November 2020 – The G. G. Files

When it comes to tailored jackets of any type, it seems to me that the collar and lapel (or revere as my UK friends would say) shapes make the design.

According to Indochino Made-to-Measure, there are three basic lapel shapes: notch, peak and shawl.[1]

Further, they suggest that each of them has a particular occasion. For example, it seems that the majority of men’s blazers have notched lapels which are the standard for single-breasted men’s suits and are the most common shape. The peak is evidently more expensive to create and tends to be used for more refined styles such as tuxedos. The shawl collar is inspired by the smoking jacket and these days seems to be found on more formal clothing. My husband’s most recent tuxedo jacket has a shawl collar which I think is fabulous on him (even when styled more casually with jeans and a pocket puff – on a cruise!).

Another fashion blogger adds three more lapel styles, which are really variations on the basic three: the contrast lapel collar, the contrast trim notch lapel collar (using piping or binding) and the cloverleaf lapel collar which looks to me to be better described simply as rounded.[2]

This season’s women’s blazers offer a variety of lapel shapes. I’ve noticed that many of them have exaggerated shapes. Just look at that pink Gucci one. Not sure I like that one at all!

Dolce & Gabbana, Gucci, Smythe, Smythe and St. Laurent

But what about my own blazer lapels? There is no doubt in my mind that getting this part of the project right is the key to a beautiful design and finish. So, I began. The collar and lapel on this Vogue 9099 pattern are pretty standard – and classic.

This is the kind of shape that transcends fads and seasonal fluctuations in style. In my book, that makes it a great design. And a good one to use to learn basic lapel construction.

Remember those twelve pages of couture instructions that came with the pattern? The ones created by Claire Schaeffer herself? Well, after doing some research on how to proceed here, I part ways with her once again. As you’ll recall from my previous post, I made this decision fairly early on since it had an impact on when and how I attached the undercollar and facing.

From the outset, I was confused about the interfacing for the upper collar. The pattern says I need to cut a piece, but there is nowhere on the instructions that indicates when (or even if) it needs to be attached. I just went for it.

Then, I considered machine pad-stitching the undercollar, so I did a test, but I didn’t like how it looked on the outside, so I did it by hand.

I then attached it to the neckline (not per the CS instructions if you happen to be using this pattern).

I used my newest tailoring gadget for pressing the collar – my point presser. It made the job so much easier! I recommend getting one before doing this kind of project.

Then I attached the front facing to the upper collar, pinned it on the body on my mannequin (Gloria junior) to check for the turn of the cloth. Note that there is three-eighths of an inch of undercollar chowing when the collar is turned.

If I didn’t cut that off before joining the upper and lower collar, the collar would stick up. This is the method most people suggest. So, I trimmed it and then attached it permanently.

I did this in three steps: the collar, then one side of the lapel, then the other side of the lapel. No backstitching. I left long strings to tie off later (Oh god, there are so many threads!).

Trimming the seam is kind of a magical thing. I marked the breakpoint then trimmed the seam allowance off the facing side below the breakpoint and on the jacket side above it. This allowed the fabric to turn beautifully. What a concept!

There is no doubt that creating that collar and lapels (or reveres if you like) makes it seem as if the blazer is finally coming alive. Once there are sleeves, I think I’ll be in love with it! Onward!

FYI:

Quick & Easy Lapels https://fcs-hes.ca.uky.edu/sites/fcs-hes.ca.uky.edu/files/ct-mmb-194.pdf

[1] JACKET BASICS: THREE TYPES OF LAPELS, http://blog.indochino.com/jacket-basics-3-types-lapels/

[2] http://amystonefashion.blogspot.com/2018/04/6-mens-blazers-suit-jackets-collars.html

Jackets come in all kinds of shapes. There are fitted jackets, semi-fitted jackets, boxy jackets, relaxed jackets, tent-like jackets and the list goes on.

Tailored jackets come in a slightly more restricted list of shapes. For example, it seems that a tailored jacket by definition has to be a bit fitted, so that leaves out relaxed or tent-like, and I venture to say, relaxed. But what about boxy?

When I embarked on my fit of making Little French Jackets inspired by Chanel, they tended toward the boxier style.

When I think about the internal construction of those ones, it makes sense. Although there is some stabilization inside, especially on all the edges, there is little interfacing (if any) and certainly no hair canvas.

The internal stabilization on the Chanel-inspired jackets consists of edge taping and machine quilting.

It is the technique of machine-quilting the lining directly to the fabric that gives these jackets their soft shaping. Not so with this tailoring stuff.

In my last post, I had finished the internal stabilization (that is, until I get to the sleeves – a topic for another day), so then it was time to begin to put it all together. And the first thing on the agenda is to create those welted flap pockets. So, here goes!

In this pattern, since there are no side seams and the pockets run across the front seam, I had to attach the fronts to the side panels first. Then I began the process of creating those welts. The order of operations, though, is a bit questionable on this pattern.

According to the instructions, I was supposed to do the welts first. However, I did some research, and Pam Howard who does a jacket class on Craftsy, says that it’s better to make the welts first then use them as the guide for the precise length of the opening for the welts. That made a great deal of sense to me.

Once that was done, I created the welts. This is so much easier than it seems at first glance. One of the things I left out of the process was the stays Clair Schaeffer suggests in the vogue pattern instructions. It just seemed like too many layers of material in my view. I know why she suggests them – they do provide further stabilization – but if the pocket opening is less than six inches, it shouldn’t gape. I hope.

The welt is interfaced with silk organza

Once the welts were in, it was time to install the flap – again an easy process if you get it turned around the right way and stitch it in the right direction! I had to check this more than once to be sure I got it right. Then there were the pockets bags. Dear god!

My pockets are, of course, made from the silk charmeuse that will eventually (sewing gods willing) line the body and sleeves of the completed jacket. Now, I love silk charmeuse, and it is a dream to wear, but when you are working with it, that dream can quickly devolve into a nightmare. As I installed them, they became a terrifying tangle of silk filaments. It finally worked out – at least what I’ll be able to see on the outside looks terrific. Anyway, I basted them shut to keep them from dragging as I work on the rest of the body. Maybe I’ll leave them closed!

As I moved forward with putting together the rest of the body of the jacket, I again parted ways with the “couture” instructions in the pattern. Claire Schaeffer puts the front facing on first, in preparation for her method of dealing with the eventual turn-of-the-cloth issue in the collar. All the research I’d done suggested that most people who do this tailoring, use the following order of operations which makes sense to me:

Side seams (and princess seams if any)
Shoulder seams
Undercollar
Alter undercollar for turn-of-the-cloth (I’ll get to that eventually)
Front and back facings (if there is a back facing. This pattern doesn’t have one, but if I make it again, I’m going to draft one) along with the upper collar.

The Clair Schaeffer directions require you to install the front facing before the shoulder seams. I know why she does this, but I didn’t like it so I did it the way everyone else seems to do it. Because I did it my way (as Frank Sinatra would say), I did have to install the upper back and centre-back vent and hemline interfacings at this stage.

Making sure the interfacing pieces were on the correct edges of the correct sides of the back was a challenge. If I didn’t get this right, I knew my vent would be wonky.

I used my own adaptation to deal with the interfacing at the shoulder seams, cutting the front interfacing seam allowance off and then overlapping the back across the front for support.

This is a riff on what CS tells you to do in the pattern. Her instructions would have left me with too many layers – again (see above). Naughty, naughty.

Anyway, I now have something that is beginning to resemble the bodice of a jacket. My next challenge is revisiting my collar and lapel skills which I left behind me thirty-five years ago!