corecouture

Essential sewing keeping me clothed and sane


45 Comments

Linton Pink – Complete 1

This is a bittersweet moment. I have really enjoyed the slow sewing and the self-imposed tailoring construction processes of Paco’s Vogue 1527. This coat has given me joy, a little heartache too along the way but I am unashamedly declaring, it is a thing of beauty. I am just a little bit sad that it is finished.

On the other hand, a finished garment is always an achievement. Luckily, I have a tonne more Linton tweeds to sew through and if they all go as well as this one I shall be one very happy sewer. Jinx!

I left you the last time showing the insides and as a work in progress because that’s where the lion’s share of the work is and I also wanted at least someone else to see and acknowledge it. Which you did – thank you!

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Since then, the hand made shoulder pads and sleeve heads have been inserted and the remaining lining slip stitched/fell stitched and otherwise hand sewn to complete the body. The sleeve underlining is wrinkling because the coat is inside out and bunching up.

DO NOT follow the pattern instructions at this point: insert the sleeves, THEN insert the shoulder pads (Step 27). DO NOT sew shoulder pads in when your coat is inside out. They will not fit when you turn everything right way round. Just tackle the fabric from the right side and get on with it.

The shoulder pads were made with six layers of thin cotton wadding – the same type as used in quilts. Each layer is gradually smaller than the top-most semi-circle, which is covered with a patch of canvas. The whole lot was then pad stitched to form the curve to fit the shoulder. The sleeve head is the same cotton wadding; rolled and hand sewn to the inside of the sleeve seam allowances.

DO NOT trim the arm hole seam allowances – you need these for shoulder pad and sleeve head positioning. DO NOT press this seam; gently steam from the outside only. Yes, it looks really messy on the inside but only you will ever see this but everyone else will only see the outside – choose your battles.

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I do love to see a hand stitched sleeve lining with all its genuine wrinkles and slightly uneven gathers – it definitely demonstrates a passion for honest hand sewing and provides true flexibility in the sleeve/arm-hole that is wholly lacking in RTW.

Buttonholes and vintage buttons have been sewn on the sleeve vents and centre front. And I have yet another gripe about the instructions.

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So…… you take the time to cut and construct a sleeve vent – doing your very best to make the two symmetrical, make a buttonhole and sew on a button and then the instructions (Step 42) tell you to sew the sleeve lining over the whole lot so that the vent won’t open. There may be times in the wearing of this coat that I want the button open and to fold back the cuffs – by this stage I just ignored the instructions and went with what felt right and what would work for me.

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If you buy an original Paco Peralta pattern, it is always beautifully drafted but it comes without instructions.

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They are expensive, I’ll grant you that but they are all hand drawn, not printed, and of course designer. No instructions provides a certain amount of freedom and opportunity for individual ingenuity but may not be suitable for the faint hearted or inexperienced sewer, nor those who like a step by step construction process.

To compensate, there are loads of online tutorials and reviews to support you along the way. Personally, I relish the jigsaw puzzle aspect of sewing a pattern without pre-set instructions and often find a new method of construction during the process.

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This coat is part 1 of a set of three;  I find it is remarkable on its own and I just want to wear it with jeans, frocks and even jammies – I love it that much! It is a mighty weight on its own, what with all the underlining and canvas and what have you but the tailoring makes the coat fit like a glove: it literally drops over my shoulders and remains in place, perfectly draping my irregular frame and making me stand taller.

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I make no apologies for my personal pleasure in just looking at the set in sleeves. This was a slow sewing process and it certainly paid off – exact tailor tacking, basting, fitting and then, only then, sewing. Added to which there was a considerable amount of pressing. When you press wool to tame it into shape, and I mean press not ironing,  leave it to cool and dry in shape. That means you might have to walk away from the ironing board for a wee while. Get a cup of tea and surf the net for inspiration for your next sewing project…..

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I read books to help me along the way……..

And watched Craftsy classes…….

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Front and back – can you tell which one is which?

Here’s the coat, admirably modelled by Doris – front, back, left and right. Sometimes I hate that mannequin, my clothes always look better on her than me!

There are faults in my coat which I’ll document at a later date, for now, I just want to smile every time I see it and turn a blind eye to the picky problems.

The skirt is cut and ready for sewing. It’s going to be made with the coordinating herringbone that is on the coat collar. Stay tuned.

 

 

 

 

 

 

 


43 Comments

Linton Pink – WIP

The first Linton tweed combination has been cut – and hopefully you’ll appreciate that it takes a very deep breath and a lot of courage to do that, let alone the selection of pattern in which to make something fabulous because this signature and limited fabric requires careful consideration. You may not be aware but Linton Tweeds makes couture fabrics to order for all the best couture design houses. Three years after the designer ‘season’, the fabrics are released for public purchase. The fabrics are expensive but that’s what haute couture, exclusive fabrics are supposed to be. They are special.

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This is not a very entertaining post but more methodical and about sewing. First of all I chose a pattern, Vogue 1527 a fabulous Paco Peralta design that I have wanted to make for a year or so but never had the right fabric to do it justice nor perhaps the occasion to wear it. My version of this suit makes the coat an outdoor layer.  So I took a very deep breath, pinned on grain and cut!

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I do not have a finished item to show you (this is a deliberate and slow sewing project)  merely a work in progress which I am hopeful will be completed to a high standard.

 

You may gain some insight into techniques or tips on how to do traditional tailoring for the very best fitted and finished garment. You do not need to do what I did at every stage but the end result is totally unique. The Vogue pattern does not offer this option and to be honest I found the instructions somewhat confusing and out of order. I will list this later.

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I’m using the checked pink for the coat and the herringbone for the skirt. Biggest problem of course is the check/tartan/plaid. Everything MUST line up.

 

 

 

 

 

 

Slightly offset the edges of the fabric so that you can see the bottom layer. Accurately line up the checks (or stripes) and pin together. Try not to shift the fabric around too much while pinning or cutting the pattern pieces. Cut one piece first, then using it as a guide, line up the side seams before placing and cutting the next piece. I have not cut the sleeves out yet as they will have to match the main body of the coat.

DSCN7827Every piece is underlined in cotton lawn. This stabilises the outer wool, gives structure and makes it so much easier to hide hand stitches because you sew to the underlining and not the shell. No dimples in this coat. It involves cutting each pattern piece twice and then tacking the two pieces together, which you now treat as one.

My colours are way off in the following photographs, the true colour is more like the top image above.

The wool frays. My chosen seam finish is a simple one. After completing a seam, press open, stitch down each seam allowance and then trim with pinking shears. Nice, flat not-bulky, non-fraying seams. These were then catch stitched to the underlining.

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I used strips of selvage as stabilising tape on neck edge and shoulders.

Centre back seam from the outside

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The herringbone was used for the contrast collar and pocket facings.

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On the inside, after attaching the lining, I catch stitched the front facing seams to the underlining to make sure the facings wouldn’t flop. Then I ran a running stitch between front side lining and front side seam to keep the lining in place.

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There’s a lot of tailor tacks and basting and tacking and stray threads used in this method of sewing. And they all have to be removed when no longer needed. Even this apparently simple job takes time and a pair of tweezers. I’m even making my own shoulder pads. On the left the pieces are cut out and tacked together. On the right the amazing effects of pad stitching are clearly in evidence.

There’s also a lot of pressing involved. I think I’ve gone through a least four litres of water. Wool is so malleable with steam – can be shrunk and can be stretched.

I’ve been watching Alison Smith on Craftsy / Bluprint the whole time –Essential Guide to Tailoring: Structure & Shape and Essential Guide to Tailoring: Construction and I feel that I have an instructor in the sewing room with me. Invaluable.

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Instead of interfacing, I used canvas. This produces a much firmer finish although somewhat bulky in places. I wanted someone else to see all this work before it all disappears forever under the lining.

Now to my complaints about the pattern instructions.

Fabric cutting layout: indicates cutting a full front of sew-in interfacing. The front pattern piece indicates interfacing on the facing only.

Move Steps 20 and 21 to before 16. This is sewing the back lining and back neck facing together. The back lining piece is sewn to the back split first. Once this is done you are trying to manipulate the full coat at all times instead of just the lining. Sew the back neck facing on to the lining before attaching to the coat.

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The instructions about the lining make it cumbersome. The back lining piece only is attached to the coat. Now you have to sew the sides and fronts to this already attached piece. It is difficult (nay impossible) to turn the whole thing inside out especially once the front facings are sewn to the lining. And you’re lugging the entire coat around between sewing machine and ironing board.

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The instructions also tell you sew the shoulder pads in before inserting the sleeves! NO. just NO. You’d never get the sleeves in….

Personally, I like separate lining pattern pieces. I don’t like having to use the same piece and cutting bits off it for the lining.

The problems are not insurmountable but READ the instructions folks before doing anything. Make sure they make sense in your head before sewing, otherwise you may end up ripping stitches out and tearing your hair out in the process. Another reason I’m taking this one slowly.

There are not many finished V1527s out there. I found Tany – always brilliant, and Gorgeous Fabrics – who has made two. Read these accounts before starting.

At long last my lining is mostly in place, shoulder pads are positioned (not sewn) and now I have to manage to cut out matching sleeves and get them in.


18 Comments

Suggestions/Ideas/Inspiration

Please……

Last week while I was sewing up a storm with OOP Vogue 1467, a few minor interruptions relating to Life interrupted proceedings. I took a small break and temporarily lost my mind. I went shopping at Linton Tweed. I know, I know, it’s a really good shop to go browsing but the actual shopping tends to tilt this side of “How much???”

I may have spent my entire Autumn/Winter ’18/19 budget in one fell swoop. And I’ll be requiring lining, zips, buttons, interfacing and what-have-you. So I’m not done yet. I’ll be sewing with scraps until next April!

Hopefully this week the adorable postie will be delivering the following:

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The main problem was that I couldn’t decide between the pink check or the green check and this where I lost it and bought both and then I bought the co-ordinating herringbone tweeds too. 100% wool.

Now I need your help. Imagine you have 3m of each check and 2m of the herringbone with which to sew an outfit……anything you like.

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Say ‘Linton’ and I immediately think of Chanel. I’m quite prepared to do some slow, haute couture because, quite honestly, there won’t be too much more fabric purchased this side of Christmas.  I was gifted some fabulous Linton by The Material Lady a few years ago and I made use of every inch (including selvedge on neck, pockets and hem) to make my Christmas dress a la Oscar de la Renta.

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I already have four Chanel style jackets that are in constant rotation plus a traditional tailored one all using Linton tweeds but let’s face it, one more won’t hurt my wardrobe.

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Vogue magazine is promoting checks and tartans for this season with a nod towards the 1970s and please check (ha ha) out Pattern Vault’s recent post on Ralph Lauren.

I’d love your suggestions for making this delicious fabric into something stunning, timeless and of course, something that suits me and that I will wear, although I am always open to new ideas and new patterns so don’t feel you have to go full traditional. I don’t know the actual weight/hand of the tweed yet but sure I can control that with interfacing and lining.

Thanking you in advance and hopefully I’m giving you the chance to go flawless virtual sewing and imagining the perfect finished outfit.