I recently got a chance to re-visit a jacket I’d made some time back for a client (we’d borrowed it in connection with an upcoming article in the magazine), and I thought a few of its details might be of interest…they were fun for me to look at again, and I’d like to share them with you.
The jacket was part of an ensemble. There was a coordinating long, slim dress made from the green silk brocade and it was all created to match the client’s emerald necklace.
The jacket is made from silk charmeuse. It’s not the ideal fabric for a shaped jacket–I’d have preferred silk satin–but it was the best I could do, color-wise, as it had to match the brocade that you see on the collar and cuffs. And with the right underlinings, it works.
The jacket, with its dramatic cuffs and gold frogs:
The frogs, while functional, are helped out by tiny hooks and eyes. Fairly closely spaced, the hooks and eyes keep the front edges nicely straight, with no gaping.
There are no front facings. Instead, the lining is hand-stitched along the inner base of the piping. It’s then understitched by hand to keep it in place; the stitches go through all the layers except the outermost.
The hem is nice and firm, thanks to the jacket’s underlinings (more about those in a minute). They really help hold the shape of the jacket.
After careful alignment, the fashion fabric and the underlinings are loosely basted together just at the foldline. The thread that holds all of the layers together at the hemline is barely visible on the outside, and the hem allowance is folded so that the stitches are just out of sight.