Cloning Designer Garments, couture sewing, creating designer trim, Drafting Patterns, French jacket trim, French Jackets, Uncategorized

Guest Post by Joyce: “amakersshowandtell”

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 hand
Sleeve lining basted into place
Completed 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

Uncategorized

Create Custom Trim for your French Jacket

How much fun is selecting fabric, lining and buttons for your French jacket?  Finding the perfect trim can be another story.  If you are looking for black, white or a standard color you may get lucky but what if your fabric is a wonderful mix of other colors and the trim you’re considering just doesn’t look quite right? Another issue I frequently encounter is that many of the trims are too rigid and bulky to curve around corners and the stiffness detracts from the wonderful fluid nature of these jackets.

I searched for some time and experimented with many methods to produce a soft,  flexible custom braid.  Finally I stumbled upon Kumihimo braiding and modified the traditional technique to create a braid I’m finally happy with.  By creating your own braid you aren’t limited to the choices found in the trim section and can totally customize it to complement your jacket.  There are many books and videos explaining the Kumihimo method which can be used to create round, half-round or flat braids. Since I was interested in jacket trim I focused on flat braids.  Kumihimo braids are normally tightly woven and fairly rigid; not what I was looking to make.  By using soft yarns and increasing the counterweight I’m able to get the desired result.

Traditional Marudi or Takadai are expensive and since this started out as an experiment, I wanted minimal financial investment.  Home Depot had a round wooden disk and wooden dowels which made a serviceable stand. I cut a braiding plate from craft foam using internet photos for the design.  Braiding plates are also available online; most beading suppliers carry them.

The simplest braid is an allover design. You don’t need to arrange the cords in any particular pattern. I’ll show a 10 strand braid and then explain the specific yarns I used for trim. The numbering system on this plate may differ from one you find. I’ve wound 10 bobbins (available from Beadalon and others).  I’ve also used 10 different colors of embroidery floss for demonstration.

Tie the cord ends together and slip through the hole in the beading plate. Attach the counterweight. I used two large washers slipped through a surgical clamp. Traditionally a small bag containing weights is used. The weight is adjustable, depending on number of bobbins used and the desired effect. Most instructions will advise weighing all the bobbins and using a counterweight of about 50%. My bobbins each weigh 24 grams times 10 bobbins for a total weight of 240 grams. The counterweight is very important to maintain an even tension. THE MORE COUNTERWEIGHT, THE LOOSER THE TENSION. Since I wanted a soft braid I used a 75% counterweight. My bobbins weigh 240 grams, 75% of 240 is 180, so the weight of the washers plus surgical clamp is 180 grams.


Place a cord in slots 3,4,5,6,7,8,14,15,16,17. The position of each color doesn’t matter. This is just to illustrate the braiding sequence.

Move the cord in 5 to e (small case e on the right side), move 6 to E (capital E on the left side) Don’t ask why e and E (just the version I used)

Move 15 to 5 and 4 to 15.

14 to 4 and 3 to 14

16 to 6 and 7 to 16

17 to 7 and 8 to 17

Then E to 3 and e to 8

That completes a sequence. Keep repeating until you have enough braid. This took much longer to write than actually do and after a few repeats you won’t need the instructions. For each repeat you bring the center cords to the side, alternate cords on the left side, then the right side, and then move the side cords back to top. There are also many versions and videos of this pattern online if my version is confusing. Search for 10 cord flat braid and you’ll find many tutorials.

To guestimate how many strands of yarn for the width braid you want, twist multiple lengths together until you get close to the size.  For the pastel braid I used 36 strands divided evenly among the 10 bobbins.  I wound 6 bobbins with two strands of pom-pom yarn and two strands of metallic silver.  Then 4 bobbins with one length of pom-pom, one metallic silver and one off-white angora.

 

Since the braid is so pliable, it can be stretched slightly to narrow it.                                                                                                                                                                                                         To widen the braid, gently stretch it crosswise.

The braid is very easy to shape around curves and corners.

The jacket which appeared in Threads Magazine was trimmed with braid using these yarns from Linton Tweeds.

How long should you cut the strands? I found about 1.5 times the desired finished length plus 10-12 inches for knotting. Since I didn’t want to piece the trim around the jacket edge, I wove two lengths for each jacket. One length for the sleeve edges and pocket trim, the other length for the jacket body. I did the shorter length first to see if I liked my yarn combination and to test if 1.5 times finished length would be correct. Test a few short lengths before committing to yards of trim you might not like. If the braid is too narrow, add more strands of yarn. As you braid, the counterweight will move lower; when it gets close to the bottom of the stand just unclamp and move the counterweight up. I clamped right onto the completed braid with no damage.  How long does this take!!!  It isn’t fast but not as long as you might think.  After doing two jackets I can braid about 20 inches per hour and need about 140 inches per jacket to do sleeves, 4 pockets, and all around the edges of the jacket body.  Most sewers plan on at least 50-70 hours (and often more) so another 7-8 hours to get exactly what you want isn’t crazy.  It’s great TV work;  you will memorize the sequence quickly and do it without thinking.

This loosely woven trim will unravel very, very easily so I machine stitched a length of tulle to stabilize before cutting lengths for the pockets and sleeves.  Secure the ends of longer lengths also.

Next post will explore different braiding patterns and incorporating threads from the fabric.  I hope you enjoy this and consider using some custom braids.