Chanel sleeve – Cloning Couture

I’ve been writing this blog since 2014 and am thrilled to learn the tutorials presented are helpful to other sewists. Joyce posted photos of her completed jacket on Instagram and tagged me as a resource for her construction methods. I invited her to write a post, highlighting the information she found especially valuable.

Thank you Joyce, for taking the time to write this and allowing me to share your work.

Hello! My name is Joyce. After my recent completion of a French jacket, Mary asked me to write about my experience in a post for her blog. Before we get started, here’s a bit about me: I live in southern Manitoba, Canada with my husband, who is also my best friend! We have raised two children, who have blessed us with five grandchildren. I am a retired Interior Design Consultant & Kitchen Designer. My talented mother taught me to sew, crochet, knit, and hand embroider. From the time I was five years old, she allowed me to use her sewing machine. I made a lot of clothes for my dolls until the age of ten when I began sewing my own clothes. My favourite things to sew are coats, jackets and dresses. My favourite fabrics are made of natural fibers.

About seven years ago, I began dreaming of making a French jacket. While reading blogs of sewists who documented their experiences on the subject, I became aware of the hours involved, as well as the couture techniques they had learned along the way. It was when I discovered Mary’s blog, cloningcouture.com, that I soon realized what a treasure store of information it is. Her precision and her impeccable attention to detail reveal incredible skill. I was amazed that she was willing to share her extensive knowledge and experience with her readers at no cost to them. I read each post in detail, bookmarking those I wanted to refer to later.
By early 2019, I had collected all my supplies for this project, and was ready to begin. My fabric is appropriately called “Giverny Tweed”. The lining is silk charmeuse.

Of course, the first step was to make a well-fitting toile. I cut the body of the jacket according to Vogue 8804, but in reading online reviews, I heard repeatedly that the sleeve in this pattern was wide. Since I have thin arms, I knew I would have to draft a narrower sleeve. This is where Mary’s post https://cloningcouture.com/2014/08/04/chanel-and-the-sleeve/came to the rescue. I know she has since updated it, but her original method worked for me! I also changed my sleeves to full-length instead of the three-quarter length from the pattern.

As many of you already know, after fitting the toile, it is cut apart and used as the pattern to cut the pieces in the tweed and lining fabrics, adding wide seam and hem allowances. In hindsight, I should have fused Pro-Sheer Elegance Couture interfacing to the tweed at this point, since I was working with a fabric that frays very easily. Mary gives this advice in the following post: https://cloningcouture.com/2018/02/15/finishing-details-the-french-jacket/Instead, I used a stepped zigzag to secure the fibers along the edges.

Detail of the front, ready for machine quilting

Over the next couple of weeks, I interfaced the fronts with silk organza, quilted the silk charmeuse lining to the front and back pieces, before joining them along the princess and side seams. I really enjoyed slipstitching the lining seams together by hand.

Now that the body of the jacket was taking shape, it was time to turn my attention to the trim. I was unable to find a ready-made trim that complemented my fabric, but then I remembered Mary’s post on making your own. My first attempt was a crocheted chain using fibers from the tweed, but it was too narrow and did not contrast enough with the fabric. I was intrigued by Mary’s detailed instructions on Kumihimo braiding, so I decided to try my hand at it. See her post here: https://cloningcouture.com/2017/08/30/create-custom-trim-for-your-french-jacket/After locating a Kumihimo plate at my local fabric store and watching some YouTube videos on 10-strand braiding, I was ready to begin. After a couple of false starts, while deciding which fibers to use, I settled on four blue strands and two ivory from my fabric, in combination with four strands of ivory Phildar yarn left over from a sweater I knitted for my husband many years ago.

This was the set-up I used. It is certainly not the traditional way, but it worked for me. Every few inches I had to stop and release more material from my “bobbins”. It took me about three days to work out my setup and make three and a half yards of trim.

You can see it being “auditioned” here with the buttons I planned to use. Btw, although these were inexpensive buttons, they remind me of Coco Chanel’s favorite camellia rose.

After making the trim, I did some work on the sleeves, then packed the project away before going on vacation in March 2019. As it turned out, this is where the project stalled out until a couple of weeks ago.

I had been putting off making the handworked buttonholes, but one day I gathered up courage and got to work. First, I made a sample buttonhole to work out the method. Then, in a pleasant afternoon’s sewing, I made five buttonholes on the jacket front. You can see Mary’s post on buttonholes here: https://cloningcouture.com/2020/01/07/buttonholes-and-more-trim/

After crossing this hurdle, I knew I was on the home stretch. The next two days were spent finishing the sleeves.

Completed sleeves with trim and handworked buttonholes

After this, I applied the trim to front and neck edges with a running stitch and the occasional backstitch. It was actually easier to do than I thought it would be. Then I fellstitched the lining to the jacket edges. This was my favourite step!

In summary, I learned so much about couture sewing methods while working on this project. I easily spent a hundred hours on it, but the result is something I will wear with much satisfaction for years to come. It has also given me a great appreciation for the work of couturiers. They are indeed a skilled lot!

Mary, many thanks for all your informative, detailed and inspiring posts on couture sewing! Thanks also for letting me share my experience with your readers.
You can find me on Instagram at amakersshowandtell, where I post photos of my projects. They include sewing, watercolor painting, home decorating, gardening, knitting, and occasionally, upholstery.
Best regards, Joyce

Cloning Designer Garments, couture sewing, Drafting Patterns, French Jackets, Uncategorized

Drafting the Three Piece Sleeve

April 29, 2020 maryfunt

I’ve written about this in the past but have revised the method slightly. I’ve seen converting the two piece sleeve to a three piece by simply splitting the upper sleeve at the shoulder point. This method results in a wide under sleeve. The classic Chanel design has a much narrower under sleeve section. I’ve found the easiest way is to convert the two piece pattern to a one piece sleeve; then split the sleeve.

First cut off the seam allowances from your pattern. Pattern drafting is always done with no seam allowances. You will add seam allowances after all drafting is completed. Extend the grain lines the full length of the pattern. If the elbow point isn’t indicated, measure your arm and determine your elbow point. Line up the upper and under sleeve patterns along the underarm line. Make sure the grain lines are parallel to each other. Trace the top of the sleeve from the underarm point on the under sleeve around to the front of the upper sleeve.

Shift the pattern to complete the top of the sleeve on the right side. Draw a horizontal line connecting the underarm points. Draw a horizontal line to indicate the elbow position; also draw the finished hem of the upper sleeve.

Determine the midpoint of the underarm line (line which will divide the sleeve in half lengthwise). Extend this point to the bottom of the sleeve.

Determine the finished width of the sleeve hem. Divide by 2. Mark 1/2 finished hem width on either side of center. Connect the underarm points to the points on the hem for side sleeve shaping.

Shift the midpoint of the sleeve about 1/2 inch towards the right (front of sleeve). Extend this point up to meet the top of the sleeve. This moves the shoulder point, also known as the pitch point, a little further to the front and places the finished sleeve more in line with the natural position of the arm.

Fold the left (back of sleeve) underarm point to meet the just marked offset center point. Trace the armseye seam from the side seam to fold.

When you unfold the paper, it should look like this:

Repeat for the right (front side). Fold the right underarm point to meet in the center and trace. You should have the underarm curve duplicated in the center of the sleeve.

Draw a horizontal line indicating the elbow line. If the elbow isn’t indicated on the original pattern, measure your arm either from the underarm or shoulder. Cut the pattern from the back side seam to sleeve center. Cut the pattern from the hem along the center to just before the elbow line, leaving a small hinge point of paper. Rotate the paper to open up a dart along the elbow line. The dart should be about 3/4 inch wide. Tape extra paper underneath the opened dart. Tape the overlapping pattern at the hem. The width of the sleeve hem will be shorter due to the overlap. Measure the amount of overlap and add that amount to the right (front) sleeve at the hem. Extend up to meet the elbow line.

Draw an elbow dart 3 inches long and 3/4 inch wide (the amount the paper was opened). There will be extra fabric, indicated in green. This is to provide ease over the elbow. The angle between the sleeve midline above the elbow and sleeve midline below the elbow will be about 175 degrees. A little more or less is fine.

The undersleeve on classic Chanel jackets is about 2.5 inches wide at the underarm tapering to 2 inches at the wrist. This is for smaller sizes; you may want to adjust for larger sizes/ fuller bicep. From the center line, measure towards the sleeve back 1 and 3/8 at underarm, 1 and 1/4 at elbow and 1 and 1/8 at wrist. For the front, measure from center towards sleeve front 1 and 1/8 at underarm, 1 and 1/8 at elbow and 7/8 at wrist. Connect the points to form the undersleeve. Shown in red.

Now remove the corresponding amounts from the side seams. Shown in blue. Trace the undersleeve onto pattern paper. I place the upper portion of the undersleeve on the bias. The lower portion won’t be on the true bias but it will be off grain. This will allow the undersleeve to stretch when worn for comfort. Chanel sleeves are intended to be slim fitting and the bias provides a little wearing ease. Trace the upper and lower sleeve sections. Your patterns should look like this:

Using the hem length from the original pattern adjust the bottom of the sleeve. The sleeve back which joins the undersleeve should be 1/2 to 3/4 inch longer than the corresponding seam along the undersleeve. The excess length in the back sleeve will be eased in the elbow area. The seam joining the sleeve back to sleeve front will be the same length on both back and front. The front sleeve seam which joins to the undersleeve should be 3/8 to 1/2 inch shorter than the undersleeve seam. The upper sleeve seam will be steamed and stretched before sewing to give the sleeve proper shape. The sleeve hem should be slightly longer in the back and angle upwards to the front. Add vent extensions for buttons if you want. The top of the sleeve cap can be curved to decrease the amount of fabric needing to be eased into the armseye.

French Jackets

Chanel Shoulder Pads

September 28, 2016March 13, 2017 maryfunt

Anyone who has constructed their version of the classic Chanel quilted jacket is aware that there is no provision in the design for shoulder padding. Unfortunately, many figure types are enhanced by the addition of even just a slight lift at the shoulder line. I came across this RTW Chanel quilted jacket WITH shoulder pads.

jacket1 jacket2

The lining is silk chiffon and is difficult to see in the photo. Each section of the jacket, including sleeves, is quilted in vertical lines about one and 1/4 inch apart. The lining seams are finished by hand: amazing to find this in RTW! There are also shoulder pads covered with the silk chiffon. Happily I was able to get inside this garment and copy the details.

jacket3

Here is the jacket wrong side out with the shoulder pad visible and the pattern I was able to reconstruct. The inner working of the shoulder pad were identical to a pattern I previously posted on 1/20/2016: The Chanel Shoulder.

Here is a copy of the shoulder pad itself:

I don’t have pdf conversion software, but if you right click anywhere on the pattern you will have an option to print. Print to fit on 8.5 by 11 paper and it should print to the correct scale.

I’ll run through the construction of the shoulder pad again so readers don’t need to toggle back and forth between posts.
pieces1 pieces2
On the right are the sections cut from cotton batting. Left photo shows the sections completed. Check the post from 1/20 if you need additional hints.

I’ve shown the inner layer (pattern piece 3) placed on the mannequin first, topped with the optional additional padding (pattern piece 4). Stitch these layers together.

Pattern pieces 1 and 2 (already stitched together) are layered on top and pinned for sewing. Next photo shows the completed shoulder pad.

Since the lining in this jacket has already been attached by quilting, the shoulder pad needs to be covered by matching lining. Here are the lining pieces: Shoulder Pad Cover

Sew the darts in both top and bottom cover pieces. Notice both sections are cut out bias grain. There is also NO SEAM ALLOWANCES on the outer edges. Allow about 3/4 inch or 2 cm. Pin the upper cover (the piece with two darts) on the top of the pad. Stitch just INSIDE the edge of the batting.

Place the bottom cover section on top of the top cover layer and stitch just OUTSIDE the batting. I find it easier to sew with the cotton batting layer on top and the silk fabric next to the sewing machine feed dogs. It controls the ease better.

Leave about 2 to 2.5 inches open along one side to turn. Trim the seam allowance to 1/8 inch. I increase to 1/4 inch around the opening the make sewing that closed easier.

cons14 cons15

Attach to the jacket with 1/4 inch French tacks so the shoulder pad will move slightly when worn. I usually use four tacks: one at each end of the shoulder seam and one at front and back where the sleeve joins the jacket body. These aren’t limited to Chanel jackets. Anytime you need a covered shoulder pad these are wonderful. I like that the sleeve head support is incorporated into the design. Also the pad is securely stitched to the lining so these should withstand the cleaning process. Enjoy!

French Jackets, Tailoring

Jacket Finished, Plus Two More

October 27, 2014March 11, 2017 maryfunt

The last step in finishing was to add pockets. I played around with different sizes and debated two versus four. A great way to visualize size and placement is to cut pockets from shop towels (they are heavier than paper towels) and play around until you get the right look.

I had four larger buttons and decided to add them at the center front. They are sewn at the right front edge and don’t actually fasten.
I find it easiest to get pockets exactly the same size and shape by pressing the pocket around a cardboard template. I interfaced the pocket with bias cut interfacing which is cut just a tad smaller than the finished pocket. The bias gives the pocket a softer shape. I cut a slightly smaller template for the lining.

Slip stitch the lining to the pocket, attach trim and slip stitch to the jacket. Don’t catch the lining when doing this.

I had a chance to get a closeup look at some geniune Chanel jackets at an upscale resale shop on Madison Ave. and noted some distinctive details. Trims are applied after construction and are made to be removed if necessary for cleaning. More about my findings in the next post.
I was sidetracked by an request from my daughter-in-law. She was invited to join the hunt staff of our local equestrian team. Hunt staff wear red jackets and bespoke versions are a small fortune. Since I had made her wedding gown, she figured a jacket would be an easy task.
Just make a tailored jacket from a commercial pattern, right? Wrong. Riding clothing is another animal. We combined my research and her knowledge and came up with a punch list of what this garment needed.
*Roomy armholes with significant ease in the back to allow the rider forward arm movement
*Sleeves pitched much more forward than conventional clothing as the arm is held almost horizontal
*Abrasion resistant lining in the jacket skirt to resist wear
*Flared skirt with most of the flare at the back to cover the seat while in the saddle
*Warm lining as hunt season runs through the winter
*Slippery sleeve lining to allow the jacket arms to slide freely over shirts/sweaters
Mood Fabrics had a beautiful heavy wool/cashmere/nylon fabric. They also had abrasion resistant lining and wool flannel for the upper jacket lining. I drafted a fitting muslin from cotton canvas which mimicked the weight and drape of the wool better than lightweight muslin. Note the exaggerated curve of the sleeve.

The roomy armhole. I would never have guessed this much ease would be required.

The jacket fabric was thick and required loads of steam and heavy use of a tailors clapper to get things flattened into shape. I found it helpful to flatten the inside of especially bulky seams with a clamp from the hardware store. Get loads of steam into the fabric, clamp it down hard, and leave until it’s cold.

Also, don’t sew across the layers of intersecting seams. You can get a much flatter press by folding the seam allowances to one side and end the stitching at the seamline. Fold the seam allowances the other direction and begin stitching at the seamline. The seam allowances will remain free and press much flatter.

Inside the jacket showing the various linings used.

The color of the upper collar is unique to the particular hunt club; her’s is purple. The fabrics were so heavy and it was applied with traditional tailoring techniques.

Here’s the finished work.

I couldn’t resist using the leftover fabric for a matching jacket for the one year old. Fittings were a bit of a challenge on a squirmy baby but we got it done!

Mommy and daughter out for a ride.

French Jackets

French Jacket; The Beginning

September 16, 2014March 11, 2017 maryfunt

Now that my body double dress form and three piece sleeve research are complete it’s time to try them in action.

This is from my stash, probably purchased at B&J Fabrics several years ago. Now seems like a good time to get it made. Another hallmark of couture construction is the shaping of garment sections with steam before any sewing takes place. “Vintage Couture Tailoring” by Thomas von Nordheim has probably the best diagrams of how to shape jacket and sleeve sections. Claire Shaeffer’s videos also explain the process well.

If you haven’t seen it, the video “Secret World of Haute Couture” is a great watch. It’s about 45 minutes and interviews some of the purchasers of haute couture garments. Although these ladies don’t sew they do understand and appreciate what haute is and how it feels. About 10 minutes into the film, one of the ladies who worked in haute couture for years explains, “You don’t just cut the fabric and sew it; you work the fabric. It is shaped with special irons so that when you roll it up, pack it, etc it still looks perfect.” The importance of prefect fit is also stressed; “the clothing fits like a second skin; feels like you are wearing nothing at all.”

I used Vogue 8891 as a starting point. I reshaped the front princess seam so it would be easier to shape a rectangular piece of fabric into the proper shape.

Trace the grain line about one inch from the fabric edge. Place your muslin pattern (no seam allowances) on top.

Smooth the fabric so the grain line follows the pattern shape. You will notice ripples form; these need to be steamed out so the fabric is now shaped like the pattern.

The same process needs to be done on the back sections.

l
And all sleeve sections are steamed to further build in the shape.

Although Claire’s pattern instructions don’t specify this type of shaping, notice that what was a curved quilt line now tends to follow the grain of the shaped garment sections. I spaced my quilting lines about 1 and 1/4 inch apart and followed the lengthwise grain on each section. After quilting I like to roll the raw edges of my lining sections under; it just keeps things neater.

I cut the sleeves after completing and fitting the jacket body. Pins show match points. Most boucles do have a subtle pattern, so look carefully if you think yours doesn’t.

Almost completed. Here is the jacket front and back. Notice how the armhole has been eased and tightened before the sleeve is set.

I decided to shape the upper neck edge. An easy way to get a smooth shape that is symmetrical is cut a cardboard template. Press the neck edge under. Flip the template for the other side.

Needs sleeve buttonholes and a good final press before I’m ready for trim.

Pockets? Undecided yet. I’ll wait and see what the trim and buttons look like first.

French Jackets

Chanel and the Sleeve

August 4, 2014March 11, 2017 maryfunt

The past month has been occupied with a quest to develop a sleeve pattern for the French boucle jacket. Chanel was obsessed with sleeves. Axel Madsen writes in Chanel: A Woman of Her Own: “she would pin up a dress as many as twenty times to get it right. Armholes were her bane-and the engineering secret of her jackets.” Jackie Rodgers, a Boston-born mannequin, would recall: the armhole was never high enough, and she’d reset a sleeve six times. The high armhole gave the jacket the cleaner, closer fit she wanted.”

Also, just some interesting notes regarding us sewers referring to our projects as “Chanel jackets.” I’ve read that Chanel takes a dim view of this and states that “only Chanel can make a Chanel jacket.” True but Coco had somewhat a different take on those who copied her work. Axel Madsen also notes that: “Coco had always believed that any fashion not adopted by a majority of women was a flop. To see herself copied in the street was the greatest compliment. Piracy was the flattering result of success.”

We may not be able to make a “Chanel jacket” but Gabrielle Chanel would have been flattered by sewers devoting endless hours to emulate her work.

In order to avoid the “home sewn” look, you need to get the fit of your jacket perfected, especially the shoulders and sleeves. Too many jackets appear that are much too large through the shoulders. Most commercial patterns have sleeves which are much too wide and the whole effect of the chic jacket is lost.

The three piece sleeve seems to be the holy grail of Chanel jackets. I found almost nothing published on how to draft this sleeve and so began my quest.

This post will demonstrate my method of drafting a three piece sleeve from an existing two piece sleeve. Future posts will explore custom sleeve drafting and some radically different sleeve shapes.

First I’ll deal with the armseye shape. The scye, as it’s referred to in professional tailoring language, is the basis for beginning the sleeve draft. If your jacket has the wrong shape and size armhole, you have no chance of getting a correct sleeve fit. Perfect your muslin fit and make any changes necessary to the sleeve before proceeding. You will also need to remove all seam allowances from the pattern. All professional pattern drafting is done without seam allowances. If you try this process without removing the seam allowances, things will become muddled very quickly. Sorry to those who prefer to work with seams added.

The scye shape is easiest to visualize by laying the jacket body sections on a grid with the armhole seams just touching and all grain lines parallel.

Here is an example of a poorly shaped scye. It is too narrow, vertical and doesn’t follow the natural shape of the arm. The armhole is also too low. Much better drafts look look this:

Vogue 7975

The scye from a Chanel ready to wear jacket.

Vogue 8991
Scye shapes overlaid showing the small variations.

I’ll use Vogue 7975 as the example of how to draft a three piece sleeve. This is a pattern used by many as the basis for their Chanel style jacket. It also has a two piece sleeve, perfect for demonstrating how to transform it into the coveted three piece draft. The McCalls pattern shows what to avoid. It should also be clear from these diagrams that substuting one sleeve pattern for another can be risky. Imagine trying to get the sleeve from Vogue 7975 into the McCalls armhole. Sleeves are drafted to correspond to a specific armhole shape and size. You might get away with switching the Vogue sleeves but even that might require some tweaking.

The first step may appear counter-intuitive, but I found it easier to return the two piece draft to a one piece and then draft the three. Altering and combining the two piece into three created multiple issues and this approach worked better for me.

Start by aligning the grains and have the seams just touching. Remember, NO SEAM Allowances.

Trace the sleeve cap shape onto paper, either gridded or plain. Stop the tracing at the underarm match point on both front and back. You should now have a sleeve that looks like this. Don’t do anything with the lower sleeve yet; all you want is the shape and size of the armseye seam.

Connect the underarms with a straight line. From the shoulder match point drop a line straight down which intersects with the underarm line at right angles. Make it a few inches longer than the sleeve length. Measure and mark the sleeve length from the top of the sleeve cap to the hem. Mark back and front as its easy to get confused until you’ve done this a few times. The back will be slightly wider than the back. I’ve written 6 5/8 on the back and 6 3/8 on front.

Now mark A, B and C as shown. Cut along the sleeve cap line.

Fold point C directly on top of point B and trace the underarm seam.

Fold point A directly on top of B and trace the underarm seam.
You should now have this:

Measure out along the underarm line 1 and 3/8 inch left of B. Measure 1 and 1/8 to right of B. You are starting to form the undersleeve piece.

Next you need to draw in the bottom of the sleeve. Measure the finished width of the sleeve hem. Size 8 measured 8 and 3/4 inches. The line down the middle of the sleeve is offset 1/4 inch towards the sleeve front; 6 and 5/8 along back underarm, 6 and 3/8 along front underarm. Therefore you need to offset the hem by the same amount.

Sleeve hem measures 8 and 3/4, half of which is 4 and 3/8. Add 1/8 inch to back and subtract 1/8 inch from the front. Your sleeve hem will measure 4 and 1/2 inches along back sleeve and 4 and 1/4 inches along front sleeve.

The sleeve needs to bend at the elbow to follow the natural shape of the arm. Every drafting source I found used arbitrary values to establish this bend. After measuring countless arms and sleeves I decided what made more sense was to duplicate the angle. A perfectly straight arm would have a straight line from top to bottom. Most peoples’ arms bend at about 175 degrees with the elbow as the pivot point. The dress form with sleeve showing this angle.

A Chanel sleeve from a ready-to wear jacket showing this angle.

This shows a two piece sleeve but the angle remained remarkably consistent with everything I measured. Therefore, I decided to draft the lower sleeve to reflect this angle. Draw a horizontal line where the elbow bends. Measure from the top of the sleeve. This measurement isn’t critical so just get close but don’t go crazy trying to find the exact point. This is the elbow line.

This pushed the seam 3/4 inch towards the right. In order to maintain the width at the hem, the center line and front seam needed to be redrawn 3/4 inch towards the right. Come straight down from the sleeve top, pivot at the elbow and continue to the hem.

To finish the under sleeve pattern measure out along the elbow line 1 and 1/4 inch towards the sleeve back (left of center) and 1 and 1/8 inch towards the sleeve front (right).
At the hem measure 1 and 1/8 inch towards back and 7/8 inch towards front. Connect the points from the underarm line through the elbow line and pivot to hem. Your undersleeve should look like this. It is is red.
In order to complete the back and front upper sleeve patterns, the width of the undersleeve needs to be subtracted from the upper sleeve pieces. Along the back seam, measure in 1 and 3/8 at the underarm, 1 and 1/4 at the elbow and 1 and 1/8 at the hem.
Along the front seam, measure in 1 and 1/8 at the underarm, 1 and 1/8 at the elbow and 7/8 at the hem. These lines are shown in green.

Add ease to the back upper seam to allow the elbow to bend. Measure down 3/4 inch from the elbow line and form a dart about 3 inches long. This will be eased into the seam. The seam needs to lengthened by the same amount so lower the hemline 3/4 inch and angle upwards to the front seam.

Trace off the under sleeve, shown in red. Be sure to mark front and back. The upper sleeve is for the RIGHT sleeve, the under sleeve is for the LEFT sleeve. This pattern gets flipped for the right sleeve. Don’t get confused. That’s just the way this draft works.

Trim the upper sleeve pieces along the green lines and along the center line. They can look similar so be sure and label them before you cut apart. You can also trace them to save your master draft.

Final sleeve draft.
Next will be a mock up to test the fit and adding a working vent. This post took hours to write and I hope not too confusing. I am going a little buggy now and hope it makes sense. Please let me know if any steps need clarifying and I’ll address questions in the next post. This was a while coming but I think most of the glitches are worked out. Next is custom drafting the sleeve cap.

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Tag: Chanel sleeve

Guest Post by Joyce: “amakersshowandtell”

Drafting the Three Piece Sleeve

Chanel Shoulder Pads

Jacket Finished, Plus Two More

French Jacket; The Beginning

Chanel and the Sleeve