Shanel No. 3 – French Jacket Sewing with Helen Haughey & Mary Funt

17 Feb Shanel No. 3 – French Jacket Sewing with Helen Haughey & Mary Funt

I was in the right place for the entire week, processing new information for six days straight.

While working on Shanel No.2, my desire to learn more was insatiable. I was very pleased with the black and white jacket, but I wanted to learn more about fit, technique, trim, style, fabrics……

Mary Funt and Helen Haughey bring a fresh perspective to French Jacket Sewing.

As documented in my last post our first day was dedicated to fitting, and at the request of readers, I begin this post with a quick follow up to the armscye.

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After comparing the armscyes of multiple jacket patterns our group learned about the principle behind a flattering armscye fit. (Read Here)

Below is a student  in her Vogue 8804 muslin. The left side has been altered and the right side has not.

Compare her alterations on the flat below. The seamline is traced in aqua. Left is the original pattern and the right shows the newlyshaped armscye,and now basted in the fashion fabric

Read Mary’s posts featuring detailed and technical information: Chanel and the Sleeve Part 1 & Chanel and the Sleeve Part 2.

My sleeve alteration involved shaping the undersleeve.

Did you know an unshapely sleeve causes the appearance of a much larger arm? You can see the difference above between the unaltered left sleeve and the one Mary is pinning.

SHAPING & IRONWORK

“Couture Sewing is not just cutting fabric and sewing. You must know how to work the fabric!”
  Secret World of Haute Couture

Other than setting a sleevecap or shaping Petersham Ribbon for tunics and waistbands, I’m new to ironwork and shaping.

We learned the importance of shaping fabrics with directional patterns along curved seams such as princess seams.

I considered two fabrics for the class, but was encouraged by the teachers to bring the plaid….. more learning opportunities 😉

Shaping fabrics with vertical and horizontal patterns such as plaids along curved seamlines will ensure that the lines of the pattern are straight and uninterrupted . Below is a jacket that was not shaped and although the horizontal lines are matched, the continuous pattern is interrupted since it the lines curve with the seamline.

Shaping a curved seamline before it is sewn is done with an iron. Our class used professional irons with high pressured steam but you can do this at home.  ( I’d like a new iron 😉, a Reliable ….)

Below is a sample piece of fabric being shaped in class.

The fabric is shaped from the fullest point of the curve by hand, steamed and gently pressed into place.

My shaped front side piece flatAnd sewn.

Mary’s blog, Cloning Couture features an excellent post on shaping and should be read before sewing a jacket. The process is explained very logically and succinctly. Read HERE.

Once again I was enlightened as was the entire class.

OFF THE SUBJECT

On another note………… I was extremely honored that in the midst of intense teaching and trying to keep everyone on schedule, Helen and Mary took the time to wear and bring tunics created and inspired from The Tunic Bible.

This is what happens when The Tunic Bible goes couture……. Helen’s blue lace is exquisite featuring a  zipper concealed by appliquéd flowers, and Mary’s metallic boucle tunic with a customized bib placket cannot be captured in a photo. (more on these later)

Below is Mary’s “Dead Sea Tunic”.  The tunic is sewn in cotton but she found matching bathing suit fabric and made a swimsuit for a trip to Israel.

This is a 9″ inch tunic made by a classmate, who worked in a fabric store that sold The Tunic Bible. She made this to place by the display stand.

Last  but  not  least…….a  fun cotton tunic embellished in a topstitched ribbon.

It was a loaded week – the shaping was only on day 2! Much more to come soon…..

All the best. 🙂