Claire Schaeffer – The G. G. Files

My Tailored Blazer Project: The Finished Product

Posted on December 28, 2020 by ggherself

It seems so appropriate that as we enter the final days of 2020, I have finally finished that last of my two major 2020 sewing-designing-related projects for the year. At the beginning of the year, I set a goal to master (as much as possible) shirt-making. That project took up much of the first half of the year. The second goal I had was to learn a few things about traditional tailoring. In September, I began the project – I have now finished it.

When last we spoke (okay, I did most of the “speaking”), I had a complete blazer – complete except for a few crucial details, namely a lining, buttonholes and buttons.

I waited until I was at the point of needing a lining before cutting the silk charmeuse to avoid the dreaded fraying that is a characteristic of this otherwise divine fabric. If you’ve never worn a jacket (or dress) lined with silk charmeuse, you are missing out on one of life’s exquisite pleasures – and I’m sure we can all agree that treats like these we can experience alone are much needed in this strange year.

It’s a bit pricey, but it’s worth every penny. Anyway, when you cut it out (single layer for the least amount of frustration), the silk filaments begin to fray ever so slightly at first, then it gets worse if you manipulate it too much. Thus, I wait until the last possible moment to cut.

You’ll recall that I’m using Vogue 9099 for this project. Of course, this one is a Claire Schaeffer pattern where she wrote the twelve pages of instructions. The pattern also provides separate pattern pieces for the lining, so you don’t have to create them yourself. My problem is that some of the instructions were a bit perplexing.

For example, when the pattern says, “cut here for right side,” which “right side” does it mean? Right side as you look? As the lining is right side out? Inside out? I recut it twice and still didn’t seem to get it right. I figured that this meant the side of the lining in the back that went on the right side of my body. Well, I thought wrong. Thus, I ended up with a vent lining that didn’t work. I had to do a frustrating workaround but ended up with something acceptable., Whenever I make a boo-boo like this, I always try to make it look intentional. It sort of worked. The bottom line for me was that the instructions were sub-optimal. After a career in corporate communications, writing and twenty-six years as a university professor, I figure that I should understand simple instructions. Nope. I’d cut my own lining the next time.

I was happy I had decided to insert it by hand (although it’s a bit of a hybrid insertion since I set the sleeves in the lining by machine). This made it easier to correct my mistakes. I would highly recommend waxing the thread! It made it so much easier.

Then it was time for the buttonholes. Well, of course, you’re supposed to do hand-worked buttonholes. I’ve done them before, and I have to admit that I’m not that good at it. So, I did a few samples of machine buttonholes, and I was pleased with the results. In fact, with this fabric, the buttonholes are all but invisible!

Then I popped on the buttons, did a final press, and voila! A new jacket!

I am so bad at taking selfies and the photo on the right doesn’t really do the fit justice, but you can see the length.

Through my research and this process, I’ve learned so much about the fine art of tailoring – and it is, indeed, a fine art if you ask me. Next year, I’m going to try my hand at modern tailoring that uses fusibles. Well, that’s only one of the projects I’m planning. In the meantime, I just need a place to wear a nice blazer. Oh well, come the spring, I’m just going to wear it when I go out for a walk around town! And…

A muslin/toile for my new Little French Jacket: Marking for perfect fit

Posted on August 3, 2017August 3, 2017 by ggherself

coco quote Coco Chanel is often quoted as having said, “Dress shabbily and they remember the dress; dress impeccably and they remember the woman.” And nothing says impeccable dressing to me more than perfect fit. Oh how I strive for perfect fit (as anyone who has read previous posts on this journey with me will know!). As I advance down the road toward Little French Jacket #3, I am faced squarely with fitting a new design rather than reusing an already fitted one. Of course this begins with the muslin.

When last we spoke I had done a preliminary pattern fitting, tweaked a few known problems, and then began cutting out the muslin to create my first test jacket – and with any luck and a few more tweaks, it will be the only one I’ll need.

In the Spring 2013 special fitting issue of Threads magazine Susan Khalje begins her article on creating a muslin by saying, “Muslin may be an inexpensive fabric, but a muslin test garment is worth its weight in gold.” And I wouldn’t even consider cutting into that expensive bouclé or that even more expensive silk charmeuse for the jacket lining before getting as close to a perfect fit for the pattern as I could possibly get. This is especially important in the case of these jackets because of the nature of the fabrics themselves. Both bouclé and silk charmeuse fray appallingly and the less they are manipulated the better. This means that there should be no seam ripping whatsoever. The only way to avoid redoing any seam in my view is to be absolutely certain that the pattern fits then baste everything before sewing. We’ll see how that goes.

Anyway, I now have my muslin fabric cut out and am ready to mark it. I am going to be marking and working with seam lines as I mentioned in my last post, rather than seam allowance edges, so the muslin pieces are pretty roughly cut out. Now I have to transfer all seam lines, grain lines and other markings onto the right side of the muslin pieces. The right side you ask? Well, this is what I asked after a lifetime of tailor’s tacks in good fabrics (I’ll get to those as well – wait and see) and piddly little pieces of carbon tracing paper sandwiched between two pieces of fabric to mark on the wrong side. I learned that approach in long-ago home ec. classes! With the couture approach to muslin creation, however, I need the markings on the right side so I can see them when I do the fitting in due course. Won’t I need some marks on the inside for sewing – well, yes, but I’ll get to that.

I’m using large sheets of dressmaker’s waxed marking paper that I bought online from Susan Khalje’s web site. When I started using it I thought, “Where have you been all my life?” I think each sheet (it comes in a tube of 4 sheets of different colours) measures about 26 inches X 39 inches.

The sheets of the heavily waxed paper are enormous and wonderful to work with. But they do cause a bit of hand staining! (It comes off easily!)

I roll out the red sheet (I like red for my first pass on muslins) on my cutting board and hold it in place with random things on the four edges that will otherwise curl unmercifully. I have a tape dispenser on one, a pair of shears on another – well, you get the idea.

I place my first cut-out muslin piece on the tracing paper and just begin tracing all the marks with my tracing wheel. When I need to move the piece to be closer to me, I just move it. When I need to turn it, I just turn it. There is no rearranging of carbon paper etc. I’m in heaven. I mark everything in sight. Grain lines for sure, seam lines, darts, circles, notches, waistline, bicep line, high figure point etc. When I have all of this on one piece and I have carefully checked to ensure I haven’t missed any markings, I remove the tissue paper pattern, re-pin the two layers together and just turn it over. I use the markings on this side to mark the other side. Brilliant! I then take a red pen and label each piece: centre front, side front, upper sleeve etc. I repeat this process with every single piece. Because I’m a bit OCD about this process, I actually note which is the right side and which is the left for each piece and mark this as well.

I’ve marked from one side, removed the tissue pattern, re-pinned and turned the piece over to use the initial markings to mark the other side.

I need to say a few things about this pattern (Vogue 8804). It is Claire Shaeffer’s design for these LFJ’s and on the pattern pieces she has provided markings for the quilting lines. When made a LFJ before, I always made my own decisions regarding the location and spacing of the quilting lines based largely on the pattern woven into the fabric itself. However, I do note that since this one will have buttons and buttonholes, and the front will be underlined with silk organza which she specifically indicates should be quilted directly to the fashion fabric rather than doing this line through the lining, I do mark those quilting lines on the front pieces. I will leave out the back markings though, and make a decision and measure them when I get to the quilting part. Vogue 8804 pattern front

So I now have all the pieces marked on the right side, but I’ll be putting right sides together to sew up the toile, so how in the world do I get the marks I need on the wrong side? Thread tracing to the rescue.

I put all the tissue paper pattern pieces back in the envelope: I shouldn’t need those ever again as long as I live if I get this right. Then I take the muslin pieces to the machine. I thread it with red thread. (Remember, I like red for my first pass at a muslin then I know which marking I’m looking at.)

Using a 3.5 mm stitch length (it does go faster this way and there is less puckering), I sew along any line I will need to sew. This means I don’t thread-trace grain lines, waist markings etc. I don’t back-tack at all and I sew to the end of each line, stop, cut the thread, then sew the next one so that I have very clear transections of the seam lines. This should make it easier to match up the corners.

When this process is complete, I have a perfect set of wrong side sewing markings. I take all the pieces to the ironing board and give them a good steam press. I’m ready to sew the muslin together.

Using a 3.5 mm stitch length and dark grey thread to differentiate the stitching line from the thread tracing line, I whip it together. Well I whip it and carefully prepare and set in the sleeves to be honest. Once it’s complete, with great trepidation I put it on, approach the mirror, and hope that it comes close to fitting.

Couture Sewing, Little Black (French) Jacket

My latest Little French Jacket: Prepping the pattern

Posted on July 26, 2017July 27, 2017 by ggherself

I’ve just returned from a two-week vacation on the east coast of Canada and am more than ready to tackle the LFJ #3. Now that I have the fabric and the lining, I’m all set to get that pattern ready for the first (and I hope the final) muslin fit garment.

I’ve been down this route before, but the second time I made one of these jackets I used the same pattern as from the first so was able to skip much of this fitting activity. This time, I’ve chosen a different pattern.

My first and second jackets were both Vogue 7975, a basic design and one that is very easy to create if using the regular lining approach. I liked its open front and two-piece sleeves which I made three-quarter length in LFJ #1 and full-length in LFJ #2. This time I wanted to do something different, and as I mentioned in a previous post, learn a few new things. So this time I’ve selected Vogue 8804, a pattern created by Claire Schaeffer who wrote the book (really she did) on making the ‘Chanelesque’ jacket.

So, what do I like about this pattern that makes it different/upgraded from V 7975:

This one has a three-piece sleeve, a real upgrade in my view. A two-piece sleeve provides the opportunity for a better, slimmer fit than the one-piece, and my research tells me a three-piece one is even better. And it just looks good.
The sleeve has a buttoned vent. Need I say more?
This pattern uses hand-worked button holes, a real couture technique. I’m excited if a bit daunted never having done them before, but I’ll get the supplies and give it a try.
It has four pockets rather than two. Many Chanel jackets have four pockets – but certainly not all. This feature does, however, make it different than my last two and who wants three jackets all the same?
The design employs an underarm ease for bust shaping. I think this may be a good idea, but that remains to be seen.
And, although the back does not have princess seams, it does have a centre back seam as well as side panels without an actual side seam for better shaping.

So, I’m ready to begin. Well, first I read a few online reviews of this particular pattern and most suggest that it’s a bit boxy (although it doesn’t look that way on the line art) and it runs slightly large. I’ll consider this with the first fitting.

Claire Shaeffer’s detailed instructions in the pattern

I take out all the pattern pieces and Claire Shaeffer’s instructions which are, to say the least, detailed. This pattern was designed specifically for this kind of Chanel-like construction process so the instructions reflect that. I note that there are trim guides for cutting and shaping the trim, a little extra that I will ditch. I’ve never had trouble cutting or shaping trim so I think this is unnecessary. Back in the envelope.

She has also provided a back interfacing guide. I’m inclined to think that I’ll use the French Jacket interior approach that I’ve used be for with terrific results: I’ll use my trusty twill tape and/or silk organza selvedge to stabilize the neck, hem, sleeve and front edges. Back interfacing guide: back in the envelope. There is a pattern piece of interfacing of the bottom of the sleeves that I’ll consider since this jacket has a button placket on the sleeve vent.

Right out of the pattern envelope I realize that there will be little tissue fitting to begin the process – there are simply too many seams. I pin the seams as best I can; I also pin the dart ease then compare the pattern’s high figure point to the HFP on my own bodice block. Although I give it a brave attempt and get a sense, it’s a bit ragged to tell you the truth — the fitting, that is! I note that the upper chest area is a bit too short for me (a typical commercial pattern problem) so I lengthen it before beginning. I also note that, contrary to a Chanel-type design, the waist-line is a bit too low, so I raise it slightly. According to the Chanel videos, this raised waist-line provides for a better fit. Now I’m ready to get at the muslin.

Comparing my personal sloper to the pattern

I decide to use Susan Khalje’s couture technique and begin by going around every pattern piece marking the seam lines carefully. There was a time when commercial patterns had these marked: this was before the advent of the multi-sized pattern. In any case, I will work with seam lines (which I will thread trace) rather than seam allowances as they do in real couture houses so I’m told. Of course, intuitively it just makes sense that matching seam line to seam line rather than seam allowance edge to seam allowance edge will be more accurate and provide for a better fit.

My trusty marker and ruler to mark ALL of the seam allowances at 5/8 in (because this is how the pattern fits at this stage)

Now that all the seam allowances are marked, I can lay out the pattern on my muslin fabric for cutting. I pin carefully, take great pains to “respect the grain” as Susan Khalje reminds us so often. The pinning takes time, but the cutting – not so much! I love this rough cutting. The seam allowance edges are immaterial in this approach since I’ll be marking all the sewing lines and using those.

Once I hack (cut) out the pattern pieces, I’m ready for the all-important marking. Stay tuned!

Couture Sewing, Little Black (French) Jacket, Style

Planning Another Little French Jacket (and planning to learn a few new couture techniques…)

Posted on June 19, 2017June 19, 2017 by ggherself

I suppose that when I embarked on learning how to recreate a Little French Jacket, Chanel-style, just over a year ago, I thought that it might diminish my obsession with this iconic Chanel piece. Well, since then I have completed two of the little beauties, and am obsessed with making a third. But this time, I plan on learning some new things. Before I get to that, I want to revisit what I love about them so much in case I miss something new that needs to be added to my “need-to-learn” list.

Vintage inspiration:

As I begin this process, I return to a few of the resources I started with so long ago.

One of the first places I need to revisit is a video of the way these jackets are made…

“Secrets of the Little Black Jacket”

Okay, that’s fantastic information, but as I said I discovered that before my first one. Now, I’ve found an “Inside Chanel” newer one that give me at least two new insights…

I had never considered that making the waist slightly higher will give that closer fit, but I take note of that this time around. And the notion of a sleeve cigarette is new to me, but would solve the slight droop in the shoulder that I am prone to in unstructured pieces since I have sloped shoulders. So this video is a new resources. But I will use others.

Here is my list of resources and what I’ll take from each one: craftsy class

The Craftsy course on “The Iconic Tweed Jacket.” This is where I actually started. The course is clear, easy to follow and the instructor is precise. This was my complete guide the first time I embarked on this journey and I’ll refer back to it. However, I have since learned that it is “Little French Jacket light” in a way. That being said, it was mandatory for me to do it this way first. And I think the product was pretty good. My first jacket, below, was from Vogue 7975, collarless, open front, of a wonderful bouclé tweed lined with silk charmeuse. It is less trimmed than I had intended (see my post regarding the machinations I went through to come to this conclusion), because it just didn’t look right to me. The truth is that I absolutely love this jacket and have worn it with a dress, jeans and everything in between. And it feels divine. My second LFJ was made from the same pattern, although I drafted my own full-length sleeves. Made of a true bouclé fabric, it is lined with a printed lining that did not comply with my own rule: line only with silk. I fell in love with the pattern on the lining fabric so ignored the fact that it is a polyester blend. I do love the jacket, but because it is not pure silk inside, the feel of it on the body doesn’t even come close to my first one. It doesn’t breathe, so can only be worn in the winter. But I did layer the trim and liked the effect. Lesson here: I will use only silk – and my preference is silk charmeuse – for lining, regardless of how much I love a patterned non-silk.
My second resource this time will be Claire Schaeffer’s book The Couture Cardigan Jacket with its included DVD. She presents a terrific amount of information on authentic Chanel jackets and her technique is a step beyond what was taught in the Craftsy course. I’ll use her approach to cutting and marking in particular. I will work only with seam lines, never seam allowance edges for a perfect fit, and I will thread-trace each and every fabric piece. Yikes, I think I’m tired already!
The third resource I’m using is Susan Khalje’s Craftsy course on the Couture Dress. Yes, I’m working on the muslin of this dress project as we speak, but it is her approach especially to muslin production that I will use in this new LFJ project.
My own past blog posts will also be a resource for me. When I started this blog, I did it as a kind of reference for myself. And if anyone else found it entertaining or useful along the way, well, that’s the advantage of a blog over a journal!
And finally, the pattern I’ve selected this time is Claire Schaeffer’s Vogue 8804 which is actually designed for the Chanel-esque process: couture hand sewing, machine quilting etc. What’ interesting about this pattern is the instructions. They are exceptionally detailed and full of her actual tips and tricks.

Vogue 8804 pattern front

I want to learn a few new tricks – and have a jacket that is a bit different from the previous ones. Here are some of the new things I will incorporate:

Three-piece, rather than two-piece sleeves.
A button-front
Hand-worked buttonholes
Thread tracing the muslin
Thread tracing all fabric pieces.

Okay, here I go!