Couture Sewing: The Couture Cardigan Jacket Book and DVD

 The book is 140 pages long and contains photos and instructions how to complete the different couture techniques, along with beautiful photos of Chanel jackets.  

In the accompanying DVD the author, Claire Schaeffer, demonstrates how to complete a jacket with detailed instructions.  She also shows us numerous real Chanel jackets with closeups of different techniques used to finish them.  I watched the DVD several times before and during the making of my last jacket, and will watch again to refresh my memory as I work.

Pattern V8991

The pattern is very detailed.  There are 112 steps in the pattern instructions, each accompanied by illustrations.  Many of the finishing steps use hand stitching.  The instructions include information on how to do the different hand stitches.  

The pattern is rated for "Average" sewers, but I'd rate it more for "Advanced".

Starting the Project

This is the pattern I'll be making, Vogue V8991.  I'll be making the jacket in a black/gold/white tweed wool.  I'll be using Claire Schaeffer's book Couture Sewing: The Couture Cardigan Jacket as a reference. 

I've assembled the materials needed:

• Jacket body:  Italian black/gold/white tweed wool from Mood.
• Lining:  Gold China silk from Mood.
• Trim:  three different trims from mood, final selection to be made when the jacket is farther along.
• Interfacing:  Silk organza and Pellon Ultra Weft
• Buttonhole silk twist thread from Superior Threads.
• "Handcrafted by" labels from Label Weavers.
• Gold chain weight and Japanese basting thread in four colors from Susan Khalje Couture.
• Black and gold buttons from Benno's Buttons. I previously ordered two different gold buttons from Mood, but ended up deciding the black with gold stands out more. 
• Other materials including pattern, Easy Pattern tracing material, muslin, thread, and stay tape from Joann's
  
  

  

  
  
  
  
  
  
  
  
  

Muslin (Toile) V1

I'll first make the jacket in muslin (also referred to as a Toile) so I can make any adjustments to fit, and then will use the final muslin to make a pattern for cutting the wool jacket fabric.  I cut the muslin using adjustments I expected from past experience, shortening for my height and using a smaller size in some areas and larger in others.  On the first pass there are numerous adjustments needed - the sleeve cap needs to come in tighter, armscye raised, sleeve shortened, etc.  

Muslin V2

The second version of my muslin is much better.  I'm not going to make the jacket as snug as shown on the pattern cover.  Now that the muslin fits I can take it apart and use to make my pattern.   Taking the time to get the muslin fit right will let me start cutting the expensive fabric with confidence.

Making the Pattern

Today I'm using Pellon 830 Easy Pattern to make the final pattern.    When I made the muslin pieces I drew all the lines and markings for quilting, grainline, etc. I also drew in some minor adjustments once I tried on the muslin.  Now I will trace the muslin, with any adjustments, onto Easy Pattern.  When I want to make this jacket again I'll be able to go right to the Easy Pattern version.

• Note that the pattern does NOT include seam allowances.  The edges of the muslin are where the seamlines will be sewn.  I will add the seam allowances when I cut the final fabric.  This is the method used in Claire Schaeffer's Couture Sewing book.
• The exception is at the hemline, where I added extra length so I can decide on the final length of the jacket once I can try it on.

Cutting and Marking

I've laid out the pattern pieces and then cut out rectangles (I bought enough extra fabric to allow for this).  I've allowed at least 1" around each side.  I will later cut 1" seam allowance, rather than the 5/8" allowance normally used in sewing.  This method is in the Couture Sewing book and DVD.  The lining is also cut into the same rectangles.  This makes laying out the interfacing and lining and doing the quilting much easier.

Now I mark all around the edges and then mark all the different pattern markings and quilting lines in thread.  I'm using Japanese cotton basting thread in different colors for the different markings.  The thread is very easy to work with, thick so it's easier to see, and easy to remove.  I'm also pinning a sticker on the outside of each piece indicating which part it is and Left or Right.  The difference between the right and wrong side of this fabric is very subtle, so this helps to ensure I don't accidentally sew pieces inside out (which I've done before).   This part is slow going.  There will be no chalk or pencil markings on this fabric.

Interfacing and Stay Tape

 I've placed lightweight fusible interfacing where the buttonholes will be sewn.  I'm using silk organza for the rest of the interfacing - I want just a little body but no stiffness.

Stay tape is hand sewn down the front edge (one edge hand sewn to the jacket fabric, and the other edge stitched just through the organza but not through the jacket fabric).

Update 10/7:  I've decided to remove the silk organza from the front panel, and instead use Ultra Weft fusible.  The fabric is very loosely woven and I'm happier with the drape of the fabric with the weft insertion interfacing.  I'm keeping the silk organza for the rest of the interfacing (hem and sleeves).

Choosing Buttons

Buttons arrived today, and somehow I managed to double my order by forgetting to remove items from my cart. I'm going to keep them all, but will have to decide which ones to use.

Buttonholes

Buttonholes are sewn to the front of the jacket before the lining is sewn closed.  There will be a finished button on the outside of the jacket, and then a faux bound buttonhole on the lining side so both sides look nice.

I started with hand sewn buttonholes in black silk twist thread, but the fabric is bumpy and ravelly and the buttonholes aren't as pretty as I'd like.  After trying a great number of buttonholes with different threads, bound buttonholes using different contrast fabrics, and "Spanish snap" buttonholes, I've finally selected a machine buttonhole using the "Heirloom" setting on my Viking machine.  The thread is a gold embroider thread that picks up the gold flecks in the tweed.

I've hand basted a small silk organza square on the inside of each buttonhole, for added stability and to help the stitches to run smoothly through the machine.

Here's one of the finished buttonholes

The lining side is finished with a "faux bound" buttonhole.  You baste two strips of fabric for the bound edges, then cut into the lining and tuck it under a tiny bit and hand stitch it closed.  The silk lining is thin and slippery, so it's tricky getting the edges turned under.

Quilting

The lining is quilted to the jacket pieces before the pieces are sewn together.  The lining is first pinned and then basted to the jacket fabric.  I'm stitching with 40 weight embroidery thread, walking foot attachment, and stitch length set to 3.0.  The threads ends are pulled between the lining and jacket and knotted, so there's no visible knot on either side.

Assembling the Pieces

I'm departing from the pattern instructions a bit, and going more with the instructions for V8804 nd the "Couture Jacket" book and DVD.  

10/8/20:  The lining has been quilted to each front and back section before the pieces are sewn together.  To sew these pieces I'll move the lining out of the way then sew, baste, and then machine stitch the outer jacket sections.  

I'm still working with the rectangles here.  To stitch each jacket section together I'm using the basting I sewed in the Marking process, with the yellow basted lines representing the seam lines.  Then I trim each seam allowance to 1", instead of the 5/8" more commonly seen with home sewing.

When the jacket sections are joined, I trim the corresponding lining seam, turn the seams and hand sew closed using a small running stitch.

Trim

I purchased three different trims, but none was quite what I wanted.    I ended up making trim by cutting strips of jacket fabric on the bias, turning under to make a 3/4" ribbon, topstitching 1/8" from edges and then trimming away any excess fabric to minimize bulk.  The trim will next be hand sewn to the jacket.

This is the finished trim on the jacket.

Shaped Collar

The collar on this jacket is cut as a straight rectangle.  The interfacing is shaped normally.  The collar fabric is ease stitched with three rows of small basting stitches.  It's pinned to the interfacing and the basting stitches used to gently ease the rectangle into the curved shape.  Then the collar is steamed to shrink out the fullness and set the collar into shape.  Here I've started easing the collar into shape using a steam iron to gently steam and then pat the fabric into shape.

The collar seam allowances are pressed down and basted, and the collar is hand sewn to the jacket body.  The seam allowances are trimmed.  The lining will be attached to the collar later.  Hand basting really helps to fit the pieces properly, especially with this fabric that's prone to ravel and stretch.

 I've decided the collar doesn't need trim.

Lining

The lining was quilted to the jacket pieces before assembly.  The outer jacket sections were machine sewn, and the lining sections joined by hand.  

Next the lining is hand stitched all around the front and hem.  Unlike ordinary jackets this lining is stitched all the way to the edge of the jacket.  I first basted the edge of the jacket, then basted the lining in place, and then hand stitched to the jacket

The collar section is added last, again hand sewn.   Here I've pinned the collar lining in place preparatory to hand stitching it to the jacket collar.

The sleeves will be completed in a similar fashion.

Here's the front with the collar sewn in place. I really like having the collar lining all the way to the edge, so there's only silk against the neck.

The finished edge-to-edge lining

Sleeves

The jacket has three-piece sleeves.  The pieces are cut with the grain at an angle to encourage the sleeve to curve like the natural curve of the arm.

Here I've sewn the three jacket pieces together by machine, interfaced along the edge, and hand sewn the trim.  Next I pinned the lining in place and hand basted the quilting lines.

I next sewed the buttonholes.  Next time I'll sew the buttonholes before sewing on the trim, as having the bulk of the trim in the way makes it a little more difficult to sew the buttonhole.  

Next I hand sewed the lining around the hemline, and hand sewed the center sleeve closed.  Now I'll move the lining sections out of the way and sew the outer sleeve to the jacket.

Once the sleeve is sewn to the body I trim and press, hand sew the sleeve lining to the jacket, and sew on the buttons.  One sleeve is done, one more to go

Finishing Touches

 

Chain Weight at Hem

One of the secrets of Chanel's jackets was the chain weight at the hemline that makes the jacket hang beautifully straight.  When I try the jacket on before the chain is sewn in, and again after the chain is sewn in, there's a noticeable difference in  how the jacket hangs and feels being worn.

This chain is from Susan Khalje Couture and at $.70 an inch is not an inexpensive addition, but it makes a big difference in the finished jacket.  This chain is shiny, heavy (3 oz.), and looks like a lovely piece of jewelry.

The chain is hand sewn along the hemline, either right at the hemline or just above it.  I first basted in place, then hand stitched along the top every other link, and then back again on the bottom edge every every other link.

Pick Stitches along Edge

Tiny pick stitches are sewn along the lining edge to keep the lining nice and flat along the edge, and to keep the lining from rolling outward with wear.

Darts at Back Waist

In the photo of the back jacket lining you'll notice that there are darts in the back lining, but no darts in the jacket fabric.  The darts are made in the lining only and then the jacket fabric is steam shrunk around it. This gives just a little nip in at the back waist without having extra seams in the outer jacket fabric.  In the pattern instructions these darts are machine sewn while the back is being constructed.  In the "Couture Sewing" DVD it's done by hand after the back is sewn together.  I've opted to use the latter method.

Label

As the last step I sewed in a "handcrafted by" label ordered from Label Weavers

The Finished Jacket

 I'm SO happy with the finished jacket!  I'll be able to wear this lots of places and outfits from yoga pants to dresses.  I especially love the shaped collar, a technique I haven't used before.  With the lining quilted to the jacket it's so easy to wear, and the chain at the hem makes it hang beautifully.

Here's a view of the inside showing the finished lining