The internet made me do it! Lots of ladies, worldwide, have re-created a Chanel-type cardigan jacket, Vogue 8804, using the finest tweeds, silk linings, buttons and braids.
Two Chanel style patterns created by Claudia Shaeffer, an expert on couture techniques and Chanel specifically, are available from Vogue. This enables the amateur tailor to produce either a cardigan jacket, or more recently a mandarin collar version, featuring some of the same techniques as used by couture houses. Her newer pattern Vogue 8991 (shown above left, in black and white tweed) is very similar to the out of print Vogue 8259 and is on my list to try in the future.
After having a reasonably good outcome with Vogue 7975 I thought I would try at Vogue 8804, following Claudia’s instructions to the letter.Claire Shaeffer’s instructions are incredibly detailed. She has a collection of vintage couture items, many by Chanel, and she promotes the construction methods that have historically been used in Paris couture. Much of the jacket is hand-sewn which is enjoyable if you put some time aside to do it for pleasure.
Design and alterations
The pattern is multi-sized and there is only one “view”.
Having said I would follow the instructions, I ignored her first suggestion to make a toile – a preliminary version of the jacket in stable cotton, in order to check the pattern fits. As I had recently made a similar jacket, in navy, I figured that I would transfer most of the alterations and measurements. The main thing was to reduce the boxy look, and ensure the jacket fitted me in the upper chest, bust, waist, back length, overall length and sleeve width. I was able to do this by using the multi-sized lines on the pattern.I got a nice close fit where it matters – across the upper chest, arms and waist, with sufficient ease and a slight flare at the hips. I lengthened the torso as I usually do, but found the style of the jacket rather short. It is a design feature, and makes it feel more “cardigan” like. I had never made a three piece sleeve before, but this was one of the main attractions of pattern, allowing apparently a better, closer fit.
Materials and other supplies
Like everyone else I bought my fabric from Linton tweeds, the UK company based in Cumbria, that produced fabrics for Coco Chanel herself. They still produce fabrics for Chanel and many other couture houses and designers. Jigsaw have been incorporating the tweeds into T shirts, skirts and casual jackets over the past few seasons. I chose a light blue and beige fabric, with flecks of silver, as lighter cool colours suit me. Also I wanted a spring/summer jacket, and something that would look nice with jeans as well as more formal items.
I decided to make my own braid and chose a beige tape to sit it on. The lining is a bright blue silk twill. I bought silver buttons, and after a trial button hole (with both beige and blue button hole twist) chose blue for the buttonholes. The wax (ironed into the buttonhole thread) makes sewing smoother. Lots of the seams are taped but there is minimal interlining (I used Simply Fabrics organza) – the stability comes from quilting the lining to the jacket fabric, with a chain to weight the hems. This explains the use of quilting and chains in Chanel handbags, in reference to her techniques. I also bought some coloured basting thread. When so much is hand-sewn it makes sense to use different colours to indicate the markings on the pattern. For example I used pink for the Centre Front, button holes and other balance markings; yellow for all the seam lines; and white to baste with.
I generally enjoy following the instructions. One of the things I like about “bought patterns” as opposed to ones I make myself is that I don’t have to think too much. I get in the zone and just do as I am told. Sometimes it’s something different, or new. Sometimes a technique is badly explained, and I enjoy the challenge! This pattern has very extensive instruction and 94 separate stages (compared to say 10 with an average pattern). I did most of it, and am pleased to have done so. Three things were completely new – the three piece sleeve, the quilted lining, the handworked-and-bound buttonholes. The aspect which didn’t work for me was the shrinking of ease. I have shrunk tailored sleeve heads and even skirt waists, but I am sorry to say it didn’t work with this particular fabric. I can only think that it doesn’t have much wool in it, or it is somehow preshrunk, or felted. I don’t know what happened but I couldn’t get it to shrink at all. Instead I added a sneaky little bust dart, but got most of the shaping into the seams.
The whole process took me a month, mainly working on the jacket at the weekends. I found the extensive hand stitching nice and relaxing.
Making the braid
The jacket has four appliquéd pockets which are first decorated with braid, then lined, then applied. I didn’t try to get a matching braid as I was keen to make my own. The Linton tweed include a multitude of yarns and colours and I spent a happy Saturday pulling out several stands of the predominant blue nylon pleated and over-stitched, dip dyed yarn, and twisting it with other less flashy threads. It made a bulky yarn, which didn’t like being crocheted (one way to make a braid). The only thing I could do was to twist, then couch the thread onto the base. I actually really liked the effect and it lifts the jacket from being a bit bland. The brighter blue in the ribbon works well with the lining and with denim.
Its a nice jacket. Its easy to wear (probably better not done up over a T shirt and jumper), goes with lots of things, and is both lightweight and warm. I don’t expect to make another one with this pattern, but I am keen to try the new one as I do like a mandarin collar.
In my experience the best way to think about wearing colour is to start with the idea of harmony. What colours go together well – like notes in a phrase or tune? Look at nature and you will see colours which harmonise – a setting sun set, the plumage of a bird, or a peony where the particular pinks blend perfectly with the particular greens. Or a human face – where your natural hair, skin, eyes and lip colours work together well. In all of these examples light and life make the colours shimmer.
Colour in our clothes
When we reproduce colour in our textiles it is flatter, and more artificial looking (and to the textile designer, often disappointing). Just compare a piece of black cotton with the black of the night, or a ladybird’s spot or a blackbird’s feather. Because textile colours are “deadened” we need to be more careful with how we put them together. We are able to see 2.4m colours, but creating a harmonious look when you are getting dressed in the morning can be challenging. Also colours are on a continuum – when exactly does a red purple become a blue purple, for example?
Perhaps the easiest way to do it is to break down each shade in to the following categories. Colour has three dimensions. Value (depth/light), hue (cool/warm) and chroma (brightness-clarity/muted purity), and therefore can be compared with their “opposites”. And while there are obviously some colours are in the middle, I find it a helpful approach. I think it is fairly easy to see these difference. Decide if a colour is:
Deep or light?
Cool or warm?
Bright or muted?
Colours are often in more than one group. For example mustard is both warm and muted, mint green is both cool and light.The basic idea with dressing in colours that suit you is to determine your own predominant look. If we are seeking a harmonious palette that will suit an individual and make them look their very best we can usually identify one of the above groups which will work best. If your colouring is very light for example (a natural blonde or light redhead for example, with light eyes) you will look your best in lighter colours. Which group of colours enhances and supports your natural colouring?
For me it is cool shades. My natural colouring is predominantly cool – ash blonde hair, blue eyes, purpley pink lips, cool-light skin tone. I’ll always look my best in shades which are cool. This doesn’t mean blues and greens rather than red or pink. I can wear every colour but it will be a shade of that colour that has blue (rather than yellow, which is warm) undertones. The pinks that look good on a person with cool colouring are bluish pinks rather than yellowish (peachy) pinks. These pinks will harmonise well with other cool (blue based) colours. Greens that work with my colouring, and with my wardrobe, are bluer greens rather than yellowy greens (pea green) or muted greens (khaki).
Before I identified my own shading and cooler direction I had clothes in every single group. I bought clothes or fabrics in colours I liked (tobacco brown, or peach, for example). I instinctively matched warms or muted shades together but as a result there were lots of items which didn’t match or harmonise with each other. And a lot of them didn’t really harmonise with me (cool – bright – light) either. This theory of colour is really helpful in terms of streamlining your wardrobe and ensuring that virtually everything can be worn together.
Because I am so interested in colours that enhance people rather than drain or age them, I qualified as a colour analyst. I will blog about how this works, but if you are interested please get in touch.
The basics (applicable to shopping for clothes too)
- Style – choose the right style to flatter or disguise your body shape
- Colour – choose a colour that complements your colouring
In addition, if you are making your own clothes, you need to consider
- Fit – make sure the pattern and garment fits your body measurements
- Fabric – if in doubt, use the fabric proposed by the pattern designer
I firmly believe if you make a well fitting garment in a style and colour that flatters you, in a suitable fabric, then you will stand out from the crowd. If you also construct it beautifully you will be ahead of even the richest or most beautiful celebrities. In this post I am just going to address construction.
In my opinion, if you want your clothes to look great you need to pay attention to the following ten areas
- Use sharp scissors
- Cut accurately, on the grain
- Transfer all the pattern markings
- Press at every single step
- Use the correct interfacing
- Measure everything carefully
- Follow the instructions – you may learn something new
- Make your garments symmetrical (check collars, hems, lapels, etc religiously)
- Trim to reduce bulk
- Take your time – if it is going wrong sort it out. If you can’t work it out, try sleeping on it. (Not in it).
Every “mistake” is a learning experience
Some bloggers pass off their mistakes as “design features”. Mistakes can occasionally be positive. But I think the best thing is to learn from your mistakes. You will not be good at button holes, or zips, or pockets the first few times. It is like learning a language or an instrument – it takes a lot of practice. Mistakes and failures are an inevitable and necessary part of learning.
I would recommend going to a good local authority clothes-making course, with a qualified teacher, where you can make a few garments under supervision until you gain confidence. You will learn such a lot from your teacher and fellow students. There are also some good technique classes where you sew sample pockets, button holes, zips, sleeves, seams etc. It seems a bit dull making samples rather than garments, but it is all about gaining confidence and learning what is possible.
I have made dozens of garments that ended up in landfill, unfinished. I have spent hours making something which I have never worn. I have worn truly horrible garments that I made myself. Like this one for example, taken on holiday in Spain (that’s why I am brown), newly engaged, wearing an all in one jump suit, in a horrible textile. It was the 80s, but there really is no excuse for those shoulder fastenings. And the matching hair band.
I have learnt the hard way – believe me.
It did not surprise me that a woman in her 80s was the winner of the Great British Sewing Bee 1. Getting good at this is truly a lifetime’s work.
It was time to get my sewing machine serviced so we took it to World of Sewing in South Croydon on the way to Ben and Mel’s. I didn’t think I could survive for two weeks without a machine, so I bought an overlocker! It was quite expensive but I have wanted one for a very long time, and Jennie in the shop convinced me to take the Juki 1000.
She showed me how to thread it, let me have a test drive and it’s now happy in its new home. I cut out a skirt and then thought better of trying to put a zip in with an overlocker.
I set myself a challenge. Could I design a dress in half an hour and sew it up in 30 mins?
The answer is yes!
Design and Pattern cutting
The design is very simple. It’s basically a T-shaped garment – many African garments are made on this principle. The front and back are the same, there is minimal shaping on the shoulders, the neck is a “bateau” neckline, the sleeves are just extended shoulders, and the pockets are cut with the garment. Its a full length maxi-dress with a slight flare, and it goes over the head with no closures. The fabric is a bright splashy print of the type I like to paint myself, but this one came from Northern Ireland, after I admired it on Ruth’s Core Couture website. It feels like a viscose to me.
The construction was a bit of a cheat. I overlocked (yes!) the neckline, sleeve edges and hem. I then stitched the shoulders, and turned in the neckline, which I had to hand sew (I don’t think there is any other way is there?). I attached front to back from sleeve edge to hem, going around the pockets (not very successfully). I didn’t finish the sleeve edges or the hem by turning in and hand-stitching, because this would have busted my timing. I put it on, got Nick to photograph it, and walked to Waitrose for some provisions.
I felt very elegant and blended in well with the Arabic ladies of Edgware Road with their full length dresses, and with the colourful youth celebrating the stunning weather. No one batted an eye at my unfinished hem (the shame of it!). I promise I will hem it properly very soon.
Since producing the Curvy Pencil pattern and toile I have made up two skirts – one with and one without pockets. The skirt fits nicely, the curved side seam is flattering and the faced waist band looks good with a belt. Thanks for the scarf Bianca!
I made both skirts from 95% cotton/5% Lycra, and I have another one cut out in turquoise too.
I included an exaggerated back split, to make it a tiny bit edgy.
I wore it for work on Friday, and wished I had a pocket for my phone. So on Saturday I made pockets for the pink edition.
The pink fabric was the sole surviving remnant,of about 60cms and some jagged bits, from a piece of fabric which had already produced a pair of trousers and a dress. The back piece of the pocket matches the skirt, but I had to use a bit of silk on the fronts. Although I love, and really need, pockets I don’t think this skirt is entirely successful. So much depends on the line of the skirt and the pockets interrupt it. There maybe a way of developing front hip or even back pockets. And, while it is hard to see in the bright sunshine, the front darts are now longer and more slanted. I intend to try a high waist version. I am also thinking about different lengths – a mini and mid-calf – for other figure types. Any views?
I am getting there! In my quest to produce the perfect pair of running shorts I have introduced new materials, experimented with several types of elastic and a range of different finishes. I am slowly perfecting my pattern and techniques, but the key is Elastication!
Pattern cutting and design
I reverted to a narrower, sporty look, although having the more flared shorts have promise as a cycling skirt. I adapted Venus’s Grannie Pannie pattern rather a lot (sorry Venus!) to ensure the knickers worked effectively as a lining to the running shorts. This meant adding a further four inches to the waist measurement – three at the side seam, and one at the centre back. I also added a little to the rise so that the shorts would come up to the true waist.
Fabrics and materials
For this prototype I used some of my printed cloth, prepared for my inspired-by-Preen evening class project. The fabric is a light weight polyester jersey without Lycra. I decided to use a different fabric for the lining as the outer layer felt a bit too synthetic, even slightly ‘greasy’. I searched for a stretch fabric with little aerating holes, and found both nylon and cotton at MacCulloch and Wallis. But you don’t really want nylon knickers do you?
I bought a range of elastic finishes for underwear too, and have spent a few hours trying to find the best finish for the legs of the knicker linings.
Elasticating the legs and waist
The key to our running shorts being both comfortable and effective is the meeting of fabric and elastication.
To cut a long story short the best finish for my lining was a small zig zag on the raw edge with shiring elastic in the lower bobbin. This was a quick, simple, economic solution as some of the nicer, lighter elastics were nearly £4 a metre. Not necessary! The minimalist finish is also, in my view, the best. Anything else was adding bulk and not even gathering the leg hole seams effectively. Don’t you love it when the simplest, cheapest solution is also the best?
In addition I have now used three different waist band treatments, two of them fiddly and not that great. By lining the shorts first, this time, I have been able to also incorporate a chanel for the waist elastic. This allows the construction process to be simplified and speeded up. The shorts also hang better.
For the waist band I used a fairly expensive elastic which I got on a card from John Lewis. This is elastic which has a firm nylon thread in to prevent it from rolling around in the waist band. It is also very lightweight and allows overstitching of the waistband to make it appear more ‘professional’ and stable. I don’t think it adds a lot to the function or the design, so let’s say this is optional.
I am now satisfied with both the design and construction methods I have used. These shorts are very comfortable – more so than the off-the-peg pairs I have. Mainly because the fit is better, the cotton lining is nice, and of course I love the colours. I have one more version to do, and will write about these in due course. I am intending to enter a pair and a top for the Sporty Summer Sewathon so I have some decisions to make.
As someone who wants to wear a pencil skirt but has struggled to buy one that fits and flatters my curves, I have been working on a new pattern. But first let’s consider the problem.
Most manufactured skirts assume a difference of 10 inches or less between waist and hip. The following chart appeared in the Daily Mail.
If you want to buy something that fits from the high street, good luck! Anna has produced an application that gives you a better chance of finding something. See her blog post here.
For me the difference between my waist and hips is around 13 inches, the same as Marilyn Monroe, as it happens. When I put on a high street skirt, or RTW trousers, the three-inch deviation from the norm appears as an ugly gaping space at the waist line. With a flared or A line skirt you can buy according to your waist size – the problem resolves itself if the skirt is loose on the hip. With a more fitted skirt, or jeans, they are cut to fit on the hips. You therefore get extra ease you don’t want in the waist, and it has nowhere to go. Not only extremely uncomfortable, but also very unattractive.
However few hour-glass or pear-shaped women want to wear a flared skirt all the time, and it isn’t even our most flattering look. A voluminous skirt (while comfortable, and attractive on the waist) can make our hips look larger. Many of us with hips more than 10 inches bigger than their waists, yearn to wear a flattering, straighter skirt.
Key features required:
- no flare
- tapered to the hem
- knee-length or a little longer
- no waist band to cut us in two
- comfort in wear
- easy to stride around in
- celebrate the curves without clinging to the thighs or behind
Having drafted the pattern (front with two darts, centre back zip, faced at the waist, tapered at the hem, curved side seams), I tested it out in calico.
I tend not to make traditional toiles for my normal dressmaking, preferring to “prove” the pattern in more appropriate fabric, and to create a garment that I can wear. However when I am testing a pattern I have designed and cut myself, a calico toile provides a very useful tool. It is easy and stable to sew, the grain is visible, it is easy to mark with felt tip or a sharp pencil, and it is cheap, at around £2 a metre. When I make a toile I include the salient features – zips, facings, etc, so that the fitting is as realistic as possible.
Even with the slippers, and a 5am selfie in the hallway mirror, you can see that the shape is rather promising. A smooth curve is much more flattering than a straight line.
I drew the side seams with my curved ruler and I really cannot improve on it. At the first fitting therefore I only had one question – how high it should fit? Some people like to wear their skirts on the waist – ie an inch or so above the navel. This is normally the slimmest part of a woman’s body. But if there is some ease in it, it will tend to slip down a bit towards the hip. As a consequence many skirts actually settle an inch or so below the navel (as the selfie shows).
To make my skirt sit on the true waist I reduced the waist marginally (at the CB and side seams). The curved CB seam means the zip must be inserted on a slight bias. On the plus side a tapered CB seam flatters a slim waist.
My Preen Inspired shorts are finished! The style is not inspired by Preen – I don’t think they do a range of running shorts, although the duo design for Debenhams. And my fabric design is somewhat constrained by the cottage-industry approach of my production line. But I am thrilled to bits to be able to run around with my own peony photos on my pants. The colours are really vibrant.
The shorts are lovely. But another of my experiments was not so nice. I used polycotton and the heat transfer inks which had been so successful with my Sewathon T-shirt. For this I had used a polyester jersey and had had stunning results. The colours were bright and the colour effects were better than I had hoped for.
I thought the polyester-cotton blend would be equally wonderful, but sadly not. I prepared the paper by producing a two-inch square grid, then coloured in each square with watered down transfer inks. I used the heat press to apply the ink to the polycotton. Unfortunately the brush strokes were evident, but not in a good way, and the colours were more muted. A disappointing result on the same night England lost to Uruguay.
I also made some T-shirts with iron on transfers that I printed at Mary Ward Centre. Here I used the same set of photos of pixellated peonies but ran them off on the photocopier. The printing ink and a layer of shiny adhesive is also applied, this time to cotton fabric. It’s not the best effect ever, with a little bit of puckering and a high gloss finish. I wore one for yoga with my purple leggings and it looked nice and performed well.
My shorts pattern is developing well (this is the third iteration) – I have one or two developments left to work through!
I heard a funny but true story yesterday.
A very senior female recruiter was holding an evening event for the company’s most important clients. Her young researchers were on hand to mingle and ensure all the clients were being attended to. Across the room she spotted two of them chatting to each other. Horrified at the short, sexy dress one of them was wearing, the headhunter told the researcher to go home and change. Turns out she was not a young researcher but a famous, moderately successful boss. Red faces all round.
In fact a skin-tight, short dress is not a good business look. It rides up, is far too revealing, and flatters very few. Other inappropriate outfits would include:
- too casual a look
- holes, burns, stains, ladders, missing buttons
- too much make up or perfume
- obvious piercing or tattoos
- noisy, jangly jewellery (cuff links, bangles)
- bare legs
- comedy socks or ties
The Traditional look
But what about this crowd?
They look OK, at first glance, but none of them look great. In choosing the safest option they have eradicated every last bit of individuality. While the models have been selected for their gender and ethnic variety, their clothes are virtually identical. Here is the formula:
black or dark grey/navy suit
- white or very light pastel shirt
- blue stripy tie (men)
- flat black leather shoes
- short or swept back hair
No colour, no jewellery, no accessories, no personality; a desperate desire to fit in and appear inoffensive. It’s like a school uniform without the retro appeal.
Why dressing right is so important
When I am not sewing for fun, I run a business with 1000 employees. I meet and interview people frequently, and while I would never send anyone home for failing to conform to my standards, I think there is a formula which works. At an interview you need to do two things at once a) fit in and b) make an impression. Most people do one rather than the other and you really do need to do both.
Firstly consider the culture of the firm you are meeting as there are different standards of dress in different countries, and industries. Clearly a bank and an software company will have different dress codes. So the advice here can only be general. Your appearance must convey the message that you will fit in – a team player, who will do what is required, seamlessly join an existing group of people and have no problem working alongside them. When you come into the room you should look like you belong. I would err on the side of formal and smart (go to the hairdressers the day before) and dress for the level above the role you are applying for. It is better to overdo it a little, rather than the other way around.
But secondly consider how you can make an impact. If I am seeing a dozen people how will I remember you? Looking great gives you confidence, instills confidence in the interviewer and helps you stand out from the crowd.
In my opinion you need to reference the traditional look, but also subtly subvert it. Make sure one element of your outfit is individual and chosen to enhance how you look or who you are. The dress below conforms to the navy and white formal work outfit rule but also looks completely fresh and stylish (probably best to avoid the hat). It’s Vogue 1629, from 1966 .
- wear a dark business suit but wear a blouse in a strong colour that matches and enhances your eyes eg. emerald or bright blue blouse instead of white shirt (brighter colouring)
- consider a patterned or statement blouse and take your jacket off
- wear a patterned dress and coordinating jacket instead of a suit
- wear a dress and coat or even a coat dress for a change
- take a nice coloured handbag rather than a brief case
- wear a scarf or piece of jewellery that tells a story about you
- With a navy suit wear a brightly coloured tie (brighter colouring)
- consider a shirt in a deep colour if your colouring is deep
- don’t wear a tie, but do wear a silk pocket handkerchief instead
- instead of black or charcoal wear a cream, camel or brown suit (if you have warm colouring), lighter grey or blue-grey (if you have light colouring)
- wear a jacket and trousers/skirt that relate but don’t match eg dark grey and light grey
- chose three shades of the same colour eg grey-blue for shirt, trousers/skirt and jacket (works well with muted colouring)
- wear shoes and a belt which complement rather than match your suit, eg brown or tan accessories with navy or grey
“Always be a first-rate version of yourself, instead of a second-rate version of somebody else.” Judy Garland
People are contrary. I have dead straight hair but always wanted curls. I look good in a fit and flare dress, but constantly try on pencil skirts in the hope I will find one that suits me.
It’s got to make sense to stick with the shapes that enhance your figure and disguise your less than perfect features. The danger with the pencil skirt is that the straight up and down shape (clue is in the name) suits straight up and down figures. And very slim ones at that. Curvy figures are OK in a pencil if you want the “sexy” Marylin Munroe look where the skirt clings at the back and really emphasises the roundness of your behind. This look requires slim legs and ankles as the narrow hem of the pencil really emphasises the width of the legs.
Nevertheless a straight, slim skirt can look very elegant, and is ideal for workwear. What rounder women with an hourglass or pear shaped body need is a skirt that gives the illusion of slim and straight.
- Firstly is a skirt that is not obviously flared but is actually wide enough at the hips and then comes more or less straight down with perhaps just 1cm (or even .5cm) at the side seam.
- Secondly, and most importantly, is where to put the hem. It is essential that the horizontal line (the hem) cuts across the legs at their slimmest point.
I have made this dress up twice. Its a dress from 1952 that has been reproduced by Butterick, and there are lots of nice versions of it on the internet. I used a light blue fabric I got at Simply Fabrics. It contains cashmere and silk, and has a really nice soft sheen – its has a bit of structure and is warm to wear. I shortened the pattern considerably although the straightness of the shape is emphasised by the length in the picture on the packet. I also took the front bodice in by transferring a little of the fullness to the bust dart. I lengthened the torso slightly, and added a habotai silk lining to the facings.
It appears to be a slim skirt, but in fact it is pleated at the waist and has plenty of ease at the hips. It appears to be straight, and, for me, it ends at a flattering point.
But, dear reader, I want more. I have been experimenting with making a pencil skirt pattern that will really flatter women whose hips are more than 10 inches bigger than their waist. Marilyn had a 14 inch difference. (For the record – 5 ft. 5.5 inches tall; 35 inch bust; 22 inch waist; and 35 inch hips). I have been innovating with illusion!
- a skirt with a facing rather than a waist band for comfort
- a curved side seam that accommodates larger hips and derriere
- tapering at the knee
- a split at the back to make walking comfortable
- the best length
- the use of different fabrics
I have drafted a pattern, and will report on progress.