A tuxedo sofa on a visible timber plinth. Arms and back rise to one height, and the whole upholstered mass is lifted clear on a dark wood frame you are meant to see rather than one hidden beneath a skirt.

The tufting is squared rather than diamond. Two rows of biscuit tufting across the back, and a seat worked in long panels that run the length of the piece. It gives the sofa a grid rather than a lattice — quieter, more architectural, and better suited to a low, long silhouette than deep buttoning would be.

Back and arm cushions sit loose inside the frame rather than upholstered into it. They can be turned, plumped and eventually re-filled, which is what keeps a sofa comfortable past its first decade instead of collapsing into the shape of whoever sat there most.

A single row of antique brass nailheads runs down each outside corner, from the arm top to the base. One row, evenly spaced, every stud set by hand — the restraint is the point.

The base is the signature. A solid timber plinth with square tapered legs, finished dark, with the upholstery sitting on it rather than concealing it. The sofa reads as two materials stacked, not one heavy block, and the shadow line beneath keeps a large piece from settling into the floor.

Underneath is the part you never see and pay for anyway. The frame is kiln-dried hardwood, cut and fitted with mortise-and-tenon joinery rather than staples and glue — the joint that lets a sofa be re-covered in thirty years instead of thrown away. The seat rides on eight-way hand-tied coil springs, each knot tied by hand, so it gives evenly under weight instead of sagging into a hollow.

The leather shown is a warm cognac with real pull-up depth, shifting tone across each tufted panel. Along the seat and the arm tops it will darken and soften with use. Being a natural hide it carries its own record — shade variation, the occasional scar or mark. These are not flaws to be corrected; they are the difference between leather and a print of it.

Construction

• Kiln-dried hardwood frame, mortise-and-tenon joinery
• Eight-way hand-tied coil spring suspension
• Squared biscuit tufting to the back
• Panelled seat, tufted along its length
• Loose back and arm cushions
• Square track arms, level with the back
• Hand-applied antique brass nailhead trim to the outside corners
• Solid timber plinth base with square tapered legs
• Leather with natural shade variation and markings

Made to order in four widths, from a single armchair to a four-seat bench.