Interested in learning how to create custom trims to perfectly match your fabric? I’m offering several classes via Zoom in which we’ll explore various ways of creating trim. I developed these techniques after becoming frustrated with trims available in shops. Much of what I found was too thick, stiff and not the right colors to look like couture quality.
The classes offered on March 21 and April 11 will demo basic crochet stitches and we will create at least 6 different trims using a variety of techniques. Although I will go through all the stitches needed, you will enjoy the class more if you have a working knowledge and some practice with crochet.
Kits with crochet hooks are available if you wish to use the same materials I’ll be working with. Kits WITHOUT hooks are also available if you have hooks in sizes C, D, E and F. Purchase of a kit is not mandatory. You can source your own materials and use them along with the class. Classes are recorded and you will have one week to download the recording which you can then watch as often as you like.
I’m also offering a couture trim class on April 4. This class will focus on more complex trims using better quality fabrics and yarns. The trim kit for this class includes fabric from Mendel Goldberg and Linton Tweed plus many yarns sourced from Europe. Link for the trim kit WITHOUT hooks for those who have crochet hooks in sizes C, D E and F. You will enjoy this class if you are familiar with crochet and are comfortable working with trickier (slippery, multiple strands, metallic) yarns. You can also source your own fabrics/yarns and use this class as inspiration for creating your own versions.
Several of the trims utilize a set of brass tubes I’ve developed to facilitate trim making. I’ll demonstrate their use during class. Not all trims require their use. If you have a set, have them handy as they do make many aspects of trim easier.
I recently returned from a trip to London and was able to take photos of new Chanel trims in the Chanel shop (largest in the world) there. I’ll be showing images of trims I saw and we’ll explore how to recreate these designs for your fabrics.
Class dates are linked to registration. You may also browse the class offerings in the shop. Thanks for reading and hope to see you in class.
Finding trim for your French jacket is easier when you are working with a multi color fabric, especially one with black, white or another neutral color. I think finding something pre-made for this color would be near impossible. You could introduce a contrasting color but often that’s not what you want.
Here’s a step by step tutorial on the process I used for this trim. If you’ve taken one of. my Zoom trim classes, much of this will be familiar. I used a silver metallic yarn for the base of the trim. Using a D hook, chain the desired length. Turn and make a double crochet in the fourth stitch from the hook. Chain 1 stitch. Repeat this pattern (double crochet, chain 1) in every other stitch.
Photo on the right is a closeup of the finished crochet work. Top is “wrong” side with purl stitches, bottom image is “right” side with smoother chain stitches.
If you make several lengths of trim, be sure to be consistent in which side you choose as the “right” side. Some trims look better when one side vs. the other is used as the “right” side. For this jacket, I used the side with the purl stitches for the right side.
I used the shiny yarn with variegated shades of teal. Some yarns can be pulled through the fabric. This one didn’t pull easily, so I cut closely along each shiny yarn and pulled it out. Tie the strands together and work a chain stitch along the long edges of the metallic base. To determine number of stitches needed, I make a sample using 25 stitches. Measure the sample and multiply number of stitches by the desired finished length. This jacket required 600 stitches for a length of trim which would go around the hem, along front edges and around neck. The trim for the sleeves and pockets was worked as another piece.
The trim is uneven and needs to be steam blocked into shape. I used the third from the largest tube from the Trim Tube set. Weave the tube in and out between stitches and steam. Hover the iron over the trim; you don’t want to compress it. The tube is 12 inches long so steam 10-11 inches at a time, let cool, and weave the tube through the next section. The ends where the teal yarn has been tied together will be tucked underneath when stitching to the jacket.
Stitch the trim in place. It works best to sew the outer edge around corners, then work the trim in place along the inner edge. The join between lengths of teal yarn can be tucked to the underside. The trim is very flexible and easily navigates curves and corners. I join the trim at the left hem.
When you’ve determined where to join the ends, press hard to flatten only the trim which will be turned under. Use a tailors clapper to flatten the trim as much as possible and let cool. Turn the ends under and stitch. The join will be almost invisible.
To create a finished end (nice on pockets and the sleeve vent), measure the finished length needed. Starting along one long side (it’s harder to stop and start at a corner) make the chain stitch with teal yarn. To turn the corner, make two chain stitches in each corner. One stitch for the long side and one stitch for the short end. Make 1-2 stitches across the short end of the trim. Then two stitches in the next corner. When you reach the starting point, pull yarn to the underside and fasten with a few small hand stitches. To secure the metallic yarn, machine stitch across a few times, compress the end with steam and cut off close to the stitching. The flattened end will turn under.
I will be offering additional trim classes via Zoom. Probably one in December and more starting in January. There are also a few openings left in the January class if you would like to work in person. We’ll be doing a variety of projects in the class: pattern drafting, French jackets: both starting one and completing ones already begun, dressforms and more.
My trim classes have sold out quickly in the past, so leave a comment if you would like advance notification of the schedule. Have fun creating your custom trims.
Finding trim is easier if you’re looking for black, white or common color. This fuschia jacket made from a wonderful soft Mendel Goldberg boucle wasn’t going to be easy, particularly if I wanted to avoid introducing another color. I did add silver or gold, depending on buttons.
When creating a trim, I make several variations to experiment with different yarns. If you’ve attended one of my trim classes, the techniques will be familiar.
All examples of trim use the same basic method. I make samples about 4 inches long. Once you decide which version to use, calculate the finished amount of trim you need. Measure the sample created with 20 stitches. If 20 stitches gives you 4 inches of trim and you need 40 inches, then start with a chain of 200 stitches.
First create a crochet base. Chain 20 plus 3. Turn and make a double crochet in every stitch. Weave a brass tube through the finished base to block it and even out the stitches.
Let cool and remove the tube. Weave a smaller tube through the stitches as shown. Pull the desired yarn or fabric through. Push the woven strand to one side and weave the tube through, alternating in and out with the first strand.
Chain stitch around the edge. Here I’m using a strand of flag yarn pulled from the boucle fabric. Using strands of yarns from the fabric guarantees a perfect match.
Finish with a chain stitch in the center. I did a version in gold and one in silver to audition with different buttons.
Trim 1: Using a size F hook, crochet the base with Sesia Elegant yarn with color: Rose. Chain 23, turn and make double crochet in every stitch.
Cut bias strips of fuschia silk double georgette 1.5 inches wide, fold in half lengthwise and stitch scant 1/4” from folded edge. Turn and stuff the silk tube with bulky yarn.
Weave the silk tubes though alternate double crochet stitches. Make a chain stitch through the middle with gold yarn. Finish the edges with a chain stitch using flag yarn pulled from leftover boucle.
Trim 2: Same as trim 1 except use size D hook for the base. Weave 3/8” wide bias strips of silk georgette through. Chain stitch through the middle with size C hook. Edge with the flag yarn from fabric.
Trim 3: Crochet base making double crochet every stitch. Weave one row of gold tape yarn, one row 3/8” wide silk georgette, one row gold tape yarn. Edge with flag yarn from the fabric.
Trim 4: Crochet base using gold metallic yarn and size E hook. Chain stitch along each edge with flag yarn from boucle fabric.
Trim 5: Use 3/8” wide bias strips of silk georgette as yarn. Crochet the base. Weave 4 strands pink tinsel yarn plus two strands metallic yarn through. Chain stitch inside the edge with gold metallic yarn.
Hard to make a decision. Possibilities are endless and by making your own trim you can guarantee a perfect match. Two opportunities to further explore French jacket construction and trims: New England Retreat, September 19-24 and Couture Sewing Class, Palm Beach Gardens, FL, January 16-21. 2023. These classes are not limited to making a French jacket but if you choose to work on a jacket, you will receive the identical information presented in the November French jacket class. The classes are small and allow for individualized instruction. You will receive my 100 plus page manual describing construction techniques unique to the French jacket plus an extended session on trims.
Registration is open for classes in Palm Beach Gardens. Join the 7 day French jacket class from Monday, November 7 through Sunday November 13, 2022. These jackets involve considerable hand sewing and do take time, so expanding the class to 7 days made sense.
What is unique about this class? We will start with fine tuning the fit of your jacket toile. Detailed instructions will be sent several weeks prior to class.
Vogue 7975 is often used as the basis for a French jacket. It is easy to change the jacket’s length, neckline, sleeve and front closure. The pattern has princess seams ending in the shoulder which simplifies many fitting issues. Curvy figures need more shaping which can result in any horizontal stripe in the fabric to be mismatched along the upper part of the front princess seam. This photo shows the difference.
The right side (right side of photo) of this sample has been cut and sewn according to the pattern. For the left side, I’ve made some simple changes to the pattern and shaped the front side section with a steam iron. Note how the horizontal lines in the weave carry across the upper chest uninterrupted.
We will examine techniques to eliminate darts. For this sample, I wanted a very curvy figure, easily accomplished by a bra filled out with extra padding. It’s easy to achieve the look on a small busted model but harder when dealing with more curves.
The pronounced curves of this figure required additional shaping which could have been accomplished by adding a dart either from armhole to bust or side seam to bust.
Either dart placement isn’t ideal and will create unnecessary bulk. Fortunately most boucle fabric is pliable and can be molded with steam. Any distortion in the weave is hidden under the arm and a better solution than darts.
A few patterns have the classic three piece sleeve. Vogue 7975 has a standard two piece sleeve. It’s not difficult to convert the pattern. This method can be used on any sleeve.
Learn how to customize the look of a basic pattern. The neckline is easily converted to a stand collar, round or V-neck.
These jackets all used Vogue 7975 as the starting point
Coco Chanel said, ”never a button without a buttonhole.” Machine buttonholes are an option but handworked buttonholes are a true couture finish. Loosely woven boucle fabric isn’t the easiest to work with and mastering buttonholes does take practice. There are a few tips and tricks that make the finished result more professional.
Trims are the final embellishment. Shopping for pre-made trim can be difficult. You rarely find something that’s the perfect color, width and texture. Often trims are rigid and difficult to navigate curves and corners. Creating your own trim using fibers from the fabric and coordinating yarn isn’t difficult.
November dates not convenient? Another Couture Sewing Class is scheduled from Monday, January 16 through Saturday, January 21, 2023. This class isn’t strictly for French jacket construction but you can certainly work on one. It’s a perfect opportunity finish (or make significant progress) on a previously started jacket. Work on anything you like. Maybe you’re hesitant to work on tricky fabric or an unfamiliar style? Take advantage of expert help with planning and executing your project.
Register by clicking on ”Classes” from the main menu. Any questions email me: mf953@aol.com
Thank you to all those who registered. The March 1 class sold out within the first day so I’m offering the same class one week later. You can sign up for the March 8 class here. Same time: 5-7:30 PM EST.
UPDATE: The link wasn’t working but it should be fixed. Class half-filled so it did work for some. You can also navigate to the class by going to “Shop” on main page, open Catalog and go to class. Thanks all who alerted me to the problem.
For my readers in Australia: Australia is only accepting Global Express Mail which is more expensive than the Global Priority offered in the shipping options. I’ve sent an email to those interested to see if we can find one person/shipping address. I will send a bulk order which that person can then distribute within Australia. Let me know if you are interested and I’ll put everyone in touch with each other.
I’m thrilled that so many of my readers are interested in exploring custom trims. See you soon.
To expand my variations of custom trim, I’ve been experimenting with tubular yarns as well as crocheting with narrow strips of fabric. Many boucles are woven using tubular yarns, such as these two.
I pulled strands of the tubular knit from the fabrics and filled them with bulky wool yarn. Wool yarn works better than acrylic or cotton as it is lofty yet soft and flexible.
The tubes can be woven through a crochet base or braided. A technique for tubes of fabric used as braided trim here. This boucle contained gold tubular yarn as well as multiple other fibers and lent itself to several variations of trim.
You can also find tubular yarns put up in rolls or skeins. Any time I find metallic silver or gold I stock up, as gold/silver compliment many fabrics.
Another interesting technique uses narrow strips of silk georgette fabric to work a chain stitch along the edge of trim. This is a version created from a combination of ivory wool yarn combined with fibers pulled from fabric yardage and edged with a chain stitch of silk georgette. The bias edge of silk frays just enough to create a soft textured finish.
Join me on Tuesday, March 1, from 5-7:30 PM (Eastern standard time) for a hands-on virtual workshop in which we’ll create multiple variations of trim. Sign up (PLEASE NOTE: This link is for the March 8 class. The March 1 class is sold out) through the Cloning Couture Shop. The class is limited to 20 participants. A kit containing crochet hooks, sample boucle fabric plus assorted yarns is available here or you can source your own materials. The class is held via Zoom and will be recorded so if you can’t participate live, the recording will be available. You can also download and re-watch the class as often as you wish.
Here is the jacket I used for demonstration in a recent French Jacket Class. The trim utilizes fibers pulled from the yardage plus silk georgette used as yarn.
I’ve been working on additional trim ideas to customize and embellish your custom French jacket. Alice, of Mendel Goldberg Fabrics in NYC, sent me a generous sampling of her new fall boucles to play with.
Sampling of new boucles available at Mendel Goldberg
When creating custom trim, the possibilities are almost endless. Here’s a few variations I came up with for one fabric. I used varying textures of black yarn combined with fibers pulled from the fabric to create coordinated trims.
This trim also utilizes fibers from the boucle as well as a textured grey and white yarn.
To make this trim, I made a crochet chain, turned and worked a double crochet in each stitch. Inserted a large Trim Tube (available in my shop) and steamed to even out the stitches. Then, using a smaller size tube, wove through the chain and inserted a metallic fiber from the boucle. After nudging the metallic ribbon to one side, wove the tube through again, alternating the up and down weave, and threaded a second metallic ribbon through.
For the trim with fringing, I cut a narrow band of boucle fabric and pulled threads from each side. The crochet band was accented with a row of chain stitches on each side using grey yarn pulled from the fabric. Stitch on top of the fringed strip for the completed trim. A second variation uses chain stitching with black/white yarn around the outer edge. I prefer the softer look of the fringed version.
Here’s another idea to coordinate with this open weave ivory with gold and silver metallic threads. The version on the left is crocheted with narrow strips of silk georgette fabric bias cut 1cm wide and used as yarn. The version on the right uses wool/angora yarn. A chain of gold and silver metallic yarn is threaded through the crochet chain.
I’m also experimenting with adding pearls to the trim.
Pink metallic pearls combined with black textured yarn to compliment this black/pink boucle fabric
Finally, while sleuth shopping in Chanel boutiques, I found this jacket and was drawn to the unique use of ribbons and yarns in the weave. It’s listed for $$$ on EBay (untrimmed version) but stumbled across a VERY similar fabric on Etsy.
If you’re interested in a 6 day class focused on creating your own unique jacket and trim, join me in Palm Beach Gardens, FL from November 8-13, 2021. Details can be found in the shop under Classes.
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!
Stitching the sleeves in by handSleeve lining basted into placeCompleted jacket
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
One of my latest projects has been to reshape the shoulder line on two Chanel jackets for a client. These are not couture but from the Chanel RTW line. Chanel does produce some of the very best RTW clothing and many of the techniques can be incorporated in home sewing. The first jacket was long, almost a coat. I’m not sure who they intended this coat to fit, but the sleeves were inordinately long. There is a white cotton cuff, attached by tiny buttons, which gives the illusion of a tailored shirt underneath. I’m fairly tall with longish arms so imagine how this looks on a petite figure! Also notice how the plaid matching is slightly off from sleeve to jacket body.
The sleeves needed to be shortened by a whopping 5.5 inches. In addition the shoulder was too wide and needed 3/4 of an inch removed and 5 inches of width removed from the body.
The width alterations needed to be done at the side back seam as that was the only seam without pockets or vent. Chanel leaves wonderfully wide seams in both the outer garment and lining. 3/4 inch or 2 cm. seems to be standard. Notice the hand sewn hem. Chanel also finishes each garment piece by individually overlocking so that taking in or letting out seams is a dream.
The sleeves needed to be shortened from the top down, leaving the working sleeve vent intact. My method is to remove the sleeves and open all seams except in the area of the sleeve vent. I certainly didn’t want to redo that detail! Trace off the sleeve patterns without seam allowances.
The completed sleeve pattern needed to be narrowed by 2 inches at the bicep, tapering to 1/2 inch at the hem. I slit the pattern and removed the excess width.
Place the altered pattern down the required length to be removed and recut the sleeve. I thread traced the new seam lines.
Notice that Chanel presses the center 3 inches (1 and 1/2 inches each side of center) open. The remainder of the seam is pressed towards the sleeve. The blue thread is my mark for the amount to narrow the shoulder when the sleeve is reinserted. I use Japanese basting cotton as it has some texture and tends not to pull out during construction.
Here is a second jacket getting similar treatment of narrowing the shoulders.
Notice the little shoulder pad with built in shape for the sleeve head. Here is my pattern for making these. I make my own shoulder pads and find them far superior to purchased ones, not to mention being almost free.
I posted two variations of shoulder pads Chanel uses in RTW on November 18, 2014. One of my readers, olden bears, kindly sent me pdf files for these and I’m inserting the link in case you want those patterns.
This post has been edited to link to a pdf pattern. Click on the above link and the pattern should open in pdf format.
(I’ve scanned the new pattern but don’t have software to convert to pdf. I think if you open the picture and print, scaling to 8.5 x 11 paper it should be close to size. The size isn’t too critical and you can add or subtract according to your shoulder length.)
Here is the pattern for another shoulder pad with a built-in sleeve head.
For each shoulder pad you will need to cut pieces 1 and 2 twice, piece 3 once and 4 once. Piece 4 is optional. Use it if you want an additional layer for more lift in the pad. Butt the edges together and sew. I use a three step zig-zag stitch.
You will have two (or three) dish shaped pieces. If using piece 4, place inside the sewn outer layer sections; Place piece 3 on top and pin the layers together.
Baste through all layers. I just discovered the basting stitch on my Bernina. Maybe I should read the manual. Your machine may have a similar stitch. Loosen the tension so you don’t wind up with a puckered mess like this.
Fit the pad over a tailors ham and steam heavily to set the shape. Let the shoulder pad dry before removing from the ham.
Completed jacket with a beautifully shaped and supported sleeve cap. I was also able to get a better pattern match between jacket body and sleeve.
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.
