Making a couture jacket has been no different for me. It has been hard to get it out of my head these past two months, and yet I had not moved forward to take the first steps. Fear? Not really. It's just that the techniques for Claire Schaeffer's Chanel-styled jacket are polar opposite to the way that I have learned to sew. Daunting is perhaps a better word.
In every couture garment process the making of a muslin is absolutely essential. And since I have made many a muslin for myself and FabricLady, it was a breeze to use the pattern in a traditional way. And so began "Celeste" - made of humble muslin fabric, all to check the pattern for fit, BEFORE I actually cut in her wool.
I cut the pattern pieces exactly as they were designed for my "size". Patterns have changed over the years...I used to be a perfect 12, but these days, I need a Vogue 16 to fit my busty size. I then sewed it together in the traditional manner: princess seams, side and shoulder seams, then sleeves.
The jacket was still a little small around the bust. I discovered that the side panel under the sleeve was designed to be smaller than I would have normally done - the seams on the three-piece sleeves should match the seams on the jacket under the arm, and they didn't. So to alter the jacket around the bust line, I just made the side panel wider to match the sleeve seams. Voila! It fit!
I dismantled the whole muslin thinking I would use it for my final pattern pieces and there it sat for several weeks. I again lay awake nights trying to figure out how I was going to transfer all those markings to my fabrics. Muslin is not transparent (duh!). After some research on various marking techniques, I decided on tracing paper - it's a little more sturdy than pattern tissue. So finally, after weeks of brain drain I was ready to begin Celeste.
The tracing paper pattern pieces have all the 5/8" seam allowances removed, as described in Ms. Schaeffer's technique. (Don't forget that you have to get her book if you want to sew your jacket using her couture techniques, as the Vogue Pattern instructions describe the traditional assembly process.)
And something else I'm not used to doing when I start a garment - cutting ONE section at a time, rather than cutting out ALL the pieces, all the linings and interfacing in one sitting. I started with the jackets fronts...just because Ms. S. does so in her book.
I cut my large rectangles of wool and silk organza and then settled into a make shift table top in my comfy easy chair by the window, where I had envisioned myself doing all that intricate hand sewing. I used a couple of different colors of thread to do my markings. (I eventually scrapped the recommended white thread as I could barely see it.)
After thread marking of the entire parameter of the jacket front, I marked and hand stitched the organza interfacing to the wool and basted the quilting lines. I then machine sewed the quilting line, using a 4mm running stitch. (Remember that I had checked out the quilting lines in the real Chanel RTW jackets in the Nieman's Chanel salon and found they were done with a machine, rather than hand stitched) So I guess Celeste won't be considered "Haute Couture", as her fabric has been touched with a machine presser foot and needle. Oh well.
The final quilting line is hard to see, but that's the point. It's just meant to help the jacket hold it's shape better and keep the fabric from pulling away from the lining - not be a design element.
I spent a little over four hours on Celeste yesterday, largely because I thread traced on side of the jacket in the same direction as the other side - whoopsie - the two fronts should be a mirror image! At any rate, it was great to actually get in there and start sewing. I'll be finishing the two fronts, marking the button holes, adding some stay tape, and maybe even starting the hand sewn buttonholes.
Laurel. Just do it.