Posted in Fashion Journalism

#Fashion + #journalism? An oxymoron at times

words scrabbleThankfully for anyone reading my blog regularly or even only occasionally, I rarely rant. Today, however, I need a bit of rant space. Today I’m thinking about fashion (couture sewing is related to fashion, n’est ce pas?) with a particular emphasis on what passes as “fashion journalism.” In another life, I actually write other things – like books. Couple this with the fact that I’ve been a fashion magazine junkie for more years than most of you have been on the planet, I appreciate a well-written fashion-related article. There have always been those magazines that regularly demonstrate a high level of what can really be defined as fashion journalism (Vogue comes to mind), but there are so many others I have blindly stumbled upon lately that I have to vent a bit.

A lot of what passes for writing in some fashion magazines is now so riddled with jargon, secret in-talk, euphemism and oddly annoying abbreviations that we can’t help but be confused. The truth is that I’m not really a member of the demographic targeted by these magazines, but the demographic certainly is one I’d still like to understand! And I’m not dead yet, so fashion and style interest me. My question is how this demographic will be able to communicate their messages in the future. It’s no wonder that university freshmen can’t write a decent sentence.

Let’s start at the table of contents: we begin with ‘beauty inspo’, ‘fave picks’, ‘uber’ everything and of course a lot of ‘peeps’. I can let ‘favs’ and ‘fab’ go if these short-cuts are not overused. But three times on one page and we’re still only on contents!

How many times do I see ‘collab’? Really? Is it so difficult to spell out collaboration? Even with an online dictionary? And then we’re all ‘crushing on…’ something. The word ‘kicks’ for shoes has become so ubiquitous that if we really mean ‘kick’ as per the dictionary definition, we’d have a failure to communicate.

Moving on from the table of contents, I’m beginning to become very confused. I’m no longer sure of the difference between the hottest things and the coolest. Which is better? Then if we consider ‘cooler than cool’, I can’t even begin to contemplate what that might mean.

The verb ‘to rock’ (and they don’t seem to mean it in the sense of rock the boat or rock the baby) is so pervasive you can hardly go a page tap without falling over someone rocking flats, totally rocking boots, or rocking that awesome furry thing … and I’m so over being ‘all about’ anything especially if has to be hotly, coolly, uber awesome.

I guess the devil is in the ‘deets’ and the thing to do is to acquire ‘must-have prods’. I kid you not…prods, and not that kind they use on cattle.

This publication actually refers to its content creators as journalists – intrepid ones to be precise – and these are journalists who use words/spellings like ‘cuz’ for ‘because’. Yes, they did use it. This is not Twitter peeps! And ‘combo’ could be better applied to a fast food menu. Then I’m really confused when I read that ‘burgundy gets a colour kick’ with nary a shoe in sight in this instance. Is a kick now a kick or a jolt or a …? Of course it wouldn’t be a mag targeted toward young women without a ‘bestie’ or two.

And now sunglasses are ‘sunnies’ or so I inferred from the use of the term next to a photo of such. It’s starting to be a bit like learning a new language or at least the young women so entrenched will have to learn a new one for their writing classes at uni! Like that one? It’s a British-ism. Is that even a word?

Then I read about ‘sick kicks’. Are they hot? Cool? Totally anything? And ‘lippy’ means lipstick. I guess. I thought it meant mouthy, snippy, annoying.

Fave, fave, fave. I guess it would require too much typing to spell it out, or maybe they’re trying to avoid that cultural ‘or’ ‘our’ conundrum (favorite/favourite).

There is little doubt in my mind, peeps, that I’m totally uncool, and clearly unhot, cuz I crush on correct word choice and rock reasonably good spelling, and my fav authors provide me with terrific inspo. I’m also uber happy that the sun is out today and I’m totally rocking my sunnies so I’m going out for a walk. Bye-bye for now.

[Rant over. Sewing projects to continue momentarily.]

 

Posted in sewing, Style

Facing my doppelgänger: The dress form customization continues

wire mannequinsA few years ago I read an article reporting on a study whose results suggested that we are now experiencing a veritable epidemic of body image and consequent eating disorders among older women. The seriousness of it seemed a bit worrying, but the underlying message that it was shocking was a bit beyond the pale.

Imagine the shock! Women in their 70’s and 80’s concerned about their bodies! Concerned about how they look! OMG of course they care! I’m not quite to that age yet, but age does creep up even faster the older we get – or so it seems anyway. The truth is that, of course, excessive concern about body image and self-esteem that combine to result in disordered anything, is a problem. The fact that women continue to want to look good is to be expected. Then we (I) face reality: my body staring back at me in the form of that mannequin I’m hell bent on customizing.

So Gloria junior now has a shape to be filled out – my shape to be exact – yet there is much to be done. Here’s where I am to date.

I’ve actually gotten the go ahead from my Craftsy instructor, the incredibly knowledgeable Suzy Furrer, on my moulage on the second go round. She is just still slightly concerned that the high figure point might be a smidge too high, but I can go ahead and draft the sloper – my bodice block (I’ve done this and lowered the HFP 1/8 inch so I’ll see how that goes when I sew it up in royal blue cotton sateen with vents in the off chance I can actually wear it – more on that at another time, though). Before I get to the block, though, I’m using my moulage as the blueprint for my customized dress form (inspired by Mary Funt’s wonderful blog post on custom pattern drafting : https://cloningcouture.com/2016/07/11/custom-pattern-drafting-and-my-version-of-the-six-napoleon-dress/ ).

IMG_0714So, the first thing I did when approval finally came was insert a separating zipper in the back. My husband, my measurement partner, wished I had done it earlier. This way as I move forward with the stuffing, I can open it more easily. Then I had to make Gloria junior smaller to match the smallest part of my own torso – my under-bust. That’s why she now needs to be stuffed up again with the bits in the right place.

Next, I went to good old Fabricland in the basement of Honest Ed’s on Bloor Street West here in Toronto (If you don’t know about Honest Ed’s you’ve really missed out – what a crazy place!). I bought some batting and a number of shoulder pads, as well as the aforementioned cotton sateen that was BTW on sale: marked down from $20.00+ a metre to $7.00 a metre!

The fattest shoulder pads are now ensconced on the shoulders that had to be raised up. I now have a neck problem, though, which I’ll fix with a small round of batting and probably some duct tape. I need to re-establish the high neck point.

The other shoulder pads are now under Junior’s boobs that need more batting and support. The back, however, is nice and tight and exactly as it should look. It’s the front that I’m now working on.

When I have her as stuffed as possible within the confines of the moulage, I’ll need to figure out how to make a nice cover that hides everything underneath and gives me a great surface to contemplate my design and sewing projects. But back to that thing about body image.

If I never wanted to consider what my over-50 body is up to these days, I now have no choice in the matter. It’s a really humbling experience to see your own figure staring back at you, and it isn’t even quite finished i.e. completely stuffed. There is no hiding from what has shifted – what doesn’t exactly look like it did in that bikini on my honeymoon when I was 33.

It’s good to know, however, that I can laugh and accept myself for who I am. Fortunately, I’m of normal weight. That I’d be able to do something about. All that shifting downward? Not so much.

Let’s all remember what Betty Friedan told us at the beginning of the feminist movement: “Aging is not lost youth, but a new stage of opportunity and strength.”wine.jpg

Or maybe I’ll use a line a saw on a cocktail napkin as my mantra: “Age gets better with wine.”

Posted in sewing, Style

The search for perfectly fitted clothing begins here: My dressmaker’s mannequin

 

 

wire mannequinsWhy, oh why does my dressmaker’s mannequin not resemble me? The short answer is that I’m too cheap to buy a custom dummy. So I’m left with Gloria Junior (her name) whose under-bust will never be as small as mine unless her waist becomes waspish, and her shoulders will never resemble mine unless they are raised at least an inch. And that’s just the beginning. So, why do I need her, anyway? I sewed my own clothes – and clothes for my sisters and my mother – for years without the aid of a mannequin. So, why now?

I was thinking about this when I was walking down the main drag in Stratford, Ontario about a month and a half ago with my husband, like you do when you’re there for the weekend to see two of their phenomenal plays or musicals that are part of the annual Stratford Festival every year (and, yes, it does sit on the banks of the Avon River with everything named after Stratford-upon-Avon in England, a Shakespeare park and all).

We stopped in front of a window display in one of the numerous boutiques that dot the street front. The mannequins made us laugh, and I started to think about how we rely on mannequins for a sense of the esthetics, and size, of the clothes that we think we’d like to have.

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One of the Stratford mannequins

Of course, that also got me thinking about how mannequin use came to be – so I’ll share my history lesson! 

Referred to by many as “glorified coat hangers”  mannequins seem to me to have been, and continue to be, so much more than that. According to an article published by The Smithsonian, when archaeologist Howard Carter opened King Tut’s ancient Egyptian tomb in 1923 he discovered “an armless, legless, wooden torso, made exactly to the pharaoh’s measurements, standing next to the chest that held the ruler’s clothing…” Since King Tut’s demise dates from around 1350 B.C., it seems clear that mannequins have been around for a very long time – this might well have been the very first, or at least the earliest on that we know about.

Fast forward to eighteenth-century France and the court of Marie Antoinette who, it seems, sent fully-clothed mannequins regularly to her sisters in the way we might send a copy of vogue magazine to someone who didn’t have access to current fashion news. These mannequins had arms, legs, heads – the whole body, but it wasn’t long after that when they mannequins began to appear headless, armless, legless, fashioned wire, wicker and leather. As one writer put it, “with as much personality as a doorknob.”

mannequin by pierre imans 1911
French mannequin, 1911

It was in the late 1800’s during the Industrial Revolution when expanses of glass fronts on stores became a kind of runway for the mannequin – shop owners needed a way to display their wares. The mannequin had now regained her head, arms and legs.

 

In a fascinating history of mannequins, writer Leighann Morris sees the evolution of the mannequin in the twentieth century as a kind of history of fashion itself – the shapes have resembled Barbie dolls, Twiggy, androgyny, fetishism – whatever has been in fashion at a point in history. And then there is the whole visible nipple debate which isn’t over yet! (As a sewer, visible nipples at least provide a sense of where one should measure the figure breadth!).

But these have been the mannequins designed for displaying clothing – store fixtures for the retail trade. What about mannequins that we know and love as the dressmaker’s dummy? Well, they have evolved alongside.

What’s interesting is that in spite of the fact that women’s heights, weights and body types vary more today than ever before, commercial dress-maker’s dress forms all seem to be very similar. It is true, though, that you can have a custom-designed dress form made just for you – a clone of your body – as it is at this moment in time, it has to be said.

LBJ finished on gloria
Gloria junior wearing my Little French Jacket. Although making a not-too-fitted jacket doesn’t seem to need a precise form, it would be nice if the boobs were in the right place!

I did a lot of online research before I bought Gloria junior. In fact, I set a maximum budget of around $300.00 so I knew I was looking for an adjustable. She has those dials that get her bust, waist, hip and back length to my size, but there is just so much more that goes on in between.

 

First, there is the issue of that relatively small underbust that I have. Then there is the neck – hers is fixed in position. Then there is that fact that most women are concave under the collar bone, but sadly she is not.

Why do I need her anyway?

First, I do think that being able to fit and pin without having to be a contortionist makes life easier – and probably results in fewer unnecessary puckers. Second, I think being able to stand back and really look at how everything fits and drapes without just having the mirror to help improves fit.

Then, I really just like the idea of pinning my projects on a form as I go. It makes me feel just a bit more professional – a bit of a fashion fantasy, I’m afraid.

Anyway, my Craftsy course on drafting a moulage and bodice sloper is my first step to that custom-fitted mannequin.

I’ve drafted, cut and sewn my first one. Of course, as expected, there are a few issues that were not unexpected. I’m about to cut my second one this afternoon. I hope I have the stamina to do as many drafts as needed to get it right!

 Sources:

The madness of mannequins. https://mannequinmadness.wordpress.com/the-history-of-mannequin/

Leighann Morris. The complete history of mannequins: Garbos, Twiggies, Barbies and beyond. http://www.hopesandfears.com/hopes/city/fashion/213389-history-of-mannequins

How to Buy a Dress Form. http://www.craftsy.com/blog/2013/08/how-to-buy-a-dress-form/

Photo credits:

http://www.hopesandfears.com/hopes/city/fashion/213389-history-of-mannequins

 

Posted in Style

Random Friday Thought

As I prep for my weekend fashion/style/sewing activities, I was strolling down Yonge Street this morning (before the mercury hit 33C) and thought this might just be the thing to get me through my  next challenge.

Hope it makes you laugh!

friday 1

Posted in Fashion, sewing

The search for the perfect size (uh…one that fits!)

rack 2It never fails: tune into a discussion of garment pattern sizes among newbie sewers and be prepared for the lamenting to begin. Yes, you, the experienced garment producer, think to yourself, a size 8 pattern is most assuredly not going to fit you if you wear a size 8 in ready-to-wear. In fact, I understand the depths of your indignance. If you wear a size 8 in most ready-to-wear, you probably wear a size 6 in Not Your Daughter’s Jeans (yes, I’m old enough to truly appreciate them). And, to add insult to injury, you probably wear a size 0 – yes, zero – in Chicos (of course their sizing is a thing onto itself). But here’s the thing – you only wear a size 8 in North America anyway. Rest assured, you’re never going to be able to zip up that size 8 dress off the rack at Harrod’s or, god forbid that you even try, at Galleries LaFayette in Paris. That’s because a size 8 in North America ready-to wear equates to a size 12 in the UK, and generally a European size 42, just maybe a 40 (not a 38 as you might wish). So, where does that leave you in pattern sizing? Probably a size 14.

size comparison chart
Source: fashion-411.com

 

I have one thing to say to you – the same thing I had to say to myself – get over it. If you really want to be able to get your clothing to fit, ignore the number and go with what works. Let’s back-track for a moment to see if we can understand this.

Did you know that clothing sizes were invented only in the early 1800’s? Before that, there was no need of them. If you were well-to-do enough, your tailor simply made your clothes to measure – all of them. If you were less financially fortunate, you made your own, fitting them to your body, your children’s bodies and the bodies of anyone else who relied on you (the matriarch usually) to provide them with wardrobe.

According to a very interesting article in Time magazine titled, “The Bizarre History of Women’s Clothing Sizes” (which is worth a read), true sizing as we recognize it today, really began to develop in the 1940’s. Before that, children’s’ clothing, for example, was sized according to age range. Even today you usually buy baby clothes by age: 6-12 months, 18 months etc., as if every child at 12 months weighs the same!

Interestingly, the standard sizing in the US was developed through an extensive survey of some 15,000 women who volunteered to be measured. The fact that they were paid to do this also resulted in the sizing being skewed toward the sizes of those in the lower socio-economic strata of society.

As the authors of the Time article state,

 “As American girth increased, so did egos…And thus began the practice of vanity sizing. Over the decades, government size guidelines were heeded less and less, items of clothing began getting marked with lower numbers and eventually, in 1983, the Department of Commerce withdrew its commercial women’s clothing size standard altogether.”

Oh vanity sizing! I remember being in a dressing room in the Gap several years ago. I was well aware that the Gap had changed their sizing, especially since I was comfortable in their size 6 jeans. Next door to me were several young women also trying on jeans. Suddenly I heard a screech: “OMG! I’ve lost weight! The size 10 fits!” Sorry, kid. You’ll really have to measure yourself and/or get on the scales to find that out if that’s true. Which is where we begin the search for the perfect fit in sewing patterns. Measuring.

There really is a knack to this measuring stuff. And then if you’re using an off-the-shelf pattern which many (most?) home sewers do, there’s the matter of finding out that you don’t really fit perfectly into any of their sizes. And it’s worth noting that in the sewing world, the notion of vanity sizing hasn’t really taken hold to the same extent, but there is no doubt about it, it’s there.

I stumbled upon this sizing chart from a 1948 Vogue sewing manual…

1948 vogue size chart

So, what size would you have worn in 1948? And here’s their chart today…

vogue size charts 2016

And not really fitting any of them perfectly? So goes the world. My answer was to seek out a way to make a personal moulage, from which I’ll create a personal block, or sloper – terms that I hadn’t even heard of six months ago.

So, I’ve embarked on a new course to learn to draft my own perfectly fitted patterns. It all begins with perfect measuring, and thankfully, I have a wonderful husband whose perfectionism borders on the mystical – a terrific trait in your measuring partner. I began there, then proceeded to the session on beginning to draft. I’ll let you know how it goes!

IMG_1240
My journey to find my perfectly sized clothing begins!

 

Time Article cited: http://time.com/3532014/women-clothing-sizes-history/

Posted in sewing

Vogue 9184: Very Easy? Not so much!

V9184 pattern packageIt is an easy dress pattern to whip up. That is if you actually follow the pattern instructions to the letter, do not veer off into couture sewing territory, do not focus too much on fit, and completely ignore Coco Chanel’s exhortation that the inside of a piece of clothing should be as beautiful as the outside. Do any one of those things, and you’ve got yourself a time-consuming and not super-easy dress-making project.

So, I told you about getting myself into this – veering first into a focus-on-fit situation that resulted in the requirement to create not only one but two fitting muslins, and also to actually redraft the front of the pattern. That and the cutting out finally done, I proceed to the sewing.

It’s a simple pattern: anyone with a modicum of garment sewing ability would be able to whip this up in no time. So that should be with me. However, there are a few issues.

IMG_1201
Hand-basting the princess seams assures me a smooth finish.

I begin with the princess seams that I added to the pattern. Sewing them is really no problem, but I do find it best to hand-baste curves, so there goes the quick seaming! Then, of course, there is the question of what to do with the seam allowances. In my view, they simply cannot be left as is. There is the fraying issue, not to mention the ugliness of the interior of the garment. Hello Coco! There goes the quick seaming. After doing an overcasting test, I decide that the only appropriate seam finish (since I’m not prepared to do Hong Kong seams on a simple summer dress) is to turn and edge-stitch. So I do that and they press out well. Then I move to the back.

 

I stitch up the waist darts which I left in the back and prepare to do the zipper. The pattern says to do a simple slot zipper. I can see the wisdom of a centred zipper with the collar design – I had intended to do an invisible zipper, but in deference to the instructions, I bought a regular one. So I install it and it looks butt-ugly. So I unpick everything and start again. Since I still have only a regular zipper, I turn to my trusty lap zipper, a technique I have mastered. It looks much better, although I do realize that the neckline might be a bit of a challenge to get perfect. The next time, I’ll do an invisible zipper regardless of what the pattern says. So it’s on to shoulder seams and side seams.

The next fitting shows it to be still a big too big for me in spite of all those muslins! I re-pin the side seams, then have to hand-baste them for another fitting. I finally take them in and redo the side seams. I’m happy that I didn’t finish the seams yet.

The collar is an easy one, but I decide to use a ladder catch-stitch instead of a slip stitch inside to a smoother finish. The it’s the arm openings.

IMG_1216

I decided to use a purchased bias binding (since I’ve never actually made my own binding, but it’s on the list of things to do), in a lighter shade than the dress. It’s an easy process and the top-stitching does give a nice finish. The hem and side slits are also top-stitched, and voila! It’s done. But I’m not ecstatic about it. It doesn’t hang as well as I’d like and that colour!

The flax colour of the linen-cotton blend is a neutral that I liked in the shop, but now it looks a bit like a fabric that you’d use to make a muslin. And about that drape – well, there is none.

Here’s where I made my mistake. I should have thought a bit more about the hand and drape of the fabric before I bought it. I had an idea in my mind that I wanted to emulate slightly the look of the linen-look dress in the original photograph. And the tone-on-tone stripes are more my style. When I go back to the pattern envelope, though, I note that linen isn’t even among the recommended fabrics, and I do think there is something to be said about using recommendations from the pattern company – to a point.

Fabrics have what is called ‘hand’, drape, weight and texture, among other characteristics. I’ve always know that each of these plays a part in fabric selection, but I find that I’m sometime drawn to a piece of fabric for its look, which includes colour. If I forget to take the bolt of fabric, unroll a two-metre length and hold it up to see its drape while considering the actual garment I’m about to cut, I’m in trouble. And so I have a dress that I’m not wild about, but does do the trick on a hot summer day.

Maybe all of this experience is as good a reason as any not to have a fabric stash – more about that later!

 

Posted in Couture Sewing, sewing, Style

How to Turn a Fast & Easy Sewing Pattern into a Challenging & Time-Consuming Project!

vogue V9184
As soon as I saw this Vogue pattern #V9184 I knew I had to have this dress. High collar, cut-in armholes, fitted silhouette and side slits. what’s not to like?

I think it takes a certain kind of perverse talent to be able to take a project that is designed to be easy and make it difficult. Or maybe I’m just missing the endless fiddly hand work that my “Little French Jacket” required. Nevertheless, I decided that I needed a linen dress for the summer, so being unable to find anything I like on the ready-to-wear racks, I take a trip to the fashion design district on Queen Street West here in Toronto, visit my favourite fabric purveyor (Affordable Textiles) and come home with all the material and notions I need to whip up a pattern I fell in love with.

 

Early in the season I was browsing through the Vogue Patterns magazine and fell in love with a new pattern – Very Easy Vogue V9184 – which they described as “a shapely sheath with cut-in armholes and raised collar band” that is, according to them, “stunning in stripes.” I was in.

As soon as the pattern came on sale at Vogue patterns online for $5.99, I had jumped on it (regular price in Canada is $33.00…in the USA $22.50 yikes!), so when I finished my bouclé jacket I was ready for a new project while I search for the perfect bouclé for a second LBJ.

I really love the shape of the dress, and I’ve observed that women of “a certain age” who have managed to stave off much mid-life weight gain – and yet have noticed that it ‘stuff’ has rearranged itself – still have lovely shoulders. This kind of cut-in armhole is very flattering. So is the fitted shape. For me, a casual summer dress that isn’t a tent yet isn’t skin-tight is worth considering.V9184 pattern package

I decide to make it in a linen-cotton blend. So I begin the process.

Well, my foray into couture sewing indicates to me that in spite of it being a “fast and easy” pattern, I will have to take the time to make a muslin. So I first fit the pattern to me (and Gloria junior) and mark the changes. I will have to move the under-arm dart and lengthen the bodice slightly. That means I will have to move the waist dart, too. So it begins.

I do the pattern changes, cut the toile and sew it together. Geesh. All those darts look – well, they look a bit old-fashioned. I’m going to have to alter the darts to make a more flattering, contemporary princess seam. I’ve never done this before, but it occurs to me that if I can get it to fit well, I may just have myself a pattern that I might use again and again. So I search online for instructions.

V9184 pattern package modifications
This is the view I’m doing, and those darts really do look quite prominent, no?

Every time I have to find a sewing or fitting answer I am so grateful for the web and everyone who has posted before me. I find a plethora of sites with information, but one is better than all the others. I find that the blog post on the Craftsy web site is terrific (see below in the resources). I want the princess seams to come from the armhole rather than the shoulder, so I get to work.

So, I redraft the pattern and cut a SECOND muslin. Fast and easy? Not so much. The second toile is a much better fit. So I cut apart the second toile and cut yet another pattern. I think this is the third and this is a simple summer dress.

I finally prepare my fabric and lay it out to cut. Maybe next week I’ll have a new dress! Or maybe not. The challenges of the “very easy Vogue” aren’t over yet, I’m afraid!

Am I the only one who can make such an easy project so challenging?

 

 

 

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Resources (these are the online sites I referred to):

Tutorial: Lowering (or raising) a bust dart http://curvysewingcollective.com/

Fashion Design 101: How to Manipulate Darts on a Bodice for Princess Seams http://www.craftsy.com/blog/2014/09/how-to-manipulate-darts-on-a-bodice/

How to Create a Princess Seam for Flattering Fit [these are from the shoulder] http://www.clothingpatterns101.com/princess-seam.html

Posted in Couture Sewing, Little Black (French) Jacket, Style

LBJ*: The Finishing Details on my Homage to Chanel Style!

 

[*Little Black Jacket sometimes referred to as the LFJ or Little French Jacket]

A couple of days ago I ventured down to the fashion district here in Toronto to my favourite fabric store to peruse their bouclé and silk stock – because I’m finished! My Little French Jacket, that is. When I started this process back in March, I vowed that I’d take my time and get it right. I would not rush: I would get the fit right; I would take the time to do tests of all machine and hand techniques involved; and that I would make friends with my seam ripper. Well, I have done that, and the jacket is comfortable (oh so comfortable), fits well, and I think it adds a certains je ne sais quoi to my wardrobe. But it doesn’t quite pay complete homage to Chanel’s original LBJ style, and the story of why this is the case is related to the final part of the journey that I have yet to tell you about: it’s all about the trim.

No one seems to have written anything much about Chanel’s design considerations when she decided on how to trim her original 1954 tweed jackets, but we do know that they (almost) always have had trim.

Often the trim contrasts with the fabric, but these days the House of Chanel’s jackets more often seem to have trim that blends into the fabric. Whichever way you look at a Chanel jacket, it usually has trim around the neckline, down the front, across the pockets and on the sleeves. But that’s not all.

Chanel always said that the inside of a garment ought to be as beautiful as the outside, so she used exquisite silks to line them, and these little jackets were adorned with flat-link chains along the hemline. Originally, these chains played a practical role in ensuring that the jacket hung well even when the wearer raised her hands. You have to admit, though, they make a wonderful style statement even if you’re the only one who knows it’s there. Then, just imagine throwing the jacket over your chair back when dining out. Ah, the chain is now a part of your jewellery! So, in creating an homage to Chanel’s jacket, it’s important to consider the final trimming.

So, I begin to trim the jacket. I have purchased two types of gimp braid: one is a folded gimp, the other a more traditional flat gimp. Strictly speaking about definitions, gimp is made from twisted silk, worsted, or cotton and has a cord or wire running through it. Traditionally, gimp has been used in upholstery work and in making hand-wrought buttonholes. Gimp is then braided to produce the various types we see today and that the young woman in the fabric store who sold mine to me said they call it “Chanel braid.” The truth is that many (if not most) authentic Chanel jackets are trimmed with anything but gimp, although it does give that Chanelesque look especially when layered over other materials such as self-fringe or grosgrain ribbon. Anyway, my plan was to layer flat gimp braid over the folded gimp braid that would fold over all the edges. Well…

That idea didn’t work out very well. In my last post about the pockets, this is when I began to see a problem. First, I delayed the pocket finishing so that I could contemplate the trim a bit more. So glad I did! If I had put the layers of braid on the pockets (notwithstanding the significant bulk problem I would have had), I would likely have had to remove the pockets simply because of how they looked.

First, I hand-stitch the braid to the neck and front edges – it has to be hand-stitched first on the outside, then on the inside. It takes days. Then I pin the flat braid on top and begin hand-stitchng. I get all the way across the front and notice that it is distorting the line of the hem. Although I like the look of the layered braid, I cannot have a distroted hem. So, I finally un-pick the hand-stitching on the top braid and decide that the trim is finished.

 

In the meantime, I’ve been toyng with the braid which I had fully planned to put on the sleeve hems and on the pockets à la Chanel, but the look is too heavy. The pattern in the bouclé is such that it has heavy black patches and any more black just looks overdone.

So, the outside trim is well and truly finished. Now it’s on to the chain.

I had originally purchased a very lightweight gold-coloured chain. When I researched Chanel chains, though, I discovered that her jackets use various chain weights depending on the weightiness of the fabric, and that sometimes the chains are not even gold-coloured. Jackets that are trimmed with silver-toned buttons, for example, will have silver-toned chains. Huh.

The light-weight chain looks peculiar on this fabric, so I find a heavier one and bingo! I have the right chain. Then, ensurng that the chain remains flat, I start securing it invisibly with a double-strand of black, silk thread to the hem just below the lining – it fits neatly between the lining and the turn-up of the hem as it turns out. I start about 2 cm in from the jacket front and continue all the way across, pinning only a few links ahead to maintain the flat edge. I also do the stitiching in fairly short sections – this ensures that the thread does not knot and should a bit of the chan ever come undone, I’ll only have to re-stitch a small section. It’s time-consuming, but worth it. I then ask my husband to join me with his pliers to remove the link when I’ve come to the end. I choose not to measure and cut before I begin to avoid the dreaded possibility of cutting it too short!

The final stitch is in and god love my husband, he pours me a gin-and-tonic!

I try the jacket on and discover it’s the most comfortable jacket I’ve ever worn – and I love it! I’m dying to wear it, but it’s the height of summer in this part of the world, so I’ll have to put it away until October. I just might be able to wear it when we travel to Nova Scotia in September, though. They have cool evenings.

I’m taking only a brief break from jacket sewing to make a linen dress, but I’ll be back at the jackets as soon as the fall bouclé shipments are in! À bientôt!

Posted in Couture Sewing, Little Black (French) Jacket

LBJ*: Chanel-Style Pockets

[*Little Black Jacket sometimes referred to as the LFJ or Little French Jacket]

It’s a bit like giving birth – without all the pain and messiness – when at last I can put what resembles an almost-finished jacket on my mannequin (Gloria Junior as you’ll recall). And there it is, looking for all the world like a real jacket, yet still missing something. Next on the agenda, then, is to consider the pockets, because any jacket that is an homage to Chanel and her style needs pockets.

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It’s beginning to look like a jacket – but Chanel would not be pleased: no pockets or trim!

 

Before Coco Chanel, visible pockets were the exclusive domain of men’s clothing. Long before she designed the first “Little French Jacket” for her 1954 collection, she had already ventured into the external, highly visible pocket game. In the 1930’s she had designed the new sportswear sweaters with these external pockets.

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Well, there are pockets, then there are too many pockets!

 

 

According to most sources, Chanel herself was a little obsessed with pockets. She used them incessantly for lipstick, coins, cigarettes of course etc. and wanted them on her own clothing. Naturally, she thought others would want them as well. Many (if not most) original Chanel jackets from mid-twentieth century actually had four, not just two, pockets. These days even in collections from the House of Chanel itself, some jackets have two, some four, and not all are traditional patch pockets. However, in payng tribute to Chanel’s original jacket, they should be patch pockets – never just flaps! And since that’s what the pattern I’m using has, that is what will adorn the front of my jacket. On the other hand, I will put only two pockets on. I think four might be a bit much for this fabric (and you’ll see how right I really am!).chanel and her jacket

I didn’t cut out the pockets when I cut out the rest of the jacket so that I could be assured of a really flawless matching of the pattern. First I make a new pattern piece from the tissue paper one in the pattern envelope so that I can use it again. There’s really no need for full 1-inch seam allowances since I won’t be manipulating the fabric very much, so I stick with the usual 5/8-inch one. Then I make another pattern piece that is the size of the pocket only to the fold line. I’ll use this for the silk lining.

I then take my pocket pattern piece to the jacket front and place the fold line at the tailor tacks that are mercifully still there in the jacket front so that I can place it in the exact location where I will sew it on. Then with the pattern piece folded back, I mark the pattern where I’ll match it on the top and the sides. When I have that ready, I pin and cut the fabric pieces. Do they match? Well, if they don’t I do have extra fabric. But they do! A relief.

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My red pen marks align with the main lines in the fabric pattern.

 

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The pockets are there. Can you see them? If not, they match!

 

The first thing I have to do with the pockets is to stabilize the top edge. I don’t want the fabric stretching out of shape when I slide a hand into the pocket! So, using the same process I used when stabilizing the front, neck and sleeve edges, I proceed to prepare them for the next step.

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Stabilizing along the fold line.

 

I then cut out the silk lining then machine-stitch it right sides together to the top of the pocket. When I then fold the fabric down on the fold line, the fabric comes down about an inch inside the pocket and the lining covers the rest. Again with right sides together and folded back on the fabric fold line, I machine-sew the sides part way down, trim lightly, then turn right side out. I have to tuck under the rest of the seam allowance in on both the fabric and the lining so that I can finiish it with a hand catch-stitch.

The instructor in the Craftsy course suggests a neat way to ensure that both pockets – which have curved bottoms – are exactly the same. I follow her instructions taking a piece of light-weight coardboard to make a template from the bottom of the pocket pattern. Then I sew a single line of 5 mm ease stiting around the bottom and up the side about an inch. I put the cardboard template inside the bottom of the pocket then draw up the stitches to form the perfect rounded curves. I carefully slide out the cardboard and voila! I have a pocket ready to be trimmed, pressed and have the rest of the lining hand-sewn to it.

The pockets are finished – but not quite. They have to be trimmed before they are hand-stitched to the front of the jacket. So, I get out the first layer of gimp that I plan to use to trim the jacket à la Chanel. But it’s too much, I think. But I’m not sure. So I go off script for a bit and decide that I’m not going to put the pockets on at all until I actually finish the trim on the rest of the jacket. Then I’ll decide about whether I’ll use two layers of trim as I’ve planned, one layer or none. It’s a bit of a design process.

So, my jacket isn’t actually any futher ahead than it was at the beginnning of the pocket process. But the pockets will be ready when I am!