25 YEARS OF USE.
NOT THE END.

AGE SHOWS DIFFERENTLY
ON LEATHER.

The first inspection already showed extensive wear.

The most heavily used areas had cracked and damaged finish, colour loss, deeper local damage and visible wear on the seat cushions and armrests.

But wear alone doesn't decide whether leather should be replaced.

First, the material had to be identified and assessed.

Visual inspection gave us the first indication.

The embossing on the back of the sofa and armchair gave us additional confirmation of the leather type we were working with.

THE FINISH
COMES LATER.

Before repairing colour, the surface had to be properly prepared.

The leather was thoroughly cleaned using MZR and a scrub pad.

Contamination, old surface residues and accumulated dirt had to be removed before moving into the restoration stages.

From this point, the work followed the Colourlock restoration procedure appropriate to the condition of the leather.

Preparation isn't the part that creates the final photograph.

But everything that comes afterwards depends on it.

REMOVE WHAT
CAN'T STAY.

Damaged areas required controlled surface preparation.

GLD was used according to the restoration procedure to work on the existing coating and prepare the appropriate areas for further treatment.

Mechanical preparation and sanding were used where required.

After sanding, Leather Cleaning Spirit / Leder Reinigungsbenzin was used to degrease the prepared surface.

COLOUR DOESN'T
REPAIR STRUCTURE.

Local damage had to be dealt with before refinishing.

Depending on the condition of individual areas, the restoration included primer, filler and liquid leather, followed by the required surface preparation.

The objective was not to hide damage underneath pigment.

It was to create a stable surface capable of accepting the subsequent coating system.

Only then could we move to colour.

BEIGE ISN'T
JUST BEIGE.

This was one of the most interesting parts of the project for me.

Reproducing beige accurately is difficult.

Small changes in pigment proportions can move the colour in a completely different direction.

And knowing what to add — and how much — isn't something that comes from reading one formula.

COLOUR MATCHING IS A SKILL
BUILT IN WORKING HOURS.

We prepared an individual colour mixture for this set.

Some Colourlock pigments can be relatively dense, so a small amount of primer can be added to the spray cup where appropriate to improve working consistency.

COLOUR ISN'T
THE LAST LAYER.

After achieving the required colour and coverage, the restoration continued with the finishing system.

The process included the appropriate hardener, followed by the finishing lacquer and finally a protective polymer layer.

The objective wasn't simply to make the furniture look better when we left.

The coating system had to function as a system.

Each stage supports the next one.

COLOUR MATCHING
IS ITS OWN CRAFT.

One thing became particularly clear during this project.

Understanding the restoration procedure and reproducing colour are related skills — but they aren't the same skill.

I can learn the sequence.

I can learn what each product does.

I can understand why the surface needs a particular treatment.

But colour perception and correction require repetition.

Especially with shades like beige.

There is no shortcut for experience.

There may, however, be better tools.