Tag Archives: Susan Khalje Couture

Making a Parisian Jacket, Part 1

Another title for this post could be “Sewing with Professional Instruction – the Parisian Jacket.”  One of the advantages of having a subscription to Susan Khalje’s online Couture Sewing Club is exclusive access to videos which take the viewer, step-by-step, through the process of making one of these jackets.  

When this pattern was released a few months ago, I was immediately interested in making one.  There are several details in this jacket which I find especially appealing.  The first – and salient one – is the cut-on sleeve, also called an all-in-one sleeve. This is a design feature which was prevalent in the 1950s, but no longer often seen.   Usually sewn with an underarm gusset to enhance moveability, this sleeve forms its own crease lines below the shoulder at the front and back.  You can see that detail in the diagram on the pattern envelope above.  Take a look at this magazine cover from November 1956.  You can see both the crease line and the coat’s gusset.  

I suspect at least one of the reasons this particular type of sleeve fell out of favor is that the pattern pieces do take a sizeable amount of fabric to accommodate the width of the attached sleeve.  I also suspect sewing in those gussets demanded a certain expertise to be finished successfully, adding time to both home sewing and to ready-to-wear.  But I love the look of the cut-on sleeve.  It really is a classic style, and one which I am happy to have the opportunity to incorporate into my sewing.  It is worth mentioning here that this sleeve is similar to a “kimono” sleeve, but it is not cut as full under the arm.  (This seems like a good time to show the pattern piece for the jacket’s gusset.  Rather than diamond shaped, it is a triangle with a curved top edge.  Pretty clever!)

Another design feature of the jacket which appeals to me is the prominence of the buttons.  The jacket is shown with just two buttons, although certainly a third one could be added.  However, with two larger ones, it is really possible to use showcase buttons, if desired.  And if you follow my blog, you already know that vintage buttons – and unique new ones – are one of my weaknesses.  I am always looking for opportunities to use beautiful buttons.

A third construction detail I find appealing is the center back seam.  This allows the opportunity for lovely shaping and more precise fitting than if the back piece were cut without a seam. 

With all this in mind, I was anxious to get started on this project.  As I already had several lovely woolens waiting for their turn, I decided to use one of them rather than buy new fabric.  And my attention kept coming back to this vintage piece of Linton wool which I purchased from an Etsy shop about a year ago.  

It is entirely coincidental that the jacket Susan is making in her instructional videos is also pink!  Of course, I love pink.  I would describe this particular hue of pink as a “Winter pink.”  It has a bit of a dusty appearance to it, making it ideal for a November project.  The best thing is that I have enough fabric to make a matching sheath dress to go with my jacket.  (Although I feel sure that particular project will have to wait until after the new year.) 

Well, back to Susan’s video instruction…  She is very thorough in what she includes, so much so, that those of us who have taken classes from her already, are able to whiz through the early lessons for the most part.  However, one suggestion she made was to use pins rather than machine sewing to fit the muslin together.  Here is what I mean by that:

The seam lines are pinned together horizontally throughout, and then the muslin is ready to try on. No stabbing occurred during the process!

I found this method far superior to putting the muslin together by machine.  It was much easier to make changes and alterations, and I felt like the “seams” laid flatter, enabling me to ascertain the fit, on me, more precisely.  

Once I had my muslin perfected (as much as possible), I transferred all the markings onto white silk organza, to be used as my underlining and also as the pattern pieces from which to cut the fashion fabric.  I had to move to my dining room table to accommodate the expanse of the wool. 

It is easy to see here the amount of fabric needed for the cut-on sleeves. (I use my candlesticks as weights to keep the fabric from slipping.)

Once I started assembling some of the jacket pieces, I realized I had not perfectly matched the facings.  Although the wool is solid pink, there is that very distinct weave in it which needs to be matched.  Fortunately, because I had left such wide seam allowances, I did not need to cut a new facing.  I just needed to readjust the organza on the one facing which was a bit askew.  

You can see the organza adjusted on the righthand facing, before I had re-basted it.

I still have a long way to go on this jacket, but here are two “work-in-progress” shots, with the seams sewn but nothing trimmed, ironed or catch-stitched yet.  It is fun to see it taking shape, however.  

I have a pink button pinned onto the front to see how it looks, but I have already decided against it.

Two more things need to take shape very soon – namely Holiday dresses for my granddaughters.  Somehow, I think they will be finished before my jacket!  

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Filed under Buttons - choosing the right ones, Sleeves, woolens

Odds and Ends and One Thing You Mustn’t Miss

Sewing has been, well, challenging this summer.  In reality, I think I have been able to accomplish just about all I could have hoped for – so far, at least – but it certainly doesn’t seem like very much.

When I packed fabric to bring along to our new vacation home in Wyoming, I tried to think ahead and determine exactly what I would need.  For instance, I brought two decorator fabrics which I had picked out for two of our “new” bedrooms, with plans for making decorative pillows and at least one bed skirt.  I also brought two fabrics with which to make dresses for our two little granddaughters who were arriving, along with the rest of our immediate family, in late July.  I also brought some vintage Moygashel linen, many pieces of shirting and dress cottons, skirt fabric, and a piece of Viyella cotton/wool blend.  What was I thinking?!!  Certainly no one could accuse me of being under-ambitious!

I totally misjudged how much of my time would be taken up with organizing and setting up a new household.  So – what have I been able to sew?  A number of decorative pillows, for one thing. I find them – and all that self-bias tape I had to construct – utterly boring to make, but satisfying once they are completed.    The bed skirts have been moved to the “still to do” list.

was able to make dresses for my granddaughters.  My original intent was to make each dress out of a different fabric, but when I stretched out my ladybug embroidered, striped fabric from Emma One Sock, I realized I had more than I needed for one dress.  With one minor compromise, I knew I could get two dresses from my existing yardage.  So I changed plans and made matching dresses.

I made white piping for the pockets and collars out of kitchen string and white batiste.  The ladybug embroidered fabric is really so cute!

The compromise I had to make involved the sashes, as I did not have enough fabric to cut sashes for two dresses. Fortunately I had enough of the coordinating red fabric to make the sashes. Now I’m glad it worked out that way, as I think it makes the dresses cuter.

I had pre-purchased red decorative buttons, thinking I would need them for just one dress. Normally I would put three in a row centered beneath the collar, but with four buttons, and two dresses … Well, you do the math!  Two on each dress it is!

Having spent many summer days and nights in Wyoming before this year, I knew  from experience how chilly the mornings – and nights – can be throughout the summer.  (The days are warm and glorious, however.)  Warm cozy slippers and a winter-weight bathrobe are necessities. And that is why I brought along the afore-mentioned Viyella fabric.  Although I packed a winter-weight robe which I made a few years ago, I wanted to make a new robe which I can leave here, therefore eliminating one bulky item from future suitcases.

How lovely to have the opportunity to use this vintage Vogue pattern once again.

This robe takes a lot of fabric, and it was a tight squeeze fitting all the pattern pieces on it and matching the plaid as well.  I had to make the sash out of two pieces of fabric, seaming it in the back. Additionally, I had enough fabric for only one pocket (I prefer two.) But, I am happy with the outcome, and very pleased to have used one more piece of fabric from my sizeable collection!

Viyella is the perfect fabric for a lightweight, but warm bathrobe. It is machine washable, and gets softer with age.

While the bathrobe, and the little dresses, were enjoyable to make, neither were challenging in the “couture” sense.  So I did my  “couture” dreaming vicariously through the Susan Khalje  Couture Sewing Club, where inspiration abounds in many forms.  Earlier in the month, Susan was interviewed for the “Love to Sew” podcast.  Treat yourself and spend a lovely hour-plus listening to it, if you haven’t already done so.  The interview, Episode 106, dated August 12th, can be found here:

www.lovetosewpodcast.com.

Among Susan’s new pattern offerings is this jacket:

When I arrive back home in Pennsylvania, I will be searching through my fabric closet for the perfect pairing for this pattern.  I am just itching to challenge myself with such a project.  No more pillows, at least for now!

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Filed under Bathrobes, Buttons - choosing the right ones, Fashion commentary, Sewing for children, Uncategorized, Vintage fabric, vintage Vogue patterns from the 1950s

Update on The Pink Coat

When is a sewing project really, really, finally finished?  That was the question I was asking myself after I thought I had finished my Pink Coat, but then decided I had more to do.  Or, more precisely, I had things to undo and then redo.

After seeing the photos I posted on this blog, my eye went right to that crinkled hem.

I had not noticed how crinkled the hem appeared until I saw these photos.

I had purposely steamed the hem lightly, not wanting to make it a knife edge, but after seeing these crinkles, I went back and steamed it again.  I still had crinkles. My expectation at this point was that I would probably have to take the hem out and redo it.  This suspicion was confirmed when I sought advice from Susan Khalje.  She oh-so-gently agreed with me!  First she suggested  removing the silk organza from the bottom of the coat up to the fold line of the hem, and lightly catch-stitching it along the fold, which would not show.  I did this after taking out all the stitching along the lining, the facings, and the seam allowances, in order to undo the hem.

The pins mark the fold line of the hem; as you can see, the silk organza underlining extends to the bottom edge of the coat.

I then pinned about a half inch above the hem line, so I was able to remove the silk organza right at the hem fold.  I then used a catch-stitch to secure the silk organza right along the fold line.

Doing this helped, but the hem was still not as soft as I thought it should be. Susan’s next suggestion was to add a bias strip of flannel to the interior of the hem, which I suspected was what I had needed to do from the start.  I went to my trusty Vogue Sewing Book from 1970 to get guidance and found this:

From: The Vogue Sewing Book, edited by Patricia Perry, Vogue Patterns, New York, New York, c1970, page 324.

I used all cotton white flannel, cut 2½ inches wide, the width of the hem.  I positioned it so that ⅝“ was below the fold line, with the remaining above.  I used a catch-stitch on the wider section of flannel, securing it to the silk organza.  Then I did a loose running stitch right on the fold line. After every step, I gently steamed the area.

Obviously I had to take out the catch-stitching along the lower portion of the center back seam, and then I was able to slip the flannel under the seam allowance.

Then I was ready to put the hem back in, and reattach the facings and lining.

None of this was difficult, but it was time-consuming. However, I am much happier with the appearance of the hem now.  It is soft and hangs with more grace.

A much smoother, softer hem!

Susan also suggested that I make an adjustment to the front edges of the collar.  Although I had under-stitiched it, I apparently did not coax the front-edge seams back away from the edge enough, allowing them to show more than they should.  So I took out a majority of the understitching and re–did it, too.

The collar lays flatter now, and I am really happy with it.

Needless to say, I was a bit discouraged that I was facing so much work to correct these problem areas, but I knew it needed to be done.  I considered waiting until next Fall to tackle these fixes, but I decided I would feel less like doing it then than now, so I dug in.  It became a good learning experience, and a good reminder that different fabrics behave in different ways. It is up to the dressmaker to seek out the best solution for a problem area and then do it, or in this case, re-do it.  Hooray, the Pink Coat is finally – really – finished.

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Filed under Coats, couture construction, Dressmaker coats, Hem facings, Hems, Uncategorized, underlinings, vintage Vogue patterns from the 1960s

The Pink Coat Odyssey, Part 2

Sometimes it is the smallest little detail which can make or break a sewing project.  In the case of my pink coat, it was that single loop at the top front edge.

Normally loops are very straightforward, but with this pattern, that was not the case. When I looked ahead at the pattern instructions, this is what I found:

Because the front facing is not a separate piece, but rather folded back from the front edge, there was no seam within which to secure that loop.  The instructions directed me to “slash” the yoke front facing through the center of the “squares,” shown here in basting:

The basted “squares” indicating where the “slashes” should be are in white just to the right of the center fold line in the photo.

 

And this was supposed to be done after the collar was already on and the facing properly secured in place.  Well, I knew I wasn’t going to be slashing anything without getting a second opinion, and furthermore, I knew I would need to do the installation of the loop before the collar was on and the facing turned.  I did not know how I could ever secure the loop without access to the inside of the facing.

I went online to Susan Khalje’s Couture Sewing Club which is by subscription on Facebook.  Once I posed the question about the best way to accomplish this task, Mary Funt of the blog Cloning Couture suggested I use an awl to work holes where those squares were, separating the wool threads and enlarging the openings to the size I needed.  Then I could whip the edges with silk buttonhole twist to secure them.  Mary also suggested I use a medical clamp (hemostat, which I highly recommend as a vital sewing tool! I have had mine for years and use it frequently), to help flatten the raw ends of the loop.

This shows the awl, the hemostat, and my spool of vintage pink silk buttonhole twist, along with a sample “insertion” of the loop.

First I practiced! Here are my practice holes:

Practice holes helped me determine how large the hole needed to be to accommodate the loop.

The hemostat was also helpful in pulling the end of the loop through the holes I made.  Susan Khalje further suggested that the loop would need to be very securely fastened inside, and she suggested I under-stitch that part of the facing, catching the loop in the stitching.

The completed holes, bound with silk twist.

The loop inserted into the facing.

This shows the secured ends of the loop inside the facing.

The under-stitched facing, in which I further secured the loop.

Oh my goodness! Thank you Mary Funt and Susan Khalje!  Using this method produced exactly the results I wanted.

The finished loop.

After the mystery of the loop was solved successfully, it was on to the collar, and ultimately on to the final steps before attaching the lining.  The completion of this coat is in sight, after all this time. I can’t wait!

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Filed under Christian Dior, Coats, couture construction, Dressmaker coats, Loops for buttons, Uncategorized, vintage Vogue Designer patterns, vintage Vogue patterns from the 1960s

Classic French Jacket – Number 5

Never did I imagine that when I last wrote about the progress on this jacket, it would be an entire month before I could declare it “finished.”  But such is a fact of life with the construction of one of these jackets.  They always seem to take much longer to complete than ever imagined.  (I should remind myself that during that month, I also made a wool skirt and I was away twice on short trips, but still…)

As this is the fifth one I have made, I can safely say that I have developed my own set of tips for working my way through the lengthy construction process.  Of course, it all has to start with a pattern which is a perfect fit.  Fortunately my muslin pattern is from a Jackets Class I had with Susan Khalje over five years ago. With this pattern, I can go right to my boucle and get started.

While it is often recommended to cut out just the body of the jacket, minus the sleeves (the variegated weave of which is then checked with the constructed jacket body before cutting them out), I have developed enough confidence that I cut out my sleeves along with the body of the jacket.  This allows me to make the sleeves first.  For me there are two advantages to doing this: 1) there is a psychological benefit in knowing that the sleeves are lined, linings are fell-stitched in place, trim is on, and the sleeves are as finished as they can be before setting them into the body of the jacket, and 2) I like to trim the sleeves first, as a way of testing the trim I have chosen.  If I do not like it, I only have trim on one, or two, sleeves which must be removed.  It is also much easier to sew trim on a sleeve which is still separate from the jacket.

Another tip I have learned is to use my walking foot not only for the channel quilting of the lining and fashion fabric (a must), but also for all the seams.  I pin profusely, but the walking foot helps to keep the fabric from slipping, crucial when matching all those lines and plaids prevalent in a typical boucle weave.

I chose this navy and white silk charmeuse from Britex Fabrics for my lining fabric. The boucle is from Mendel Goldberg Fabrics.

I really went round and round with the trim for this jacket.  I knew I wanted to use self-fringe, but I also knew it would need some definition added to it.  After trying several colors of velvet and Petersham ribbon in the trough of the fringe, I realized I would have to go to a bright orange as an underlay for the navy twisted braid I wanted to place on top.

The trim was applied in three steps. Here the fringe is attached as the first step. Not too exciting all by itself.

The next step was to apply this bright orange velvet ribbon, also from Britex. It was really a leap of faith to use this very demonstrative color. It looks fairly garish like this! (I sewed each edge of this ribbon separately, so twice around for this part of the trim.)

But once the navy twisted braid is on, step number three, that bright orange underlay is fine.

One thing I have done with all my jackets – and this is a tip from Susan Khalje – is to add about 1/2 inch in length to the center back of the jacket, curving it up gently to the side seams. I love the effect that this little bit of extra curve gives to the back of the jacket.

I always wax and iron the thread which I use for applying the trim.  It adds strength, but also is easier with which to work.  For this jacket, I also carefully ironed each “level” of trim as I applied it.

A detail of the right pocket. Of course, and this is preaching to the choir, the pockets absolutely cannot be cut out until the body of the jacket is completed. Their placement is a visual determination which really depends upon the fit and appearance of the finished jacket.

I found these vintage buttons in one of my button boxes.  I knew I wanted to use dark blue buttons, and I kind of liked the appearance of these.

The only hesitation I had is that they are plastic!  It seems a bit of a sacrilege to put plastic buttons on one of these jackets, but I actually think they look okay.  If I find other navy blue buttons in my future travels, I might switch them at some point.  But right now, they work.

Because I had only 8 buttons, I was limited to two pockets, and three buttons on each sleeve. I probably would not have put four pockets on this jacket anyway, so that was not really a compromise.

I have enough of the boucle left over to make a simple straight skirt, I think.  However, that will not happen this year!  I am so ready to move on to my next project.  In fact, it may be well over a year before I plunge into another one of these jackets.  I have but one other boucle lurking about in my fabric closet right now, and I am content to let it stay there for a while.

It was much too cold for outdoor pictures, so these will have to do!

I like the jacket worn closed …

… or open.

The curve of the back hem is apparent here.

Now it’s time to tiptoe ever so quietly into the lighter shades and fabrics of early Spring, despite the snow that is currently falling. I am so happy to have this jacket in the “finished” column.

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Filed under Boucle for French style jackets, Buttons - choosing the right ones, Chanel-type jackets, classic French jacket, couture construction, Linings, Uncategorized, vintage buttons

A Navy and Red Plaid Skirt

The almost-finished Classic French Jacket hanging on my dress form must be getting a bit impatient with me at this point.  I switched gears and decided to give the Jacket (and me) a rest while I took on a “small” project.  I had purchased this merino wool from Promenade Fabrics last Fall.  It was a “remnant,” but one I knew would be ample enough for me to make a straight skirt.

What better month to have a red and navy plaid wool skirt than February, with its heart-colored hues and chilly temperatures?  And after the nubbiness of the French jacket boucle, I was ready for some soft, finely woven merino wool.  What is it about merino wool that makes it so lovely?  The description in Fairchild’s Dictionary reads: “High-quality wool yarn made from fleece of merino sheep, which has short, fine, strong, resilient fibers, and takes dyes well.”  ((Page 326, The Fairchild Dictionary of Fashion, by Charlotte Mankey Calasibetta and Phyllis Tortora, Third Edition,  New York, New York, 2010.)  Made in England by Butterworth and Roberts, this fabric has all those attributes and more.

Plaids are always interesting to sew.  Obviously the plaid has to be matched, but as important is determining the placement of the plaid, both on your body and on the pattern.   Most plaids have a dominant color or block, and this is a good starting point.  With this particular piece of wool, I wanted to emphasize the navy rather than the red (even though the red is dominant).  I first thought the best way to do this was to place a navy block/stripe down the front middle of the skirt.  I quickly discovered this actually emphasized the red instead of the navy.  When I placed a red block/stripe in the center, the red receded, and I had the look I wanted.

I also wanted the reveal of the plaid on the front center of the skirt to match the reveal of the back center seam.  This enabled navy to predominate the side seams of the skirt, framing the front and back.  Perfect!

This shows the back vent folded back, but you can see the back seam is sewn so that the front center block and the back center block match.

One of the side seams.

I used Susan Khalje’s straight skirt pattern which I had already used last Fall, and which needed no alterations in my existing muslin. (YAY!)  While laying out the muslin pattern, I realized if I was careful, I would be able to save enough fabric to make a matching scarf.  That would also mean that practically none of this beautiful wool would be unused.

The scarf is 60″ long and 9″ wide. I fringed the short edges, to make a nice finish.

Here are a few tips I used for sewing this plaid skirt:

1) In sewing the seams together, in order to match the lines of the plaid exactly, I used my walking foot.  This helped to keep everything perfectly lined up and eliminated slippage of the fabric as I sewed.  (Forked pins are useful in this application, too, but I found the walking foot to be just about foolproof.)

2) Even though the front center of the skirt was easily discernable because of the placement of the plaid, I still marked that line with a running stitch.  I find that helps to eliminate mistakes!  That was the final bit of basting thread which I removed from the skirt when it was finished.

Here is that front center line, marked with a running stitch. You can also see the Petersham ribbon I used to stabilize the waistband.

3)  I angled the back vent out about 1/4 inch on each side to help it hang straight while being worn.

4)  I faced the waistband with the lining silk, which makes it comfortable to wear.

With much of Winter still to come, I suspect I will have numerous occasions to wear this wool skirt.  And now I can get back to that French Jacket with at least one thing to show for the year so far!

 

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Filed under couture construction, Straight skirts, Uncategorized, woolens

Another Rosy Outlook for the New Year

There is a fine art to planning ahead, and nowhere is this more obvious than in planning a new sewing year.  No matter how carefully I think it through, I still end up with some fabrics that never make it out of storage and some newly-purchased fabrics that quickly get moved to the head of the queue.  But no matter!  I still find it useful to make a list of intended projects, while at the same time reminding myself that being flexible and realistic about my intentions is what is really necessary.  (There are, after all, those unexpected special events which can’t be planned for, but which take top priority when the “save the date” card arrives in the mail.)

When I look back at what I accomplished in 2018, I happily find that about half my projects used fabrics which I had purchased at least a few years prior.  Some had actually been in my collection for more than a few years! Last year’s list was replete with rosy hues and rosy prints, and this year is not too different, especially considering three of my most favorite fabrics from last year are being forwarded onto my plans for 2019. Will this be the year that I finally get this vintage piece of Moygashel linen made into a dress?  I’ve only been trying to do this for at least three years now!

A very early 1950s’ linen, petite black flower silhouettes on a pale ecru background.

But for starters, and as with last year, I am first finishing up a project which I began, but did not have time to finish before the holidays took over my sewing room – and my life!

I am bound and determined to finish the Classic French Jacket I started in late 2018. While I am currently working on the body of the jacket, having completed its quilting, I am still undecided about trim.  I am auditioning different options, but have yet to find the perfect one.

However, I am anxious to get on with it, as the rest of my list includes:

1)  a wool coat

2)  3 cotton shirtwaist blouses

3)  1 boat-neck blouse (silk, maybe, or still undecided)

I love this French blouse-weight silk, so it is a heavy favorite for a boat-neck blouse to be made along with fellow dressmakers enrolled in Susan Khalje’s Couture Sewing Club.

4)  1 linen skirt

5)  2 wool skirts

6)  1 wool, two-piece dress

7)  1 cotton dress

I found this amazing cotton at Mulberry Silks in North Carolina when I was looking for fabric for the Christmas dresses for my granddaughters.

8)  1 linen dress – referenced above

9)  1 silk dress

10) birthday dresses for my two little granddaughters

11) play dresses for granddaughters

12) holiday/Christmas sewing for those same two little girls

and finally

13) some necessary home decorator sewing, which is not my favorite thing to do, until I see it finished and can enjoy living with it!

The wool coat will be my first major project in 2019 once the French jacket is finished.  I can’t wait to get started on this vintage Lesur wool from Paris, lined in a pink, gray and white silk purchased from Mendel Goldberg a few years ago.

I will probably make a simple wool skirt before starting the coat, as I know it will be a relatively quick project nestled between the jacket and the coat.  I found this wool when Promenade Fabrics was closing their Etsy shop a few months ago.  How I love a red and navy tartan.  I could not resist it, and I am glad I didn’t.

The hand of this wool is so lovely. I think it will make a beautiful skirt. And I have just the shoes to wear with it!

Life is, of course, filled with all kinds of non-sewing duties, and I have plenty on that list, too.  It will be a tricky balancing act to make significant progress in both realms, but my guess is that sewing wins out over cleaning out the attic.

Welcome, 2019, with all your grand opportunities!

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Filed under classic French jacket, Coats, Linen, Moygashel linen, Uncategorized, Vintage fabric, woolens