blazer style – 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

What better day to talk about great fabrics for my tailoring project than the first day of autumn? Although, in years past, whenever I thought about tailored jackets I also thought about matching pants or skirts (can you say suit?), these days the thought of a tailored jacket is more likely to have me thinking about jeans and great sneakers. That’s more my style these days. Anyway, my last post saw me rationalizing why I need to do this project and how I will begin to learn about the tailoring process. I have my pattern (along with all 12 pages of instructions it included). So, now I’m ready to talk fabrics.

I love fabrics. In fact, one of my favourite sewing-related books is The Fashion Designer’s Textile Directory.

Call me a sewing nerd if you like, but I love to read about sewing and know a bit more about what I’m doing than simply how to do it. I need to know why. When I considered choosing my fabric for this project, I knew that I wanted it to be a bit tweedier, or bouclé-ish than flat or worsted wool that you see in men’s suits. I knew it would need some texture and I didn’t want another black jacket. I am the first person to say that a black jacket is golden – and is, in fact, the urban Toronto uniform from Labour Day until the long weekend in May – but god knows I have enough black. First, what else should I consider other than colour?

Well, I have another new book. This one’s on tailoring and it arrived yesterday. What could be more perfect for me right now than The Classic Guide to Sewing the Perfect Jacket?

It has 400 well-shot photos that I’m sure I’ll refer to as I move through the project. Today, I was focusing on what the authors had to say about choosing fabrics to tailor, especially if you don’t have a lot of experience. Well, that would be me.

This book identifies five characteristics to consider when selecting tailoring fabrics.

Interestingly, among them is, in fact, colour! Yes, colour is important because, and I actually knew this going in, medium or darker colours hide inner construction better than light-coloured ones. Also, just think about how a white fabric might look after all the handling you have to do when you tailor a jacket.

The book also says that I should consider fibre content. This should have been obvious to me, as well. Natural fibres can be shaped far more easily than synthetics. Since tailoring requires lots of pressing and manipulating into shapes, this is important.

The next important characteristic is the fabric’s weight. It also makes a lot of sense when you think about it. A fabric that is too light will get over-pressed very quickly. On the other hand, I’ll never be able to get a crisp corner (or anything else crisp) with a really heavy fabric.

Next is texture. I learned this when I made my first Little French Jacket. Those jackets are lined by machine-quilting the lining to the fabric. The stitches are, therefore, visible on the outside. However, with enough texture, the stitching is all but invisible. Just take a look at an authentic Chanel jacket in a consignment store sometime. They are machine-quilted. So, in this kind of tailoring I’m doing now, there will be some little hand-stitches that might otherwise show on a smooth fabric. Textured it is, then.

Finally, there is a question of the weave. A medium weave is easily pressed and will hold its shape. I would have to fight with a tight weave, while a loose weave will stretch.

Well, four out of five ain’t bad! My fabric choice may have a weave issue, but I’ll deal with it. I’ve used loose-ish weaves before.

I think it’s fair to say that most people choose a fashion fabric first, then they choose the lining. I did this a bit backwards since I had a piece of silk charmeuse I loved that I bought when we were on vacation (pre-COVID) earlier this year. I loved the muted pastels even though I rarely wear them. I also love the feel of authentic silk charmeuse against my body, so I always thought it would make a great lining. I then had to find a fabric that would sort of “go” with it.

I found the fabric on Queen Street West here in Toronto at a little fabric store I mentioned n an earlier post. It’s a silk-cotton blend in a peachy tweed weave the incorporates yellow, green and cream. I loved the fabric and I’m going to make it work.

I think the lighting on the right side photo captures the colour best.

Then, what about what goes inside the jacket…the tailoring stuff?

I needed hair canvas (more about this in a later post). Two weeks ago, my husband and I had a weekday, weekend away in Niagara-on-the-Lake (here’s a video we made if you need a bit of armchair travel in these peculiar times). On the way, I stopped in Fabricland (Canada’s answer to Joann’s but up a notch or two) in St. Catherine’s, Ontario. I asked a lovely saleswoman if they had any hair canvas. She thought for a moment then managed to find a bolt stuffed away under the cutting counter.

“You know,” she said, “I’ve worked here twelve years and this is the first time I’ve ever sold any of this.” This was corroborated by another sales clerk who had never sold any either. So, it was a good day for them. At $22 a metre, it wasn’t cheap (and it’s only 20 inches wide).

I also found the stay tape I’ll need for the interior edges and some buttons that will work.

I’m excited to get on with cutting the pieces all out. There are so many of them I’ll need a database to keep track! Talk soon.

Tag: blazer style

My Tailored Blazer Project Continues: The lapels make the design

FYI:

The Great Tailored Blazer Project: My fabulous fabric (and other things I need)