Upholstery is the materials—fabric, padding, and support—used to cover and cushion furniture, and the craft or trade of applying those coverings. It also refers to the finished covering itself. The term encompasses both the industry and the specific surface treatment of chairs, sofas, and other upholstered items.
US: End-rhotic, clearer /r/ in stressed sequences; emphasize /hoʊl/ with a strong diphthong. UK: Non-rhotic accents; lengthen /əʊ/ and keep /l/ clear; stress still on second syllable. AU: Vowel quality can shift toward /ɒ/ or /ɔː/ depending on speaker; keep the /l/ light but audible and drop the thick /r/ where appropriate. Use IPA guides to monitor the diphthongs and rhoticity. Aim for the middle vowels /ə/ or /əʊ/ with precise mouth shape changes between syllables.
"The antique sofa was reupholstered, giving it a fresh fabric and new cushions."
"Her hobby of upholstery includes cutting foam and sewing durable chair covers."
"The shop specializes in custom upholstery for mid-century modern pieces."
"After years of wear, the upholstery needed replacing, not just cleaning."
Upholstery derives from the Middle English 'upholde', influenced by the French 'upholster' from 'supplier' and 'tache' (to cover). The root idea is to ‘lift up and cover’ with padding and fabric. The term evolved through craft guilds in medieval and early modern Europe where artisans would add padding (foam, horsehair) and fabric to seats, then cover the frame. By the 17th and 18th centuries, upholstery referred both to the craft and the finished materials on furniture. In modern usage, it designates both the materials (fabric, padding, springs) and the profession of applying them, along with the broader industry of furniture coverings. First known uses appear in English texts around the 15th century with forms like ‘upholstering’ and ‘upholsterer,’ gradually narrowing to refer specifically to the furniture coverings we associate with comfort and aesthetics today.
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Words that rhyme with "Upholstery"
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Pronounce it as /ˌəpˈhoʊlstəri/ in US, /ˌʌpˈhəʊlstəri/ in UK. Stress is on the second syllable: up-HO L-stery. Start with a schwa, then a hard 'p', then a clear 'ho' as in 'oh', followed by 'l-stery' with a light 'r' and a unstressed final 'ee' sound. Picture the mouth opening for a light, rounded /oʊ/ diphthong, and keep the /l/ and /s/ distinct. You’ll want a clean /t/ without flapping, so avoid turning it into a quick /d/. Audio reference: listen to native pronunciation from reputable dictionaries or Forvo entries labeled ‘upholstery.’
Common errors include misplacing the stress (saying up-HOL-stery), substituting /hoʊl/ with a flat /hoː/ in non-rhotic accents, and slurring the 't' into a soft /d/ or /(t)/. Correction tips: emphasize the second syllable with a crisp /hoʊl/; pronounce the /t/ clearly as a true /t/ rather than a flap; ensure the final /əri/ becomes /əri/ with a reduced 'er' followed by a light 'ee' sound. Practicing slowly in isolation, then in phrases like 'reupholstery work', helps embed the correct rhythm.
US: /ˌəpˈhoʊlstəri/, rhotic /r/ is pronounced; US speakers make the /oʊ/ diphthong in 'ho' clearly. UK: /ˌʌpˈhəʊlstəri/, non-rhotic tendencies may drop post-vocalic r; vowel in 'ho' is a longer /əʊ/; AU: /ˌʌpˈhɒlstəri/, more open /ɒ/ in the 'hol' part, with some Australian speakers reducing the final /əri/ to /ri/ or /əri/ depending on formality. Across all, the middle /hoʊl/ or /həʊl/ is central; the main differences are rhotics and vowel quality. Listening for the diphthong length and the final unstressed vowel will anchor differences.
Two main challenges: the cluster in the middle /hoʊlst/ and the final /əri/ can trip non-native speakers. The 'ho' part uses a clear /oʊ/ or /əʊ/ diphthong, which requires lip rounding; the /l/ followed by /s/ must remain distinct, not blended; and the final /əri/ has a reduced vowel and a light, unstressed ending. Focus transitions from /hoʊl/ to /stəri/ with a quick, restrained /ə/ and a soft /ri/. Practice with slow repetitions and then speed up while maintaining segment integrity.
The secondary stress pattern is on the second syllable, which affects rhythm: up-HO-listery, with the 'l' and 'st' sequence requiring precise timing. Additionally, the letters 'ou' contribute to a strong /oʊ/ or /əʊ/ vowel in the stressed syllable; the 'ery' ending yields an /əri/ sound that is not fully pronounced as 'air-ee' but rather a reduced, floating /əri/. Mastering the subtle timing and reduced final vowel is key to sounding natural.
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