Purple is the colour nobody chooses by accident, and every purple Chesterfield chair here shows that intent from across the room. Handmade in Manchester, ten year frame guarantee.
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Purple is the colour nobody chooses by accident, which is precisely what makes it interesting on a Chesterfield. Every other shade in the range can be justified on practical grounds, while a purple chair exists because somebody wanted it there, and that intent shows in a room in a way no safe neutral ever quite manages.
The pairing runs a good deal deeper than mere novelty value alone. Purple has been the colour of ceremony and quiet extravagance for centuries, dyed originally at enormous expense and reserved for people who could afford to make a point, so putting it on the most formal silhouette in furniture feels less like a departure than a homecoming.
Here is the part that surprises people, because purple covers considerably more ground than one shade.
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The deep buttoning is really what makes this colour work at all. Purple can look flat and slightly synthetic across a plain surface, while tufting breaks the colour into dozens of facets that each catch light differently, turning what could be a solid block into something with real depth and movement.
The depth matters enormously here, since an aubergine and a lilac produce entirely different chairs from the same frame.
AUBERGINE AND PLUM
The deepest and most sophisticated purples, dark enough to anchor a corner the way a brown hide would while carrying considerably more character. These read as quietly rich rather than as anything remotely obvious or loud.
ROYAL PURPLE
The most saturated option of all, particularly in velvet, where the pile turns the shade genuinely luminous under lamplight. This is the chair that becomes the undisputed centrepiece of a room.
DAMSON AND MULBERRY
Warmer purples with a red undertone, which makes them the easiest to live with alongside wood, brass and existing brown furniture.
LILAC AND LAVENDER
The softest of all, reading almost as a warm grey in bright rooms and suiting bedrooms and quieter corners particularly well.
Velvet is the obvious route and by far the most requested, though purple behaves quite differently depending on which cloth carries it, and a chair is small enough to experiment on properly.
Purple asks a good deal of attention and very little of everything else, which is exactly why it belongs on a single chair rather than across a whole room.
Walls that work. Soft white and pale neutrals let a deep purple chair become the obvious focal point. Warm plaster and clay tones flatter damson and mulberry particularly beautifully, while charcoal grey and near black make a royal purple read as genuinely dramatic.
Chairs to consider. The Conrad armchair in aubergine velvet shows the depth of colour at its best across the buttoning. The Woodstock wing chair gives a saturated purple real theatrical presence, and a Chesterfield footstool in a quiet tan grounds the chair rather than doubling it.
Walnut, aged brass and woven rugs all soften a purple chair considerably, which keeps a bold scheme feeling layered rather than theatrical. A single brown or tan accent nearby brings the whole arrangement into balance.
Every chair is handmade in Manchester using time honoured techniques, so each seam reflects the care that goes into a piece built to last generations, with the frame beneath carrying our ten year guarantee.
Easier than people fear, provided the rest of the room stays quiet and the chair is allowed to be the single bold decision. Walnut, aged brass and plain walls will do the rest of the work.
Deeper purples disguise everyday marks well, and a flecked tweed hides them better still than any plain cloth. Velvet is comfortably the least forgiving of all the options available here.
Wool and velvet hold their tone essentially as they arrive, provided the chair stays out of strong afternoon sunlight. Purple is rather more prone to fading than the earth tones are.
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