What would a jacket be without sleeves? Well, a vest, I suppose. But the truth is that a sleeve is not a sleeve is not a sleeve. In fact, when I look at this season’s runway collections (and everything in ready-to wear from the most expensive to the cheapest fast fashion) it seems that it truly is the season of the sleeves.
The fashion writers are calling them “statement sleeves.”
There would be this monstrosity from Gucci…
Or this equally hideous one from D & G…
Or this from Prada (as my husband would say, before WTF?, there is WHY?)…
But even more ubiquitous than all of the rest are various iterations of bell-shaped sleeves…
I don’t love big sleeves, although an understated bell sleeve would be my style. So I’m not very adventurous…but I’m true to my style and really, doesn’t a sleeve have to have some practicality? Wouldn’t it be nice to wear sleeves that won’t drag in your pasta sauce, get caught in the escalator, elevator door, car door, subway car door, snag on someone’s enormous backpack, strangle you in a revolving door? Or is it just me? Anyway, this does bring me to the topic of beautiful, well-fitted jacket sleeves à la Chanel style.
When I made my first Little French Jacket I did a bit of research on what Chanel was really going for when she designed the three-piece sleeves in her original jackets. Apart from the fact that the three-piece sleeve fits better than the two-piece, which fits better than the one-piece sleeve, there was a bit more to it. For Chanel, the sleeve design began with the armhole. In these jackets, they were meant to have higher armholes than other jackets so that you could raise your arms without the jacket pulling up very much. If you think about it, that’s not a bad idea. Anyway, before we go there, I have to do one more thing with the lining of the jacket body: the lining has to be basted to the armholes so that when I set in the sleeves, I can then finish the armhole seam in the lining by hand. Now, on to the actual sleeves.
In the past I’ve wimped out and made only a two-piece sleeve, which does have its charms and offers considerably more opportunities for a good fit than a one-piece sleeve. This jacket, however, has a three-piece sleeve with a vent that will be trimmed and have two buttons with matching buttonholes. These sleeves are lined in exactly the same way as the body of the jacket: the silk charmeuse is machine-quilted to the fabric and the finishing is all done by hand. Only the actual setting in of the sleeve itself is done by hand: the lining is hand-stitched at the armscye.
The pattern’s designer (Claire Schaeffer – Vogue 8804) wants me to trim the sleeves before I quilt the lining on. However, my trim has to be sandwiched between the lining and the fabric. That means that I’m hand-stitching the trim to the underside of the fabric before I finish the lining edges around the vent opening. In fact, before I do any finishing.
Setting in sleeves is a wonderful challenge in my view. So many people who sew seem to complain about this, but with practice, it gets easier. With this kind of wool tweed boucle, once you have two or three lines of machine gathering stitches in the head, the shape can be eased in with both the stitches and a lot of steam over the tailor’s ham. Claire Shaeffer also suggests that if you’re not going to set the sleeves in immediately after shaping, you should stuff them so that they keep their shape. Seems like a good idea to me, but I plan to shape them one at a time and set them in.
Ever since I was in junior high school and set in my very first sleeve, I have always basted in the sleeves. If I don’t I have hordes of pins that continually stick into me. So I’m hand-basting as always with my Japanese cotton basting thread. Once I have it the way I want it, it’s time to sew it in. but this time around there is also going to be one more step.
These jackets are meant to be a bit slouchy, but only a bit. I guess you’d say they are meant to be soft. This means that generally there are no shoulder pads or other such underpinnings. However, my recent research suggests that a sleeve-head “cigarette” is often inserted. I’ve seen such a thing that looks a bit like a rolled cigarette, but more often than not when searching for a “sleeve-head cigarette” you’ll find it’s more like flat tape. I decide to make my own by measuring from notch to notch on each sleeve and cutting a 1 ½ inch wide strip of quilting that I used when I customized my dress form (Gloria junior). I then attached it by hand to each of the sleeve heads before drawing the lining up to the sleeve head, turning it, pinning it, hand-basting it then finishing the had-insertion. I use doubled silk thread for this since there is relatively more strain on armholes than there will be on the rest of the lining edges.
As for the results with the sleeve-head “cigarette,” well they are spectacular!
My jacket is taking shape! I’ll be doing the fun part of finishing with buttons choices and those four lovely pockets, but that will have to wait. My husband and I are celebrating our 30th wedding anniversary on Tuesday and are off to South America for a vacation to celebrate. See you in November!
7 thoughts on “Sleeves for my Little French Jacket (#3)”
I completely get what you mean. Not a big fan of unpractical clothing. Can’t wait to see your jacket when you finish it. Have a lovely trip and congrats on your anniversary.
You’re so right. Clothing should be beautiful and functional. I think that this was at the heart of Chanel’s style aesthetic. I look forward to sharing my finished piece . After Ecuador, Peru and Chile!
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Beautiful! Sleeve heads make all the difference in any jacket. Your fabric is beautiful.
Thanks! Those sleeve heads were a godsend. And the fabric was a bargain, which cannot be said for the silk lining!
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I also picked up on the sleeve focus currently showing on the runways, but it really hit home when I was browsing through the September Vogue issue and came across Vera Wang’s work. I find the detailing in her sleeve structures so fine in their exaggerated forms, especially when juxtaposed with the corset work and the bareness of the shoulders and collar bones.
I personally love to wear long sleeves – the longer the better! – and love to see and feel architectural detail in a sleeve. Although exaggerated on the runway, these current sleeve exaggerations remind me of the architectural detail I admire in medieval era clothing – Henry VIII comes to mind here…
I look forward to seeing your finished jacket with the completed three-piece sleeve work. Your work is so very fine!
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Thank-you! I hope not to disappoint and really appreciate your comments. (PS I’ve been on holiday in South America and have just returned to photograph the finished jacket!)
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