Tag Archives: couture construction

Out of the Chaos …

It is not all that unusual for a big sewing projects to begin in some sort of controlled chaos, whether it is unwieldy pattern pieces, or slippery fabric, or complicated instructions – or no instructions! But nothing quite comes up to the chaos that making a classic French jacket creates.

Two main things contribute to the chaos. The first is the nature of boucle fabric, which is the building block of the jacket. Boucle is, by nature, a loosely woven, sometimes wildly variegated fabric. The loose weave is what gives it the ability to be quilted “invisibly” to its lining. But, it is also what makes the fabric fray so easily, demanding careful handling throughout the construction process.

Then there is that quilting process. To say that the construction of this type of jacket is unconventional is an understatement. Once one has her fashion fabric (boucle) pieces thread traced and cut out, the lining is cut to conform to the shape of each individual jacket and sleeve piece. Then, the lining is quilted onto the boucle following  guidelines (selected by you!), but dictated by the boucle.

A ruler and pins help me determine where my quilting lines should be, generally about an inch apart from each other and set in an inch from the side seams.

Quilting with a walking foot.

The ends of the quilting lines stop a couple of inches from the top and bottom of the marked seam lines, and the loose threads are fished into the inside and tied off, each one with three loops to secure the knot.

Although it is difficult to see, here is the tying off of one quilting line in-between the two layers.

How strange is this? Then the edges of the lining are hanging loose while you proceed to sew the seams of the boucle. I pin the edges of the lining back in order to make this process a little more orderly, but it is still kind of a mess.

One of the sleeves, quilted, with its lining pinned back.

I have a great advantage in making this jacket, in that I have a muslin pattern which I know fits me well. Knowing this allows me the option of finishing the sleeves before I do the main part of the jacket, and that is what I have done.

I have finished off two of the three sleeve seams here before sewing the final, third seam.

All the sleeve seams are now sewn, and I am about to finish attaching the lining at the cuff ends of the sleeves.

I also decided once again to make slot-seam buttonholes on the sleeves and at the center front.

Here is the extension on the sleeve cuff. Normally cut as one with that section of the sleeve, I make it a separate piece so that I can leave two openings for the buttonholes. If you look closely at this photo, you can see the slots for the buttonholes.

This shows the extensions for the buttonholes.

Two finished sleeves, except for the trim, of course.

Now, here is a diagram of what I do to make the slot-seam buttonholes for the front of the jacket.

It is important to know how much width you need for your trim and buttons before deciding the width of that extra extension piece sewn onto the front. In this case, I determined I needed a piece with a finished (not including seam allowances) width of 1¼“. Then I proceeded to sew the seams together.

The body of the jacket really looks like chaos here!

Gradually the chaos will begin to be tamed as I hand-stitch the edges of the lining in place.

Perhaps the eventual control of such chaos is what helps to make the construction of these types of jackets so appealing. It is a good thing to remember that the creative process can be messy and tedious and very time-consuming. Sometimes, as in life, you just have to see it through to the other side to be able to appreciate the journey.

24 Comments

Filed under Boucle for French style jackets, Chanel-type jackets, couture construction, Slot-seam buttonholes, Uncategorized

Timeless: The Classic French Jacket

So much has been written and illustrated about Coco Chanel’s classic cardigan jacket, it is difficult to imagine more can be said, but that won’t keep me from trying. Of course, only Chanel is Chanel, and that fashion house rightly owns the claim to the mystique and allure of its trademark design. However, interpretations of that classic French jacket – and those who are making them – have added to the jacket’s lexicon over the years. In many ways, I think the advanced (in skill level, not age) sewing community has been instrumental in adding a whole new dimension to the way we look at the jacket and then personalize it.

Interest by home dressmakers in the classic Chanel jacket has been evident for decades. This Vogue Pattern Book Magazine from October/November 1962 is a prime example. To quote precisely, the caption for the cover says: “the new after-dark dazzle involves a certain amount of alchemy. Take a clean-lined suit design (shades of Chanel) and make it shimmer: a springy white suit wool scored with gold metallic and red braid…”

The June/July 1989 issue of Threads Magazine has one of the most iconic covers ever, described above the masthead as “Inside a Chanel jacket.” The extensive article by Claire Shaeffer covers the history of the jacket, idiosyncrasies of its construction and tips for the home dressmaker wishing to make her own Chanel-inspired jacket.

In more recent years, books and instructions for making the classic French jacket have been joined by classes, most notably on Craftsy and by couture teachers such as Susan Khalje, who, in my opinion, teaches the purest jacket construction interpretation available to the sewing community. If you are unable to attend one of her Classic French Jacket classes, then by all means, subscribe to her video for the next best thing.

There are several reasons, I believe, why the classic French jacket appeals to home dressmakers, particularly to those of us who delight in couture procedures, hand work, and artistic license. It is we who have the ability to chose from such a broad array of beautiful boucles and silk charmeuses, both at select fabric shops and online. Therefore, we are not limited to the fabric selections of a particular fashion house. Furthermore, we can adapt the jacket to our own individual preferences, for example, fitted or boxy, longer or shorter, collarless or not, to mention just a few potential changes. Finally, the finishing components of trim and buttons make it unique and uniquely our own.

This quote from Oscar Wilde is an appropriate summation of how home dressmakers, privileged as we are to know the “recipe” of jacket construction, approach the making of our classic French jackets: “To look at a thing is very different from seeing a thing.” We dressmakers see the jacket from various viewpoints:

1) construction techniques; including, but not limited to, the unique method of marking seamlines, quilting the layers of boucle and lining silk together, and hand-finishing the raw interior seams.

2) as already stated, the privilege of selecting our own fabrics, trims and buttons.

3) stylistic details which enhance the ability of the jacket to flatter ones particular form, such as altering the length of the sleeves, pocket details, front neckline variations, adding bust darts in certain situations, etc.

4) an appreciation for – and knowledge of – the engineering magic of invisibly quilting two fabrics together to produce an entirely new medium.

In my opinion, it is this ability to see – and appreciate firsthand- the complexities of the jacket which makes it such a worthy undertaking.

You may ask at this point why I am thinking so much about classic French jackets. Could there be any other reason than the fact that I have started work on my third, but far from final, one? Using boucle gifted to me by my grown children a little over a year ago, I am intently working through the “process.” Because I am fortunate enough to have a fitted pattern muslin template from my class with Susan Khalje 3½ years ago, my initial progress has been speedier than normal.

Here are my muslin pattern pieces freshly ironed and ready to start.

My muslin pattern arranged on the boucle, ready to double-check and cut out.

Allowing for wide seam allowances…

Pieces cut and thread-traced.  Next step:  the lining fabric.

Stay tuned as I make further posts about my time-consuming progress on this timeless style.

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Filed under Chanel-type jackets, Coco Chanel, couture construction, Mid-Century style, Uncategorized

Coming and Going: a Split Personality Dress

Dresses – and garments in general – with back interest have always intrigued me. The addition of a simple back belt can add so much to a coat design, for example, and a yoke in the back of a dress can be the perfect place to add complimentary buttons which might not have a place on the front of the dress. Perhaps it was this reason why I was drawn to this Advance pattern, which I found in an Etsy store.

Thanks to one of my readers, I know that this pattern dates to 1964.

Thanks to one of my readers, I know that this pattern dates to 1960.

I hesitated for quite a while before buying it, as I just wasn’t so sure the gathered back skirt on this dress would look as good on me as it looked on the pattern envelope. I also did not want a “dated” or “too cutesy” look. But finally I gave in and made the purchase. The buttoned back and the dropped back waist were two details which really appealed to me, as well as the sleek sheath look of the front of the dress. I also knew that the right fabric could work wonders, and I bought the pattern with this gray and blue polka dotted wool/silk blend in mind.

I purchased this fabric from Mendel Goldberg in New York City.

I purchased this fabric from Mendel Goldberg in New York City.

Then, there is always that steadfast fall-back, as well – making a muslin (toile) and if it really doesn’t work, then just scrapping it! What could I lose besides a few yards of cheap muslin and a few hours of time?

I had never used an Advance vintage pattern before, so I was interested to see how one would make up. I was impressed! The pattern pieces went together very precisely, and, in particular, the flounce, or gathering, at the back of the skirt was not overdone. The only initial change I made to the pattern before cutting out my muslin was to lower the bust dart, which I always have to do. Once I made the muslin, it was a little snug across the front, so I added ¼” to either side seam. As it turned out, I needed the extra width just across the midriff area, and ended up taking out quite a bit of extra width from the waist down.

Some pictures of my muslin.

Some pictures of my muslin.

Coming and Going

While I was working on the muslin, I was in a quandary over the buttons. I had to have them before I could start work on the fashion fabric because of those pesky, but beautiful, bound buttonholes, which are one of the first things to go in. Nothing I had on hand was right and after a very brief dalliance with the thought of blue buttons (what was I thinking, even briefly??), I knew gray mother-of-pearl buttons were what was needed. As luck would have it I found a set of six 5/8” buttons in an Etsy shop, which were described as blue-gray mother-of-pearl. As soon as they arrived in my mailbox, I knew they were perfect.

Coming and going

By this time I had transposed the muslin onto white silk organza, made my working pattern, basted the fashion fabric and the organza together, and ordered marine blue crepe de chine from EmmaOneSock for the lining.

For those of you who asked, here is a picture of the silk organza being used as the pattern piece. when cut out, the two are basted together by hand along the seam lines, dart markings, and hem lines.

For those of you who asked, here is a picture of the silk organza being used as the pattern. When cut out, the two are basted together by hand along the seam lines, dart markings, and hem lines and then handled as one piece.

I also used silk organza patches for the facings for the bound buttonholes.

I also used silk organza patches for the facings for the bound buttonholes.

Here the facings are turned towards the inside. Proper measuring is essential for this technique to be successful.

Here the facings are turned towards the inside. Proper measuring is essential for this technique to be successful.

The back of the dress during construction.

The back of the dress during construction.

Although the pattern called for lining only the skirt back, I wanted to fully line the entire dress. The pattern for the back skirt lining is shown here in the thumbnail diagram:

coming-and-going-thumbnail-sketch

It was cut narrower than the skirt back, with darts for shaping rather than gathering. I had to make a decision about how to complete the lining – should I attach it to the waist seam at the back and somehow join the front to the back at the side seams, or should I make the lining as a completely free-falling piece? I opted for the latter, with the sleeves, of course, being inserted separately. It worked beautifully. Then, for some extra detail, I added a contrasting flat piping to the edge where the lining meets the facing.

I had this coral colored silk bias tape which I chose to use for this extra detail.

I had this coral colored silk bias tape which I chose to use for this extra detail.

Coming and going

Often facings are eliminated in couture sewing, but in this case, with the buttoned placket in the back, I decided to keep the facings so the buttonholes and buttons would have a firmer foundation.

This dress turned out to be all that I wanted – a classic slim sheath from the front, with surprise back detail which (I think?) is flattering, adding extreme comfort to its wearing, and which sets it apart from the average design.

Coming and going

Coming and Going

Coming and going

 

Coming and going

Coming and going

Coming and going

Coming and Going

Coming and going

coming and going

Coming and going, it feels like a good way to start off the new sewing year .

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Filed under Advance vintage patterns, bound buttonholes, Buttons - choosing the right ones, couture construction, Day dresses, Linings, Mid-Century style, Polka dots, Uncategorized, vintage buttons

Just for the Chill of It

Autumn is a delightful season here in the northeastern part of the United States. One can tell it is on its way when the warm days quickly take on an evening chill once the sun slips below the horizon. It is the time of year when a light coat or sweater is a necessity, especially with a sleeveless dress.

With this scenario, and a September wedding to attend, what better excuse did I need, to make a coat to go with this dress?

The Year of Magical Sewing

If you follow my blog then you probably already know this was my intention all along, when I made the dress two years ago. But it took a while to find the right coordinating fabric for a coat. I was looking for something between a coral and a pink. While the silk taffeta I found at Britex Fabrics looks more like a deep persimmon color when photographed, the fuchsia pink warp is very apparent when being worn.

Taffeta coat - swatch

Once I decided the Jo Mattli-designed coat, part of the original dress pattern, was too voluminous, I went to another pattern. I wanted to keep the “intention” of the original coat, but have it more streamlined.

The "original" coat designed by Jo Mattli.

The “original” coat designed by Jo Mattli.

Taffeta coat - %22too scimpy%22

The coat pattern I settled on.

Somehow along the way, in making my muslin, I got the idea to add a curved belt to the back of the coat. I knew I had used a coat pattern several years ago with a curved belt back detail, so I went through my pattern collection to retrieve this:

This is a 1957 pattern, but look at the belt shown on the back of the envelope, below.

This is a 1957 pattern, but look at the belt shown on the back of the envelope, below.

taffeta-coat-belt-pattern-thumbnail

The belt is only shown in view A.

It took a couple of tries with the muslin to get the placement and angling of the belt correct, but once I did, I knew it was a winner. Dressmaker details like this always give me a thrill!

I anchored the belt in the side seams right under the bust darts.

I anchored the belt in the side seams right under the bust darts.

Just for the Chill of it

The curve of the belt needed to fall at my waistline.

The curve of the belt needed to fall at my waistline.

One of the things I like about this pattern is the two-part sleeve with a center seam. I think this design is always flattering to the shoulder. Here are the constructed sleeves:

Just for the Chill of it

That center seam also provides the opportunity for a faux vent, and since I just happened to have three buttons, which I thought would be perfect for the coat, I happily included vents, as the pattern dictated:

Just for the Chill of It

A small, cylindrical, crystal button!

A small, cylindrical, crystal button!

Although I originally thought I would leave the coat “closure-less,” that third button kept calling to me. While I did not want to have a single bound buttonhole in the center of the chest, I thought a button loop might do the trick. If I didn’t like it, I could remove it fairly easily from the front facing seam.

Just for the Chill of it

I also decided to add a loop at the neck, with a plain flat button under the collar. This way, I could close the collar if I chose to do so.

I pad-stitched the collar, but forgot to take a picture. Pad-stitching is like magic in how it makes the collar roll properly!

I pad-stitched the collar, but forgot to take a picture. Pad-stitching is like magic in how it makes the collar roll properly!

I have to say, I think the coat looks equally good any way it is worn: with the single button at the bust line closed, with both buttons secured and with neither of the buttons secured.

I chose not to add the optional pockets to this coat, but if I make it again in a less formal fabric, I would absolutely include them.

Once I got to the lining, I had to decide if I wanted to add the flat piping detail which I like so much. Of all the bias silk ribbon I have on hand, the only one which looked good was deep pink. Because of that, it doesn’t show contrast all that well, but I still like the subtle finishing look it gives to the lining.

Just for the Chill of it

Just for the Chill of it

Here, by the way, is the coat before I inserted the lining:

I underlined the entire coat with silk organza and added "cigarette" sleeve headings.

I underlined the entire coat with silk organza and added “cigarette” sleeve headings.

I love a center back seam!

I love a center back seam!

I used some vintage silk buttonhole twist to tack the center back fold in the lining at the neck and at the waistline.

Just for the Chill of it

There is no question that the dress and the coat go together once the lining shows!

There is no question that the dress and the coat go together once the lining shows!

Just for the Chill of it

I love that the lining peeks out from the sleeves when I am wearing the coat.

I love that the lining peeks out from the sleeves when I am wearing the coat.

taffeta-coat-full-copy

I was delighted when the photographer at the wedding wanted to take my picture because he "liked my outfit so much." (This is not that photo...)

I was delighted when the photographer at the wedding wanted to take my picture because he “liked my outfit so much.” (This is not that photo…)

Here with my husband - with a coordinating tie, no less (not planned, but makes for a great photo!)

Here with my husband – with a coordinating tie, no less (not planned, but makes for a great photo!)

It may seem a bit frivolous to make a coat like this, knowing that it will not be worn all that often – although I do have two other dress-weight silks in my collection which would look fairly stunning paired with this coat!  However,  it really is the perfect weight and look for an elegant, but chilly, evening out – and it was so much fun to make.

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Filed under Buttons - choosing the right ones, Coats, Cocktail dresses, couture construction, Dressmaker coats, Dressmaker details, Linings, Mid-Century style, piping, sewing in silk, Silk taffeta, Uncategorized, vintage buttons, vintage Vogue patterns from the 1960s

From Flora to Flop

 

In sewing there are various degrees of success. At one end of the spectrum is something which not only fits well, but is flattering, a perfect combination of pattern and fabric, a piece destined to become a staple in one’s wardrobe. At the other end is – a complete flop. Flops are painful, aren’t they? I didn’t realize this project was going to be a flop until I was almost finished with it, although I was beginning to have my doubts about halfway through it.

I started out with this really lovely linen blend from Mood Fabrics, which I’ve had for a few years. Here it is draped on my dress form:

Flowered Flora

The fabric looks like - and is - a somewhat loosely woven linen, but it is surprisingly stable.

The fabric looks like – and is – a somewhat loosely woven linen, but it is surprisingly stable.

I had purchased the By Hand London “Flora” pattern (a departure for me to buy a “new” pattern!), as it reminded me of a Cristobal Balenciaga dress which I have long admired.

Flowered Flora

Flowered Flora

Evening dress in flocked shantung in blue and black, 1957

Both images are from: Balenciaga: Cristobal Balenciaga Museoa; Fundazion Cristobal Balenciaga Fundazioa, Editorial NEREA; English Edition 2011; distributed in the USA by Thames & Hudson Inc., NY, NY, page 260.

Both images are from: Balenciaga: Cristobal Balenciaga Museoa; Fundazion Cristobal Balenciaga Fundazioa, Editorial NEREA; English Edition 2011; distributed in the USA by Thames & Hudson Inc., NY, NY, page 260.

I had not intended to use the Flora pattern for this fabric, but somehow I got the notion that it would be really pretty. In addition the fabric was 60” wide, a requirement for the Flora dress, and for once, I had enough yardage. I made a muslin, and liked the way it looked – and I did a fairly good job of perfecting the fit of the bodice. The pattern lends itself to using couture construction techniques, as there are no facings, so that fit right in with how I like to sew. I underlined it all with silk organza. I catch-stitched all the seams. I used a silk crepe de chine lining, and hand sewed it into the bodice. I backstitched all the edges to secure the lining.

The silk organza added additional stability.

The silk organza added additional stability.

Flowered flora

I chose a pretty orange crepe de chine for the lining.

I chose a pretty orange crepe de chine for the lining.

The skirt is voluminous and that is where my problems began. It seemed okay made up in muslin, but once I had it constructed in the fashion fabric, I looked like I was a dumpling wearing a flowered parachute. The funny thing was that when I had it on my dress form, I thought it was rather attractive. I was fooled into thinking that if I just got it all put together, I’d be happy with it.

Looks pretty, doesn't it?

Looks pretty, doesn’t it?

I thought the orange lining would be lovely peeking out from the dipped back hem...

I thought the orange lining would be lovely peeking out from the dipped back hem…

I have been trying to figure out what went wrong. I think perhaps the pattern is just too “youthful” looking for me. I think it is such a pretty dress, but perhaps my days of wearing voluminous skirts are over (… although the skirt on my silk dress from last summer looks fine. It is, however, simply a gored skirt with no additional pleats or fullness.)

Allure of silk final

The skirt is full, but hangs with no bulk.

Now I am left with trying to salvage something from this project. I like the fabric too much to just abandon it, and I have too much time and effort and money invested in it all, as well.   Right now, however, I am very sick of the whole thing, so it might be a while until I come back to it. But when I do, I am going to separate the bodice from the skirt first.

Now I wish i had left the bodice just as you see it here!

Now I wish I had left the bodice just as you see it here!

Then I think I may cut a new slim skirt (no pleats, no gathers, just a nice, slim, matronly skirt!) to attach to the bodice, and perhaps make a self-belt with a tailored bow for the closure.

How does that sound?

 

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Filed under couture construction, Linen, Uncategorized

An Evening Jacket for the Ages

“Very up and coming” for the Fall of 1962, according to Vogue Pattern Magazine, was “the striking medium between a straight line and a bold curve – the gentle convex ‘barrel’ shaping of this coat:”

An Evening Jacket for the Ages - picture

It is from this time period – perhaps a year or two later – that this Designer Pattern comes:

Oh the things we can learn, no 10

I don’t know many of us who want to look like they are in a barrel, so it was my intention to take the best parts of the design of the evening jacket and then adapt it to a more current look, or at least to one that did not scream 1963/64

The details I loved about it were: 1) the shaped, two-part collar, which doesn’t really look like a collar, rather as an extension of the body of the jacket, but with more definition to it:

Evening jacket for the Ages

2) the dipped back hem of the jacket:

Evening Jacket for the Ages

I purchased the yellow silk taffeta from Britex Fabrics, while the dress fabric, also silk, is from Mendel Goldberg.

Evening Jacket for the Ages

3) the below-elbow length, kimono sleeves with their clever built-in gusset, and 4) the prominent, offset buttons:

Evening Jacket for the Ages

The top buttonhole is a slot-seam one, while the other two are bound buttonholes.

Less attractive to me was the fullness of the body of the jacket.

My muslin (toile) showed me that I needed to eliminate quite a bit of that fullness from the pattern pieces. I took 2 inches right out of the back of the jacket, making for much less to be gathered into the collar:

Even with two inches removed from the center back seam, there is still enough to gather nicely into the collar.

Even with two inches removed from the center back seam, there is still enough to gather nicely into the collar.

I also took a large wedge out of the each side of the back:

The dark blue line on the left is my re-drawn seam line. the original seam line is marked in red.

The dark blue line on the left is my re-drawn seam line. The original seam line is marked in red.

Then to add a little more shaping, I re-drew the side seams in the side underarm sections:

Again, the blue line on the left is my re-drawn seam line.

Again, the blue line on the left is my re-drawn seam line.

Because the buttons are such a prominent feature of the jacket, I knew I had to find the right ones. The pattern called for them to be 1¼” in diameter. That is a big button! I also knew they had to be a bit fancy or elegant, and I envisioned mother-of-pearl as the ideal composition. It took a while, but I found these buttons on eBay, and they looked just about perfect to me: right size, beautifully carved mother-of- pearl with a swirl design which I thought would add just the right contrast to the silk taffeta of the jacket. As it turned out, they were also the right price (always a welcome surprise!), and more beautiful when they arrived than I had anticipated:

Evening Jacket for the Ages

These buttons have a substantial heft to them, making them well suited for their application on this jacket.

After getting the body of the jacket together, I tried it on to look at the length of it. Fortunately I had cut my pattern with about an extra half-inch in the length, and I used it, plus another ¼ of an inch, as it just looked better a little longer.

Another plus to lengthening the jacket is that the sleeve length lined up more attractively, something I didn't realize until I saw these photos!

Another plus to lengthening the jacket is that the sleeve length lined up more attractively, something I didn’t realize until I saw these photos.

I did my usual flat applied piping along the edge of the lining:

Here is the piping sewn in place.

Here is the piping sewn in place.

The green piping picks up the green in the dress. I opted for an off-white lining, which is a little boring but that's okay!

The green piping picks up the green in the dress. I opted for an off-white lining, which is a little boring but that’s okay.

And I added the label I had:

Evening Jacket for the Ages

Evening Jacket for the Ages

Evening Jacket for the Ages

A few wrinkles left over from the jacket’s first wearing!

Evening Jacket for the Ages

Evening Jacket for the Agea

Evening Jacket for the Ages

I have to say, I really love this evening jacket. I have decided it is going to have another life – with another dress, this one constructed with the double, slanted flounce on it (see pattern above).  It would look fairly fabulous with a black and goldenrod printed silk – or navy, white and goldenrod printed silk…   I’ll be on the search.

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Filed under bound buttonholes, Buttons - choosing the right ones, couture construction, kimono sleeves, Mid-Century style, piping, sewing in silk, Silk taffeta, Slot-seam buttonholes, Uncategorized, vintage buttons, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Those Sneaky Pattern Instructions!

Is anyone else out there in Sewing Land regularly deceived by the conciseness and orderliness of pattern instructions? They look so innocent all neatly delineated on those folded sheets that fit into pattern envelopes. But lying beneath the surface are hours and hours of precise pinning, basting, stitching, and, at times, head-scratching and seam ripping!

The construction of an entire coat or jacket can fit on one side of one sheet of instructions! That which is illustrated and described on this sheet of paper, measuring approximately 19” x 15,” can take hours, days, and even weeks to plow through!

Those sneaky pattern instrucitions

As one who likes step-by-step, clearly delineated and enumerated guidelines, I relish looking at pattern instructions and innocently thinking about how straightforward and “simple” this is all going to be. And I am regularly fooled. A good example of this is my current project, a silk jacket to pair with my recently completed dress.

These small sketches included on the instruction sheets of many vintage Vogue patterns are so helpful in the visual information they provide.

These small sketches included on the instruction sheets of many vintage Vogue patterns are so helpful in the visual information they provide.

I got a good preview of the construction idiosyncrasies when I made my muslin (toile). The pattern piece for the kimono “sleeve back” struck me as unusual.

Here is that sleeve piece in the fashion fabric, with silk organza underlining basted to it.

Here is that sleeve piece in the fashion fabric, with silk organza underlining basted to it.

After reading the instructions, it still did not make sense, until I actually put the sleeve together. That little pointed end works as an underarm gusset, which is quite clever, and as it turns out, I believe it will be very flattering. Putting this part of the jacket together is delineated in steps 6 – 12:

Step 9 deals with this particular pattern piece.

Step 9 deals with this particular pattern piece.

Here is one-half of the jacket as I have it completed at this writing:

Those sneaky pattern instrucitions

It took at least 4 – 5 hours to complete just this part of the jacket, and I still have the other half to do! Granted, I regularly add effort and time onto this type of construction as I catch-stitch all the seams to the silk organza underlining. For this jacket, with all its curved seams, slashed darts, and tight corners, I am not sure it would turn out successfully without the control that catch-stitching those raw seams provides. So – it is time well spent.

But still – how can those “easy to follow guides” be so sneaky?

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Filed under couture construction, Dressmaker coats, kimono sleeves, Mid-Century style, Silk taffeta