I
n the list of iconic fashion garments, there are a few classics that
are included without fail: the little black dress, the crisp white shirt,
the belted trench coat, and the classic French cardigan jacket. What
they share is an uncomplicated elegance and a clever marriage of
fabric, ft, and design. But in none of these garments is the partner-
ship more splendid than in the cardigan jacket. With the added
element of sewing techniques that brilliantly bring the design to life, its
no wonder the term classic so aptly applies.
Ive always been a devotee of haute couture sewing, starting way
back when my grandmother was a client at New Yorks couture salon
Chez Cez et Bez. When a wrist injury cut short my career as a classical
pianist, I applied for a job almost on a lark at Chez Cez
et Bez. To my amazement, I was hired to train with the
most talented designers and seamstresses, and at the
salon, I was able to poke around in boxes of fantastic
garments from various couture houses. Packages from
Chanel were my favoriteswhen I inspected the gar-
ments seams or oh-so-carefully peeked inside a lining, I
was amazed by the fne, ingenious handiwork.
In the following pages, I will show you how to sew the
four key features of a classic cardigan jacketquilted
rows of stitches that anchor the soft boucl fashion
fabric to a slinky lining; hand-fnished seams that pro-
vide hidden strength and support; a hard-working and
decorative chain weight at the hem; and bold trim and
buttons for design interest and stability. Tere really is
nothing like a classic French cardigan jacket, and every
woman deserves to have the simple style, luxury, and ut-
ter comfort of this unique garment in her wardrobe.
Susan Khalje (SusanKhalje.com) is a couturier and cou-
ture sewing teacher, host of DIY.nets Sew Much More, and
Treads newest contributing editor.
Luxury must remain almost invisible, but it must be felt
Coco Chanel
Inside a
Designer Jacket
Subtle quilting, hand-
finished seams, a chain
weight hem, and fine
trims are hallmarks of
this classic garment
BY S US AN K HAL J E ( F R OM I S S UE #1 2 1 )
2 THREADS
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1
Quilt the fashion fabric
directly to the lining
Soft, drapey wool boucls are typical of a cardigan
jacket. Theyre backed by a charmeuse or crepe
de Chine lining and supported by machine quilting.
The effect is soft, with just the right amount of
underlying structure.
1. Fit a muslin, then use the muslin pieces as your
pattern. When you are pleased with the fit, rip out
all stitches and press the pieces flat. To help align the
muslin pieces along the lengthwise and crosswise
grain of your fabric, cut off the seam allowances, and
draw grainlines that extend to the seamlines on each
piece. Lay out your wool in a single layer, then carefully
position your full set of muslin pattern pieces (left
and right fronts, left and right sleeves, etc.) along the
fabrics grains. Using a double length of contrast thread,
baste around each muslin piece to clearly identify your
seamlines and hemlines, then cut out with at least a
two-inch seam allowance.
c ont i nued
Luxury must remain almost invisible, but it must be felt
Coco Chanel
Jacket
provided by
Chanel USA,
from the Fall
2005-2006
collection.
THREADS 3
2. Layer the lining and fabric
piece, then quilt vertical lines
about one inch apart. Place
the charmeuse wrong side up
on a flat surface, then place
the cut fabric pieces right side
up on top, making sure the
grainlines are perfectly aligned.
Cut the charmeuse roughly in
the same shape as each fabric
piece (no need to be precise
yet), then mark the quilting
lines with pins spaced one inch
apart. Machine-quilt along the
pinned lines using a walking
foot, on 3mm stitch length, and
holding the fabric taut as you
sew. Stitch all quilt lines in the
same direction, and start and
stop one inch from seamlines,
and two inches from hemlines.
To keep the lines straight, you
may not be able to extend
them all the way to the top of
the jackets side panels.
3. Tie off the thread ends
between the layers. As
you quilt, dont back-tack at
either end; this looks messy
and can distort the fabrics.
Instead, pull up each pair of
threads between the wool and
charmeuse layers and knot
them securely with jewelers
knot (tied around a pin at left).
Clip the thread ends down
to
1
2 inch.
Hand-finish
the lining seams
Hand-finished seams provide a cardigan
jacket with hidden strength. Sewing by
hand also allows better control of the
slippery fabrics. I call this the woolly
mammoth stagethe wide seam allow-
ances are frayed.
1. Machine-baste the pieces along the
traced lines, but dont catch the lining.
Pin the fabric pieces together along the
hand-basted seamlines. Use a walking foot
and a long stitch length (I used 5mm) to
join the fabric pieces, and hold or pin the
charmeuse out of the way as you stitch.
Try on the garment to evaluate the fit, and
when satisfied, stitch the seams for real.
Remove any stray basting lines.
2. Press the seam allowances open, then
trim. Using a sleeve board to isolate the
seam, press the seam allowances open. Trim
them down to about
3
4 inch (leave as much
as you can to strengthen the seamlines, but
make sure the seam allowances will clear
the nearest line of quilting). Press the seam
allowances open again.
Quilt the fashion fabric continued
2
Extra-wide seam allowances are a must
The loosely woven boucl frays considerably during the
construction process. Wide allowances also allow for any
pulling up of the fabric during quilting. And because the
armholes of cardigan jackets are typically high and tight, this
extra fabric provides more opportunities for fit adjustments.
tip
3
Fell stitches secure all seams
of the fluid lining fabric.
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2 1
3. Overlap the lining layers, using pins to
transfer the seamline. Gently smooth one
of the charmeuse seam allowances over
the garment seamline (do not pull or tug
it, though, and make sure the grain doesnt
shift), then pin along the seamline as
shown at right. Start and stop pinning one
inch from seamlines and two inches from
hemlines. Trim that seam allowance of the
charmeuse down to about
3
4 inch. Overlap
the other charmeuse seam allowance, and
lightly press over the pins. The pin heads
create indentations in the charmeuse,
indicating the seamline. Trim this seam
allowance as well,
3
4 inch from indentations.
4. Fold the upper layer of lining in place,
then secure with fell stitches. Fold under
the charmeuse along the indentation and
pin in place. Gently press to create a sharp
foldline, which will be easier to sew. Lift
the garment off the sleeve board and
secure with a fell stitch, catching the
wool underneath.
5. Set the sleeve by hand and finish the
neck and center front. Place the garment
on a dressform and pin the sleeve in place.
The sleeves are then easiest to sew in by
handthe all-important grainlines can be
perfectly positioned and controlled, and
any extra fullness in the cap area is easy to
distribute. Staystitch the fashion fabrics
neckline and center front, then trim, clip,
and turn the seam allowance to the inside.
Trim, clip, and turn the lining (cheating
the lining about
1
8 inch to the inside), then
secure it to the fashion fabric with small,
tight fell stitches.
4
5
THREADS 5 www. t hr eadsmagazi ne. com
Apply a special
trim and buttons
Use a single purchased trim, combine or
layer trims and ribbons, or fringe your
own trim for a unique look. Youll need
about five yards of trim to embellish all
of the jacket edges, sleeve vents, and
pocket edges.
1. Create fringed trim from your fashion
fabric. Cut two strips of fabric about two
inches wide, then pull threads to the
desired fringe width. The fabric may have
different fibers in the lengthwise and
crosswise grains, so experiment to see
which gives the most interesting fringe.
Layer the strips together, then sew a ribbon
or trim down the center.
2. Pin the trim in place, folding under
loose ends and manipulating it around
corners. Using a single length of thread in
a color that blends in with the trim, firmly
secure both edges of the trim with tiny
backstitches.
1. Hem the fashion fabric with
a very loose catchstitch. Pin
the lining out of the way, then
press up the fashion fabric
along the basted hemline; trim
the hem allowance so it rests
along the base of the quilting
lines. Hold in place with a
loose catchstitch.
2. Secure the lining with a
catchstitch. To make turning
easier, first baste the linings
vertical seams closed. Then
finger-press the lining in place,
3
8 inch from the jacket
hemline. Finish the vertical
seams and the lower edge of
the lining with fell stitches.
3. Hand-sew the chain right
below the lining. Pin the
chain in placeit should not
be too tight (this will gather
up the fabric), or too loose (an
unwanted flare will result).
Strengthen a double thread
with beeswax, and secure the
top and bottom of each link
using small backstitches.
Insert a chain weight at the hem
The weight of bold buttons on a classic French cardigan jacket pulls the
jacket forward. A chain at the hem served as a counterbalance; it also en-
couraged the jackets back to hang close to the body. Its really only needed
in the back, but for style, run it along the entire hem.
1
2
3
Chain weight should match fabric weight
There are a variety of chain weights to choose from;
youll need to hold a few different ones in your hand
to get a feel for what will work best in your jacket. As a
general rule, use a larger, heavier chain with a heavier
wool, and a smaller, lighter one with lighter-weight
wools. Youll need enough chain to circle the hem of
your jacket (3 to 4 feet usually does the job).
tip
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1
2
Trim a pocket before you attach it
Fold and firmly press the fabric into your
desired shape, then add the trim to the top
edge. Fell-stitch a matching lining in place, and
sew the pockets on by hand with beeswax-
coated double thread and a firm fell stitch.
tip
START WITH THE RIGHT PATTERN
A classic cardigan jacket is gently shaped and usually
collarless. Look for a pattern with princess seams that
extend from the shoulder; the quilting will be more ef-
fective. The signature three-piece sleeve allows for better
vent placement, as well as fine-tuning the fit, but a two-
piece sleeve will also work. Here are a few patterns that
give you a designer cardigan style.
Burda 8414 McCalls 4311 Simplicity 4971
Butterick 4028 Simplicity 4954 Vogue 7975
(authors
own pattern)
THREADS 7 www. t hr eadsmagazi ne. com
LINTON TWEEDS LTD
(produces much of
Chanels fabric)
Shaddon Mills
Carlisle, Cumbria CA2 5TZ
England
011-44-1228-512062
LintonTweeds.co.uk
MENDEL GOLDBERG FABRICS
(Chanel-type boucls and
matching charmeuse linings)
72 Hester Street
New York, NY 10018
212-925-9110
Email them at
MendelGoldbergNY@aol. com
SOURCES
History of a Timeless Garment
M&J TRIMMING
( fancy trims and buttons)
1008 and 1000 Sixth Avenue
New York, NY 10018
212-391-6200
MJTrim.com
TINSEL TRADING COMPANY
( fancy trims and buttons)
47 West 38th Street
New York, NY 10018
212-730-1030
TinselTrading.com
TOHO SHOJI
(NEW YORK) INC.
(gold and silver chains,
sold by the foot)
990 Sixth Avenue
New York, NY 10018
212-868-7465
TohoShojiNY.com
Its one thing to be a designer
who reflects the mood of the
times; its quite another to be
a visionary.
Coco Chanel (1883-1971), who
early on encouraged women
to dress with ease, confidence,
and elegance, once stated, I
want to be a part of what is to
come. And with faultless taste,
audacity, and determination, she
was. Chanels garments were
astoundingly different from the
tightly corseted garments of
the not-so-distant Belle Epoque,
and they suited a generation of
women who were entering the
workforce, driving motorcars,
and participating in sports.
The design provenance of the
now-famous Chanel suit is vari-
ously ascribed to Tyrolean jack-
ets, military dress, riding clothes
of the British aristocracy, even
bellhops uniforms. Regardless,
its an eminently wearable bal-
ance of a basic jacket/cardigan
and brilliant ornamentation.
Most of all, it supports Chanels
claim, Elegance in clothes
means freedom to move freely.
Jacket
provided by
Chanel USA,
from the Fall
2005-2006
collection.
Luxury is the coat a woman
throws on the reverse on a
chair and the inside is more
precious than the outside.
Coco Chanel
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