5).

Table 5. Acquisition of Upholstered Furniture Knowledge

Respondents General Course Work 6 On-the-Job 13 TOTAL 19

Upholstered Furniture Guarantees Table 6 indicates whether or not the respondent's business guaranteed the furniture that it sells or uphol­ sters. Seventeen respondents stated yes, that all upholstered furniture components had their store or business guarantee for quality. One of those surveyed commented that his business did not guarantee fabric and had only a two year guarantee on the frame. The remaining respondent indicated that his business establishment does not guarantee the upholstered furniture (Table 6). 35 Table 6. Guarantee of Furniture Quality and Durability

Respondents Furniture Guaranteed 17 No Furniture Guaranteed 1 Partial Guarantee _J. TOTAL 19

Consumer Product Information Sixteen respondents stated that they tried to answer consumer questions about furniture structure, care, fillings, wood and fabrics very thoroughly and would volunteer any extra information that they thought would be applicable. One respondent commented that answers were given only to questions asked and the two remaining respondents stated that they gave very little information about upholstered furniture (Table 7).

Table 7. Response to Consumer Questions

Extent of Answer Respondents Very Thoroughly 16 Only Questions Asked 1 Very Little _^ TOTAL 19

The next three tables of data are concerned with the furniture itself. The purpose of this section was to discover 36 what label information was attached to the businesses' furniture, whether furniture was closely checked for defec­ tive parts, and if special finishes were applied to upholstery fabrics.

Upholstered Furniture Label Information Respondents were asked whether the upholstered furniture contained six different types of label information: (1) filling material specifications, (2) Seal of Integrity, (3) Tanners Council American Seal, (4) special manufacturer's label of construction care and warranty, (5) frame guarantee, and (6) a care label. In response to the filling material specifications, eleven respondents indicated yes, their furniture did contain this information, eight responded no. Eight of the nineteen respondents stated their furniture contained the "Seal of Integrity," a guarantee of quality workmanship throughout the piece. Only two of the respondents surveyed indicated the leather goods contained the Tanners Council of America Seal and five of those surveyed stated that their upholstered furniture had a special manufacturer's label of construction care and warranty. Six respondents indicated that their furniture contained care labels and only three stated that their furniture's labels contained frame information and guarantees (Table 8). 37

Table 8 Label Information Attached to Upholstered Furniture According to Nineteen Respondents

Not Label Attached A ttached Filling materials specification 11 8 Seal of Integrity 8 11 Tanners Council of America Seal 2 17 Special Manufacturer's Label 5 14 Care Label 6 13 Frame Guarantee 3 16

Quality Appearance Features In response to whether upholstered furniture is checked for straight, firm seams, matched patterns and neatly finished backs, all respondents stated that they definitely did check for this feature. As one respondent commented, ". . . if we didn't check, our customers sure would."

Application of Special Finishes to Upholstered Furniture Eleven of the respondents indicated that special finishes such as Scotchguard, and mothproofing could be applied by their business. Of those respondents who stated that a finish was not applied to upholstery fabrics, five stated that a finish could be applied as requested by the customer (Table 9). 38

Table 9. Application of Special Finishes

Respondents Applied 11 Not Applied 3 Applied Only If Requested _5 TOTAL 19

Use of Zippers in Cushions When the respondents were asked whether the loose cushions of the upholstered furniture for their business contained zippers, seventeen reported yes. Of those seventeen, three stated that though the upholstered furni­ ture contained zippers these were only for manufacturer's use. One commented that after removing the cover, cushions cannot be reinserted without a stuffing machine and look the same as when purchased. One who responded no, stated that the "... use of zippers in cushions is a misconcep­ tion. Zippers are not for customer home-cleaning and except for manufacturer's convenience, we do not recommend them for cushions" (Table 10).

Table 10. Recommendation of Zippers for Loose Cushions

Respondents

Recommend 17 Do Not Recommend _2 TOTAL 19 39 The third hypothesis of this study concerned the need for a guide stating in simple terms the quality standards that consumers should look for when purchasing upholstered furniture. The next two tables of data established whether the interior designers and upholsterers agreed with the third hypothesis and to see if the respondents would incorporate such a guide into their business.

Need for Consumer Guide Respondents were asked whether the understanding of upholstery quality standards was important enough to justify a guide for consumers to follow when purchasing upholstered furniture. Fourteen respondents stated yes, there was a need for some kind of a guide; two indicated no, there was not a need; and three did not respond (Table 11).

Table 11. Justification of Consumer Furniture Guide

Respondents Useful 14 Not Useful 2 No Comment 3 TOTAL 19

Use of Consumer Guide Though fourteen respondents indicated a need for a consumer guide for purchasing upholstered furniture (Table H), the responses differed when questioned whether 40 their firm would use a consumer guide if available. Eighteen of the nineteen respondents stated they would not use one. Some commented that a guide would be: "not needed by experienced stores," "not important enough to most of our clients," "too time consuming," "more offensive paperwork," and "this information in the hands of the consumer will only end up confusing her, even in simplified terms." There was only one respondent that commented ". . .it would be nice to have one, but would not be used all the time--only when requested" (Table 12).

Table 12. Development of Consumer Guide

Respondents Would Use Guide 1 Would Not Use Guide 1^ TOTAL 19

The last section of the questionnaire contained questions regarding the quality standards of upholstered furniture. These questions were to indicate what were the main quality factors according to the respondents and to find out if the respondents were in agreement concerning the need of con­ sumers to purchase quality products.

Criteria for Purchasing Upholstered Furniture The first question regarding quality standards was to identify the most important element to be considered when 41 purchasing a piece of upholstered furniture. Nine respondents indicated that the frame was the most importan criteria, five indicated the inner materials, four chose the fashion fabric and one stated that the integrity of the manufacturer represented the most vital criteria for pur­ chasing upholstered furniture (Table 13) .

Table 13. Most Important Element Within a Piece of Upholstered Furniture According to Nineteen Respondents

Element Respondents Frame 9 Foundations 5 Fabric 4 Integrity of Business 1 TOTAL 19

Ten respondents rated the fashion fabric the second most important element within the upholstered furniture product, five stated the frame was second, and four indicated that it was the inner materials (Table 14).

Table 14. Second Most Important Element Within a Piece of Upholstered Furniture According to Nineteen Respondents

Element Respondents

Frame 5 Foundations 4 Fashion Fabric 1^ TOTAL 19 /

42 In response to questions concerning the most important element when purchasing upholstered furniture for the low, middle and upper class incomes, a majority of the respondents indicated that the frame, inner materials and fashion fabric were all important for each income level. As one respondent commented, "... consumers, no matter the income, buy for good construction, high quality spring construction and filling materials and the wearability, style and looks of the fabric. All these are usually recognized by the brand name or merchant's reputation" (Table 15).

Table 15. Purchasing Criteria for Different Income Brackets According to Nineteen Respondents

Criteria Low Income Middle Income Low Income Frame 0 4 4 Inner Materials 0 0 0 Fashion Fabric 9 5 5 All Components l^ i^ 1^ TOTAL 19 19 19 CHAPTER V

SUMMARY, CONCLUSIONS AND RECOMMENDATIONS

Restatement of the Problem The study proposed to contribute a solution to the problems consumers face by redefining the quality factors in upholstered furniture. The study was accomplished in five steps. (1) A study was conducted concerning charac­ teristics of furniture components including fabric, wood, and structural characteristics. (2) Furniture components were analyzed and interpreted for their association with quality standards. (3) A questionnaire was developed to determine if interior designers and upholsterers were in agreement concerning the importance of different quality standards. (4) Raw data were organized and tabulated. (5) Quality standards were defined in terms of interior designers' and upholsterers' preferences.

Summary of the Procedures and Findings

Review of Literature In the overview of literature, information was obtained from seven libraries in order to develop a precise account of the quality features within the frame, inner materials and fabrics of a piece of upholstered furniture. In 43 simplified terms, the review of literature indicated the quality standards to look for when purchasing a sofa or chair which were broken into three basic areas: (1) frame. (2) foundations, and (3) fabrics. It was stated that the frame was hidden but should have sturdy joints such as the mortise and tenon or double dowel joints. It should not "give" or make any noise when someone was seated. The foundations provided the comfort. The inner materials were a combination of a good spring unit, a comfortable and durable padding and a muslin cover. When the piece of furniture was put under strenuous tests for comfort no "bumps," springs, frame edges or sounds should be felt or heard. Finally, the fabric should have strong, straight seams, matched patterns and tight weaves usually with special backings for durability. The upholstered piece should con­ tain labels for care and material content and the store should guarantee the product to be free from defects.

Presentation Questionnaire A questionnaire was designed to obtain information concerning quality standards in upholstered furniture and the need for a guide to define these standards for consumer purchase. The questionnaire was mailed to eighty randomly chosen professional interior designers and upholsterers. The information obtained from nineteen respondents, sixteen designers and three upholsterers, was sorted and tabulated in Chapter IV. Extensive statistical analysis was not incorporated into the study because of the small number of upholsterers returning the questionnaire.

Educational Background of Respondents Hypothesis I stated that a majority of designers and upholsterers would be in agreement that their previous education did not sufficiently prepare them for consultation concerning upholstered furniture. Fifty-eight percent of the respondents indicated that they had received an adequate academic education (Table 4) in the upholstery area, yet, on-the-job training accounted for sixty-eight percent of the educational background (Table 5) and not academic classwork. The investigator believed this hypothesis cannot be accepted or rejected because there was a misconception or a misconstrued meaning within the questionnaire. Therefore, when comparing the questions of previous education and job training, responses were inconclusive and conflicting.

Criteria for Purchasing Upholstered Furniture Hypothesis II of this study stated that a majority of respondents would be in agreement that a certain element will be chosen as the deciding factor to the consumer when purchasing upholstered furniture. Within the questionnaire, interior designers and upholsterers ranked the elements of upholstered furniture, that is, frame, foundations and fabric, into the most important elements (Table 13) and the 46 second most important element (Table 14). Forty-seven percent of the respondents indicated that they believed the frame the most important element within a piece of uphol­ stered furniture, twenty-six percent stated the foundations, and twenty-one percent stated fabric. One respondent commented that the individual elements did not matter as much as finding a business that guarantees their products. No majority afforded a certain element as the most critical factor within a piece of upholstered furniture. This is further substantiated when comparing the criteria in terms of low, middle and high incomes of the consumer. Fifty-two percent of the consumers, according to the respondents' opinions shown in Table 15, did not buy a sofa or chair for any one certain element. As one respondent commented, "... consumers, no matter the income, buy for good construction, high quality foundations and the wearability, style and looks of the fabric." Since the respondents indicated all elements were important, realis­ tically no certain factor would be considered the second most critical element. Yet, fifty-two percent of the upholsterers and designers considered the fashion fabric the deciding factor for purchase of a certain sofa or chair when all elements reached the standards set by the consumer. Although the majority stated all three elements were important, percentages indicated that the fashion fabric was rated more significant than the frame or the foundation. Therefore, Hypothesis II is accepted. 7 / Justification of a Consumer Guide Hypothesis III stated that a majority of upholstery and interior design experts would be in agreement that the understanding of upholstery quality standards is important enough to justify a guide for consumers to follow when pur­ chasing upholstered furniture. Tabulation of the data indicated that seventy-four percent of the respondents felt that the hypothesis was justified and a guide was needed. But, ninety-five percent of the respondents would not use the guide in their businesses commenting, "too time consuming," "more offensive paperwork," and "this information in the hands of the consumer would only end up confusing her, even in simplified terms." Even though, in terms of percentages. Hypothesis III is accepted, none of the firms would incorporate a consumer guide of this type into their business.

Quality Features and Assurances Hypothesis IV stated that a consensus of interior designers and upholsterers would be in agreement that uphol­ stered furniture should have quality finishing features and assurances. In the questionnaire, respondents were questioned pertaining to product guarantees, labeling, appearance checks such as matched seams and zippered cushions and application of special finishes to upholstered furniture. Eighty-nine percent of the respondents guaranteed their products free of all defects (Table 6). Yet only sixteen 48 percent of the respondents indicated that their businesses guaranteed frames (Table 8). Fifty-eight percent of the firms responding stated that the required filling materials specification labels were attached to their upholstered furniture (Table 8), forty-two percent of the respondents indicated that the "Seal of Integrity" was attached to their upholstered furniture, and only eleven percent attached the "Tanners Council of America Seal." Twenty-six percent of the respondents indicated the upholstered furniture at their business contained special manufacturer's labels, and only thirty-two percent stated their furniture had care labels attached. All of the respondents indicated that their furniture was checked for firm seams, matched patterns and neatly finished backs. As one respondent commented, ". . . if we didn't check, our customers sure would." Eighty-four percent of the respondents stated that special finishes are applied or would be applied if requested. Several respondents commented that their business only applies certain finishes such as Scotchguard and mothproofing if requested. Eighty-nine percent of the respondents indicated that the upholstered furniture for their business contained zippers. A majority of the respondents further commented that zippers are not recommended for home use. "Zippers are only for manufacturer's convenience, and should not be considered a quality factor." ^9 Although Hypothesis IV is accepted, labeling in the area of upholstered furniture is still limited and until it can be improved further, consumers are limited to the education and experience of the salesperson.

Recommendations for Future Study For the purpose of future research, expansion and refinement, the respondents were requested to give any suggestions pertaining to upholstered furniture quality standards, the questionnaire on the thesis problem.

Recommendations of Respondents Concerning Quality Standards. Several respondents indicated that more emphasis should be placed on certain elements both in the study and the questionnaire. Some comments were: "... more emphasis should be placed on the fabric. It is the only real problem except for dealing with customer expectations." "A coil spring unit is the only one to buy but one should be aware that there are several good alternatives." "Let the industry do its own informing about quality standards, only let the public know that furniture must cost enough to be good enough." Finally, ". . .in purchasing furniture that conforms to quality standards the advisable thing for either the high or middle income bracket people to do would be to purchase from a well rated retail firm and be sure the price Qf furniture you purchase was manufactured by a nationally advertised company that would stand behind the piece of furniture."

TEXAS TECH LIBRAKY 50 Recommendations of Respondents Concerning the Question­ naire. One respondent stated, "... the questionnaire does not really relate to my world. We either specify from companies such as Knoll, Baker, etc. which meet all require­ ments or we have furniture made by local upholsterers of the best quality and no labels or instructions are used. The best upholsterer in the country for custom goods is Thomas DeAngelis Company, it might be good to check with this company or other comparable companies for some sort of comparison of standards, etc."

Another respondent stated that the force-choice manner in which this questionnaire was constructed tended to elicit only surface information. Yet the respondent did not offer any solutions.

Researcher's Recommendations After a review and interpretation of the findings and suggestions contained in this study, the researcher recommends that: 1. A simple consumer guide of upholstered quality standards be composed for use in retail furniture situations. 2. A study be conducted comparing the consumers' viewpoints of product quality versus the interior designers' and upholsterers' viewpoints. 51 3. Similar studies be conducted including a broader scope of the country with respondents including interior designers, manufacturers and upholsterers. 4. A study be conducted to determine the instrument that will obtain the maximum response from the professionals associated with upholstered furniture LIST OF REFERENCES

Books Alexander, Mary Jean. Decorating Made Simple. New York: Doubleday and Company, Inc., 1964. Alexander, Mary Jean. Designing Interior Environments. New York: Harcourt, Brace, Jovanovick, Inc., 1972. Austin, Ruth E., and Jeanette Parvis. Furnishing Your Home. New York: Houghton Mifflin Co., 1^"^^ Bast, Herbert. Making Upholstered Furniture. New York: Bruce Publishing Company, 1951. Bast, Herbert. New Essentials of Modern Upholstery. New York: Bruce Publishing Company, 1970. Bendure, Zelma. America's Fabrics. New York: The MacMillan Company, 1947"! Brandt, Mary L. Decorate Your Home for Better Living. New York: Charles Scribner's Sons, 1950. Brann, Donald R. How to Repair and Reupholster Furniture. New York: Briarcliff Manor, 1966. Brostrom, Ethel. Revive Your Rooms and Furniture. New York: Bramhall House"! 1964. Brumbaugh, James E. Upholstering. Indianapolis: Theodore Audel and Company! 1973. Coles, Jessie V. Standards and Labels for Consumer's Goods. New York: Ronald Press Company, 1949. Derieux, Mary. Complete Book of Interior Decorating. New York: Greystone Press, 1964. Devitt, Connie Dodds, ed. Complete Home Decorating. New York: Galahad Books, 1973. Hardy, Kay. How to Furnish Or Refinish Your Furniture. New York"! Funk and Wynalls Company, 1951. 52 53 Hardy, Kay. How to Upholster Furniture. New York: Funk and Wynalls Company, 1952. Howes, C. Practical Upholstery. New York: J.B. Lippincott Company"^ 1952. Johnstone, James B. Furniture Finishing and Refinishing. Los Angeles: Lane Books, 1969 . Johnstone, James B. Furniture Upholstery and Repair. Los Angeles: Lane Books, 1973. ' Kinney, Ralph P. Complete Book of Furniture Repair and Refinishing. New York: Charles Scribner's Sons, 1950. MacMillan, Donald D. Good Taste in Home Decoration. New York: Henry Holt and Company, 1954. McCall's Decorating Editors. McCall's Decorating Book. New York: Random House Book, 1964. Meyer, Elizabeth B. Decorating Liveable Homes. New York: Prentice Hall, Inc., 1947. O'Connell, C. B. Home Furnishing Self Help. Trinton: The Scarecrow Press, 1968. Pahlmann, William. The Pahlmann Book of Interior Design. New York: The Viking Press, 1960. Pope, Blanche Romick. Upholstering Home Furniture. Chicago Manual Arts Press, 1949. Rutt, Anna Hong. Home Fumishing. New York: John Wiley and Sons, Inc., 1948. Stepat De Van, Dorothy. Introduction to Home Furnishing. London: 'MacMillan Company, 1964. Trilling, Mabel, and Florence Nicholas. Design Your Home for Living.' New York: J. B. Lippincott Company, 1953. Wingate, Isabel B. Textile Fabrics and Their Selection. Trinton: Prentice-Hail, 19/0.

Articles

Crane. Carol L. "Money Wise Guide to Buying Furniture, »i American Home (September, 1972), pp. 76-77. 54 Clemens, Bette. "Faulty Furniture: Who's to Blame?" Better Homes and Gardens (March, 1975), p. 16. Enright, Evelyn, and Ann Seranne. Happy Living. Los Angeles American Bride Publishing Company, 1970. Eustis, Marjorie H. The Home Decorator's Guide. New York: The Studio Publications, 1955. Fagg, Dorothy. "Learning Furniture Quality: If It Hurts, It's Cheap," Sunday (November, 1975), pp. 18-20. . "Furniture Buying: How to Judge Case Goods," Better Homes and Gardens (May, 1975), p. 26. Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (December, 1939), pp. 57, 87, 90, 91. Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (November, 1939), p. 84. Schmitz, F. C. "Furniture Facts; Construction, Woods, Finishes," House Beautiful (January, 1940), pp. 46, 64.

Unpublished Materials Andrasko, Tania Day. "Quick-Sketch Rendering Techniques; Development of an Interior Design Instructional Unit." Unpublished Master's thesis. Texas Tech University, 1973. Campbell, Lucille W. "Factors Involved in the Selection of Furnishings for the Home." Unpublished Master's thesis. Pennsylvania State University, 1964. Microfilm. Dodge, D. Derrick. "Skills and Knowledge Relating to Occupational Qualifications in Interior Design." Unpublished Master's thesis. University of Missouri, 1966. Hoffman, Lucy R. "Areas of Study Pertinent to Interior Designers Based on Interviews with Twenty-Seven Interior Designers." Unpublished Master's thesis. University of North Carolina, 1966. Robb Ann N. "Consumer Knowledge of Household Textile 'Labeling Terms." Unpublished Master's thesis. University of Missouri, 1968. Microfilm. 55 Bulletins and Reports Friedman, Arnold. "Career Briefs," Bulletin of Interior Design Curriculum. Brooklyn, New YorlT! Pratt Institute, XII, No. 1, 1970a. Little, Lillie B. "Buying Upholstered Furniture." College Station, Texas: Texas A&M University, No. L-845. Woodruff, Louise, and Alice Mae Alexander. How to Upholster Cushions. St. Paul: University of Minnesota, 1973. Woodruff, Louise, and Alice Mae Alexander. How to Upholster Overstuffed and Occasional Chairs. St. Paul: University of Minnesota Agricultural Extension Service, 1969. APPENDIX

56 By way of introduction, I am a graduate student at Texas Tech University, Lubbock, Texas. My specialization is Interior Design. As partial fulfillment of the requirements for the Master's Degree, all students are required to com­ plete a thesis problem. My thesis problem is to identify quality factors in uphol­ stered furniture and to measure the extent to which upholsterers and interior designers agree with the factors. I realize that you are very busy, and with this in mind, may I ask you to spend a few minutes of your time in answer­ ing the attached questionnaire? Any suggestion and opinions you may have will help in the development of this study. Your prompt reply will be appreciated. Sincerely,

CAROLYN CUMMENS

57 58 UPHOLSTERED FURNITURE QUESTIONNAIRE

Directions for completing this questionnaire: Please read all items and respond to all questions by checking ( ) your response in the appropriate blank by the answer selected. In cases where more than one answer may be checked, specific directions are given.

Please answer all questions becuase if a questionnaire is returned with an unanswered question, it cannot be tabulated and may be of no value. Your answers are strictly confidential and are to be used only as a part of a group study.

NAME TITLE BUSINESS NAME 1. Which of the following best describes the business with which you are affiliated? (check one)

a. Interior Design Office b. Architect c. Industrial Designer d. Manufacturer of Interior Furniture e. Wholesaler of Interior Furniture f. Contract Department g- Retail Furniture Store h. Upholsterer Other EDUCATIONAL PREPARATION 2. Interior design/upholstery training (check each that applies to you). a. College graduate (four years) ~~^^ b. Technical school (three years) c. Degree of certificate (one year) d. Correspondence course ~~~~ e. Practical experience - how long? •~~^ f. Adult education g. Other (specify) _^ 59 3. Professional affiliations? a. ASID b. Other _^__^__ c. None 4. Do you feel your previosu education concerning uphol­ stered furniture sufficiently prepared you for the job you are doing? a. Yes b. No c. Explain 5. How did you acquire your knowledge of upholstered furniture? a. Specific unit in upholstered furniture quality standards? b. General course in upholstered furniture, no specific unit? c. On the job. Explain d. Other 6. Is an understanding of upholstery qualities, in your opinion, important enough to justify the inclusion of a guide for consumers? a. Yes b. No 7. Does your place of business guarantee the furniture that it sells or upholsters? a. Yes b. No c. Explain 8. How long has your establishment (place of business) been in business? 9. To what extent do you try to answer questions of customers about furniture structure, care, fillings, wood, and fabrics? a. Very thoroughly b. Only answer questions asked c. Very little d. None e. Other 60 UPHOLSTERED FURNITURE CHARACTERISTICS

~P' ^o the labels on your upholstered furniture contain the following: Yes No

a. Filling materials specifications b. Seal of Integrity - guarantee of quality workmanship throughout the piece c. Tanners Council of America Seal (leathers only) d. Special manufacturer's label of construc­ tion care and warranty e. Care label 11. Do you check to it that the fabric on your upholstered furniture fits neat, and has straight firm seams? a. Yes b. No 12. Do you check to see if the patterns on your upholstered furniture are matched and centered? a. Yes b. No 13. Do you inspect to see if the backs of upholstered furniture are neatly finished? a. Yes b. No 14. Do you apply a special finish to your upholstery fabric? a. Yes b. No 15. Do most of the loose cushions on your upholstered furniture have zippers? a. Yes b. No 16 What is the most important element to be considered when purchasing a piece of upholstered furniture? a. Frame b. Inner Materials c. Fashion Fabric d. Other 61 17. What would be the second most important element? a. Frame b. Inner Materials c. Fashion Fabric d. Other 18. What quality factors are the most important when deal ing with the upper income bracket? a. Frame b. Inner Materials c. Fashion Fabric d. All the above e. Other 19. What quality factors are most important when dealing with the middle income bracket?

a. Frame b. Inner Materials c. Fashion Fabric d. All the above e. Other 20. What quality factors are considered most important when dealing with the low income bracket? a. Frame b. Inner Materials c. Fashion Fabric d. All the above e. Other 21. Would your firm use a checklist such as being developed from this questionnaire for consumers to purchase upholstered furniture if available? a. Yes. Explain b. No. Explain 22. Please give any suggestions you may have pertaining to upholstered furniture quality standards, this questionnaire or the thesis problem.