THE MATERIAL COMES WITH THE FORM.
A curve changes in velvet. Linen softens an edge. Bouclé adds volume. Chenille gives depth without introducing pattern.
At Saint Objets, material is considered with the furniture from the beginning: how the cloth falls over an arm, how the pile takes light, how the seat gives beneath it and how the surface will be used. Explore the material direction behind our bespoke sofas and armchairs.
The specification begins with the form and the room.
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The library runs to several hundred colourways. These four are where most conversations start, and they show the two families we work in most: chenille, which is texture, and velvet, which is light.
A dense chenille in cream. It reads quiet from across a room and shows its texture only when you are close enough to touch it.
The same chenille in a burnt terracotta.
A steel-blue velvet with a dry hand. It takes shadow well, which is what makes a curved back read as a curve.
Velvet again, in a warm sand. The one people choose when they want the shape to speak and the colour to stay silent.
Samples are sent to your address in Dubai before production begins. Nothing is cut until you have held the fabric. A wide choice of fabrics, including a range of OEKO-TEX® Standard 100 certified fabrics.
HUNDREDS OF REFERENCES. ONE LIBRARY.
The Fabric Edit is the Saint Objets upholstery library.
Velvet, bouclé, chenille, linen, textured weaves, outdoor textiles, Pierre Frey and Dedar Milano are organised so the material can be considered against the furniture it will cover.
Begin with construction, colour or house. Then bring the reference back to the piece.
The Saint Objets Pierre Frey edit brings together Bohème, Simbel and Gabriel.
Each behaves differently on furniture: cut velvet, chenille and long pile wool velvet.
Explore the textile against the scale and form of the piece before the upholstery is confirmed.
Dedar Milano is presented as one edited catalogue within the Saint Objets library.
Its twenty three references move between pile, loop, relief and pattern.
Consider the textile against the scale of the upholstered surface before the final specification is confirmed.
Every fabric is considered against the piece it will cover.
Upholstery changes the reading of a form.
Velvet catches light across a curve. Bouclé changes the edge. Chenille adds depth without a directional pile. Linen falls rather than holds.
Material is specified with the furniture, not after it.
The upholstery library is selected for colour, hand, construction and documented performance.
The surface is considered first. Then the structure of the textile: weave, pile, recovery, weight and the way it behaves across the form.
The specification changes with use. A family sofa, an occasional armchair and an upholstered bed do not ask the same thing of a textile.
LIGHT, HELD IN THE PILE.
Velvet changes as the pile turns.
On sculptural furniture, that movement makes the geometry more visible. Light travels differently across a curved back, a gathered surface and a flat upholstered plane.
The Velvet Society brings the studio's velvet references together by colour and construction.
The right velvet is chosen for the way its pile behaves as much as for its shade.
TEXTURE WITHOUT ORNAMENT.
Bouclé changes the edge of a piece.
A tight loop keeps the form precise. A softer curl makes the same edge appear rounder. Deeper texture gives more volume to a simple silhouette.
The construction is selected according to the form and intended use.
DEPTH WITHOUT PATTERN.
Chenille has a soft surface without the directional pile of traditional velvet.
Across a large upholstered plane, the yarn gives colour depth while allowing the silhouette to remain clear.
THE CREASE IS PART OF IT.
Linen falls, creases and records use.
Those characteristics belong to the material. On loose covers, skirts, curtains and selected upholstered details, that movement is part of the reason to choose it.
The studio confirms the appropriate linen and application for the piece.
A DIFFERENT KIND OF SURFACE.
The Pierre Frey edit brings three different constructions into the library.
Bohème is a cut velvet. Simbel is a chenille with a semi-plain surface. Gabriel is a long pile wool velvet.
Their difference is not simply colour. Pattern, pile and weave change how the same furniture is read.
Each textile is specified against the piece and quoted individually by the studio.
DUBAI LIGHT CHANGES THE SPECIFICATION.
Outdoor upholstery has to hold its colour and surface under conditions different from furniture indoors.
The French Riviera catalogue contains the Saint Objets outdoor palette of plains and stripes.
Performance claims remain attached to the textile for which they are documented. The final specification depends on the piece, its exposure and the way the space will be used.
A SMOOTHER SURFACE. A DIFFERENT HAND.
Vegan leather has a smoother, more graphic surface than woven upholstery and can be considered where a wipeable finish is useful.
The studio confirms its suitability according to the piece and intended use.
Do not make it imitate woven cloth. Its surface behaves differently.
WHAT THE CERTIFICATION ACTUALLY MEANS.
A wide choice of fabrics, including a range of OEKO-TEX® Standard 100 certified fabrics.
The certification applies to the upholstery fabric. It does not automatically certify the complete finished furniture piece, its frame, foam, hardware or every other material used in its construction. This applies to the Saint Objets upholstery library. Pierre Frey textiles carry the specifications published by the Paris house.
We make that distinction deliberately. A material claim should say exactly what has been tested, and nothing more.
For Saint Objets, this matters because upholstery is not simply decorative. It is the surface people sit against, sleep beside and live with every day.
WHAT YOU DO NOT SEE MATTERS AS MUCH AS WHAT YOU DO.
Upholstery is the visible layer. The behaviour of the piece begins underneath it.
Saint Objets upholstered furniture is built around solid hardwood structural frames.
The frame establishes the geometry before foam or fabric is added. It carries the silhouette, takes the load and gives the upholsterer a precise structure to work over.
A beautiful textile cannot correct a weak construction underneath it. So the frame comes first.
Saint Objets structural frames carry a two-year warranty against verified manufacturing defects.
THE STANDARD SAINT OBJETS SEAT.
Elastic webbing is the standard suspension across much of the upholstered furniture collection. Suspension is specified by model: elastic webbing or sinuous springs.
The webbing is tensioned across the hardwood structure to distribute weight while allowing the seat to remain visually controlled. It is particularly suited to low silhouettes because it requires very little vertical space inside the frame.
Above it, variable-density high-resilience foams are layered and shaped according to the piece, with polyfiber used where appropriate for surface softness, shape recovery and tailoring.
The result is not designed to feel hard. It is designed to give without losing the line.
A DEEPER, SLOWER SIT.
For clients who want more movement beneath the cushion, Saint Objets developed and prototyped its own spring-seat construction in the studio.
Springs introduce a different response from webbing: more travel, more depth, a slower return.
The spring seat is fitted as standard on L'Écrin and is available as an option on selected upholstered pieces.
Neither system is presented as universally better. They create different ways of sitting. The right one depends on the piece and on you.
Webbing or springs: how we build a seat
Comfort is not created by making every layer soft. It comes from the relationship between support and give.
Saint Objets seats use layered foams of different densities: firmer material where the form needs support, softer layers where the body first meets the seat.
The composition is shaped according to the silhouette. A thin modular seat should not behave like a deep lounge sofa. An armchair should not automatically behave like either.
The objective is always the same: comfort without losing the drawing.
THE MATERIAL UNDER THE ROOM.
Saint Objets rugs are designed in Paris and made by hand in India.
Material is chosen alongside knot density, pile height, colour and the drawing itself.
Wool wears and recovers. Silk carries light. A blend changes how sharply a pattern reads and how the surface moves as you cross the room.
A fine drawing can ask for a higher knot density. A softer graphic form may be stronger at a lower one. The specification follows the design.
Because a rug is not the final decoration placed into a finished room. It is the ground of the room.
SEE IT IN YOUR LIGHT.
A fabric should be confirmed in the room where it will live.
Daylight changes colour. Velvet changes when the pile turns. Neutrals move beside timber, stone and painted walls.
Review the sample against the floor, the wall and the other materials in the room. Look again after the light changes.
Then confirm the upholstery.
FOR PRIVATE HOMES, DESIGNERS AND HOSPITALITY.
For private commissions, material is specified according to the room, the piece and daily use.
For interior designers, architects and project teams, the specification can also account for quantities, colour continuity and documented technical requirements.
Material remains part of the furniture specification from drawing through production.
A wide choice of fabrics, including a range of OEKO-TEX® Standard 100 certified fabrics. The certification applies to the upholstery fabric, not automatically to the complete finished furniture piece. This applies to the Saint Objets upholstery library. Pierre Frey textiles carry the specifications published by the Paris house.
Most upholstered pieces can be specified in another fabric from the Saint Objets library, subject to suitability for the form and intended use. The studio will advise if a particular construction, pile or weight is not appropriate for the piece.
Yes. Samples can be reviewed with the studio and sent to clients in Dubai before production so the material can be seen in the light and interior where it will live.
Yes. Belgian linen is available on request. The studio will advise whether linen is appropriate for the piece and the way it will be used.
There is no single answer. The specification depends on the piece, frequency of use, colour, children or animals in the home, exposure to sunlight and the amount of maintenance the client wants. The studio can narrow The Fabric Edit accordingly.
Yes. Saint Objets works with interior designers, architects and hospitality teams on residential and commercial projects, including material specification and made-to-order furniture.
Yes. The studio can propose upholstery according to the project brief and provide available published technical characteristics for the selected textile where required.
The drawing establishes the form. The material decides how that form meets the room.
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New pieces, private releases and the colours we are working in. A few letters a year, from the studio in Dubai.