Clare Miles lives and breathes upholstery design. Having collaborated with heavyweights including QFC, Siren, Alpha Designs, Westbridge, Meridian and Buoyant, creating pieces for the likes of DFS, John Lewis, Next, Argos/Sainsbury’s and Laura Ashley, Clare has been “flying the freelance flag” since 2019, specialising in domestic upholstery through Clare Miles Sofa Design. Furniture News takes a seat to hear her story of a passionate profession …
Where did you study?
I studied Furniture & Product Design at Nottingham Trent University.
What was the most valuable part of your education?
Without a doubt, it was my placement year. I struck gold with a position at the Wade Furniture Group in Long Eaton. That’s where my romance with upholstery truly began. I loved it so much I kept working there one day a week during my final year and stepped straight into a permanent role the moment I graduated.
What was your first design job?
My ‘real world’ breakthrough was my second design role working alongside the brilliant Andy Doherty. As a freelance designer, he threw me into the deep end of upholstery design. It was a whirlwind – easily some of the most joyful, challenging and formative years of my professional life.
Where might we have heard your name before?
If you move in furniture circles, we’ve likely crossed paths. I’ve spent years building relationships across the industry. I think some of the most important relationships I have are with fabric agents. I specialise in sofa shapes but it’s always a good idea to know where exactly to find the perfect complementary fabric.
Any key achievements/award wins you’d like to share?
Honestly? My biggest badge of honour is a thriving 30-year career dedicated to the UK furniture industry. Staying passionate and relevant for three decades is a marathon I’m still enjoying.
What are you working on right now?
I’m currently crafting a brand-new portfolio launching this June. Expect a mix of calm classics, elevated vintage vibes, and friendly contemporary styles. I’m also embracing the future by integrating AI renders – they’re a total game-changer for helping clients visualise and fall in love with a design before it even hits the factory floor. I love the opportunity to show my portfolio to new and existing clients, or answering more specific briefs.
How do you mentally prepare yourself for work each day?
It’s a three-step ritual – caffeine, a tidy ship, and a realistic plan. Once the desk is clear and the coffee kicks in, I’m ready to go. If I need a mid-day brain reset, nothing beats a brisk stroll through Wollaton Park near where I live to let the ideas breathe.
A blank sheet of paper can be daunting – what inspires you to fill it?
When I’m dreaming up a new portfolio design, I often take a time machine back to the 1950s and 60s – the golden era of upholstery shapes. If I’m working to a specific client brief, I become a bit of a design detective. I deep-dive into the retailer's current range, understanding their customer base and finding those ‘missing pieces’ and product gaps that a new design could fill perfectly.
Designs are often compromised to make them commercial – how do you maintain your quality despite such pressures?
I have a weird superpower – I actually love a limitation! It’s why I shop at Lidl or Aldi. There’s a specific thrill in designing ‘entry-level’ products – the challenge is making something look expensive and high-end while using budget-friendly materials. It’s all about the proportions.
Of course, when a client gives me the green light for a ‘no-compromise’ luxury piece with high-bracket fabrics and intricate details? That’s when the imagination has more freedom.
Which area of your work do you enjoy most – and least?
The ‘most’ list is long because I genuinely love the process, from initial design to the first product coming off the production line. The ‘least’? That’s easy – the ‘good enough’ cutoff. It’s heartbreaking when a prototype needs one or two last tiny tweaks to be perfect, but the production clock or the budget sheet says, “Time's up.”
Please describe one of your favourite designs, and explain why it inspires you …
The Standard Sofa by Edra. Don't let the name fool you – it is anything but standard! I saw it at the Salone del Mobile in Milan back in 2013 and was genuinely amazed. It took over two decades to develop, and seeing Francesco Binfaré’s original rough pencil sketches huge on the wall was a reminder that great things take time (and a lot of heart).
Which is your favourite designer retailer, and what is it doing right?
I currently have three. Barker and Stonehouse are the gold standard for presentation and range. Their stores feel like a carefully curated experience.
I love Zofa’s discipline – they’ve nailed specific shapes and fabric offering while giving the customer flexibility without overwhelming choice. I particularly like their modular designs.
And Schplendid. These guys are legends for going ‘back to the old ways’. High-build quality and ditching the plastic for 100% natural fabrics. That’s the kind of future-thinking the industry needs. We need genuine USPs to differentiate between sofas, otherwise it’s just a sea of ‘me too’s’.
Asher, one Clare's new designs (AI render)
Pick three words that sum up UK domestic furniture design today …
Choice, classic, considered.
What aspects of it make you despair? And, conversely, hopeful?
It’s with real sadness seeing iconic UK names like Ashley Manor, Alexander & James and Westbridge close their doors, leaving a gap often filled by uninspired imports. It feels like we’re losing our home-grown soul!
But what keeps me smiling? Seeing earth-friendly construction and high-build quality finally taking centre stage. I’m hopeful for a future where we value how a sofa is made as much as how it looks.
Do you feel that the industry adequately supports designers?
Honestly, we could do better. The ‘gold dust’ placement years that launched my career are becoming so rare, making the wall much harder to climb for fresh talent.
What’s the last design that really caught your eye?
This changes every week, but currently it’s the Rochester at Barker and Stonehouse. I’m usually not a fan of motion furniture, but this one changed my mind. It’s sleek, cool, and would look amazing in our snug – no plumping of cushions required!
What’s the future of furniture design?
We’re moving away from ‘disposable’ culture. I see a shift toward longevity and flexibility. I’m obsessed with the idea of reinventing the loose cover concept – giving people the freedom to refresh their style without throwing away a perfectly good frame. In fact, I’ve got a design concept ready to go that does exactly that – I’m just looking for the right manufacturing partner to bring it to life!
Which industry event or platform gives a designer the best step up?
The NEC furniture show in January is the most important UK trade show – which hasn’t always been great, but in the last couple of years has seen a resurgence. But it also sadly represents the shrinking of the UK manufacturing base.
I know it’s the done thing to visit Milan and the USA for inspiration, but I think that you can gain as much inspiration as you need from a screen – although not as fun, it’s decidedly cheaper. I think that UK upholstery design is strong, but with the reduced number of manufacturers designers are having to venture further afield.
What design website do you visit most often?
1stDibs. I can get lost for hours there. It’s the only place where even the ‘ugliest’ 1970s couch can spark an idea.
What’s the biggest challenge you face?
I had a major ‘life happens’ moment in January this year when I broke my right wrist whilst walking on an icy day. As a designer, that’s the most important limb! It was a massive wake-up call, but three months later, I’m officially back, although slightly bionic. It actually gave me the downtime to dive into AI capabilities and reconnect with the incredible clients who supported me through this ‘tricky time’.
How do you think the industry views designers?
After 30 years, I’ve seen the pendulum swing. Some people think AI will replace us, but I believe the opposite. AI is just a tool – it needs a human with ‘sofa soul’ to give it direction. It’ll be a very long time before you can sit comfortably on a sofa that was built without a human heart!
What advice would you give to young designers just starting out in the industry?
Find the magic. I still remember the first time I saw a sofa being built – the wooden frame, the foam, the fabrics … it felt like alchemy. When you realise that such simple materials can come together to create something so beautiful and essential to a home, that’s when you know you’re in the right job.
Where can interested parties find out more?
You can find my latest inspirations on Instagram at @the_sofa_designer. It’s a bit of a cheeky handle, but when you’re one of many Clares in a friend group, you end up with a nickname – mine just happens to be 'Sofa Clare.' It’s a title I wear with pride, since I’m obsessed with all things upholstered!
See some of Clare's designs in the interview in May's issue.
