7.30 Sunday morning - am sat having breakfast on the back doorstep. Bees are up and busy, birds have been yelling at each other for hours and all is right in my little space, for a while. The jacket is done, finished, complete. Mistimed the start today, it was an hour earlier than I thought when I got up - 6.20! On a Sunday! So that extra time has been very useful - found some old cover buttons to dismantle and re-use on the tail pleats and then bullied the seam allowance of the bottom of the armholes into some kind of credible finish. It is now washed and dripping gently into the sink. Coffee does taste better with a clear conscience.
It began with the book - big, heavy, lots of lovely photos, BIG photos and shiny paper. It says "Fashion" in very big letters on the front and is a tour of the Kyoto Costume Institute collection. There is a double page dedicated to this jacket. While I didn't exactly like it, I always stopped here. The notes from the book and KCI website credit it as a French jacket, red striped silk brocade, dated 1790, so during the French Revolution. The style is quite simple, masculine even, double breasted with the over large metal buttons and collar. The ideas of the cleaner lines, of a simpler aesthetic and nature over the artificial, had been emerging since the middle of the century, think of the chemise de la Reine or the practicality of the redingote from England, a sign of the social and cultural upheavals. Fashion choices became very important as the politics got dangerous; this idea of the short jacket and skirt was seen as an egalitarian costume - ostentation was not wise during the Terror, and clothing was a very direct way of stating allegiances and outlook. We still use clothing in the same way, groups tend to dress in similar ways, we differentiate instinctively between those who are like us and those who are different.
Note the red, white and blue schemes and touches in the fashion plates - wearing the tricolor was considered a good thing and stripes too were more classless and patriotic.
My usual goddess was not smiling – there was no Janet Arnold dissection of a similar jacket in the Patterns of
History. I was on my own.
The choice of fabric
for the original would have been an essential part of the garment,
stripes were patriotic, worn by all, and showed support for the Revolution. I had 1/2 metre of delicate girly stripe cotton
fabric, in green with roses (more 1950s really) – shall we claim it symbolises
the green revolution? (unfortunately not recycled). The lining is quite
heavy off white cotton, a scrounged off- cut of unknown parentage. So, my expectations for this jacket, a fairly close copy – but want to be more determined about stitching processes and finishing. MUST not dodge doing the 18thC sleeves. Will do the odd banana shape sleeves.
The bodice -I borrowed from the French Revolution escape dress for
back shapes but reduced the flirtiness of the peplum to make it more masculine in cut. The fronts are extended wide to allow for the overlap and shoulders pieces will be added later.
All began well – did the 4 layered ladderstitch
for the main seams so the whole garment was being constructed in one
go. Tried not to make them quite so
tight but it still gave a stiff finish, felt a little like scar tissue!
Then the sleeves - First the strap which completes the armhole. The lining was cut and attached first over the shoulder, raw edges folded in, ready to go. The sleeves themselves are in 2 parts, with seams at the front and back. I made these with the linings separate and assembled them and the cuff detail before sewing to the bottom curve of the armhole. This part was meant to be finished like a French seam for strength and with the raw edges encased, but in the expectation of having to undo and reposition I left them to neaten later. Oops.
Then the upper part of the sleeve was tacked in place to the shoulder strap. I still had the collar to add into the neck edge of the sandwich. so the top fabric was stitched on later. A lot of stitching in a small area but very effective, and it is neat and robust. ( Photo is of the shoulder turned inside out, spot the raw underarm section!)
The collar - painful. I haven't found any back views of the jacket so I borrowed from this, also at the KCI dated 1780/90. It is very masculine, like a caped driving coat. The original jacket's collar looked to be a single thickness and rolled down to drape. It flared over the shoulders so I imagined it not sitting flat but continuing to flare at the back like the grey one's capes.
Cutting it was easier than expected I didn't manage a pinked scalloped edge but a feeble cry on facebook resulted in the loan of Janette's pinking rotary cutter - excellent new toy, zoomed round those shapes no problem! Attaching took longer. I really needed to think ahead, the plan was to slot the collar between lining and top fabric, but the seam stitching had secured them together. Un picking, muttering and repairing, but the collar was on. I guess a canny person would have left the top inch unsewn on the back seams.
After this it was all finishing,- the top shoulder straps, buttonholes, buttons, hemming., but....
Buttonholes - been avoiding them for years.
It began with the Purple Caterpillar of Horror, proper thread, proper stitch, proper mess. I did try welts but the inside was a sight, Then the yellow attempt and finally the unbleached millipede. Practice did improve matters and the end results are not too shaming.
Buttons - Bought these an age ago, liked the quirkiness, but never found just the right place for them. This probably isn't it, but they were the right size and number, tonally they matched and it was 10pm. When next in town I may trawl for a more 'period' choice - but you can be sure that they will have to fit those same buttonholes.
As for the mini cover buttons - used no gadgets so went together easily and made a nice finishing touch to the back.
Being me, of course, there are areas to be improved on, solutions to be pondered and developed further but this is actually something I feel quite proud of at the moment. It does what it sets out to do; a copy of the KCI jacket. It was never going to be the bees knees, the back is a best guess compromise and so are the inside details. But it has gone together remarkably well - I must have learnt something over the winter!
Hit List -Sleeves- practice the sleeve setting technique - it went together fine but the sleeve linings behave like teenagers, excessive enthusiasm followed by strops and that 'so make me' attitude. I will advise myself to be more vigilant and baste lining and outer together more firmly and retrim if necessary before putting in. I must also be more careful about keeping the seam allowances even.
Seam stitching technique - the tightly stitched seam looks lovely from the inside but the looser stitched ones work better from the outside. Need to get the stitch size and tension right and then stick to it. (I may need to find a film with no exciting bits in to watch as I sew.)
Button Stash - needs organising so that hours are not wasted looking for that elusive last match. It might help if buttons are returned to the tin but they are adventurous little things and keep turning up in little colonies in odd drawers and boxes.
BUT (big but) at last I have made something that is as smart inside as it is outside!
Coffee has gone cold, moment of oneness is past - blackbirds are squabbling - might even have to do some housework. Later....
KCI- jacket page
-http://www.kci.or.jp/archives/digital_archives/detail_34_e.html
FASHION - A History from the 18th to the 20th Century. Vol 1 p102/3 Taschen
interesting reading -
http://blog.seattlepi.com/seattlearts/2013/10/15/fashion-the-french-revolution-and-a-masculinity-in-continual-crisis/
http://locutus.ucr.edu/~cathy/mg.html - Journal de la Mode et du Gout
Caroline Weber - Queen of Fashion, what Marie Antoinette wore to the Revolution
This is one of the costumes made since the last blog. It is a little Victorian walking ensemble of short tailed jacket, apron and asymmetrical back overskirt over a polonaise style skirt. It was made to fit the cat so some proportions may be rather odd! It is based on a V&A 1868 promenade dress, drawn by Janet Arnold in Patterns of Fashion 2 ,but as the over all length is 9", the jacket is 3", many modifications have had to be made. 
The underskirt is drawn up on loops sewn into the seams to create the volume - the problem was always how to keep the hem level-ish and convincing. After all of the fiddling on the apron and rear panel I prefer it without. The fabric is too bold to carry the details, it becomes confusing. Another decision to regret was the inclusion of the premade roses - they look too mechanical and perfect. And of course there is the perennial cry about buttons - they may be the right diameter but they are too thick! Some things never change.....
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