More On Eton Jacket Project No. 2

And a little more progress on the Eton jacket- the next step of attaching the collars will be an interesting on in that the top collar is attached to the facing and the under collar is attached to the jacket body/shell. First, to attach the top collar to the facings:

The view from outside- this will ultimately make up the “inside front” of the jacket and the lapels will be facing outwards.

The view from inside. Because of the curve of the collar, it’s necessary to clip notches (carefully) along the seam allowance.

A close-up of the inside of the top collar.

Next stop, attaching the undercollar to the jacket shell… 🙂





More At The Atelier- Eton Jacket Project No. 2

More progress on the Eton jacket…the pad stitching has done a number on my fingers so progress has been a bit slow. I’m trying out some new tailoring techniques, at least to me- the fabric is a herringbone weave teal linen with the unfortunately property of REALLY stretching so it’s presented some challenges that I didn’t anticipate. But, nevertheless, I’ve completed the outer shell and the collar parts. The next step will be working with the facings and the lining…

The lapels have been steamed and are hanging very nicely. Someone who looked at my previous Eton jacket project stated that the lapels were “too stiff”- well, yes, that’s exactly THE POINT! 🙂 What you want to avoid are the lapels flopping about- rather, you want a degree of stiffness so they will maintain their shape, especially since the Eton jacket is meant to worn open.


The undercollar was fairly labor-intensive. I first had to carefully cut out the undercollar itself, purposely making the edges about 1/4″ less than the top collar so as to allow for the “turn of the cloth”- essentially to ensure that the material on the undercollar remains hidden when the collar is constructed.

The right side/fashion fabric side of the undercollar. You can see the pad stitching, along with my mistakes which will all be hidden once the collar is completely assembled. 😉 Well, that’s all for now but there will be more soon.


More Of Eton Jacket Project No. 2

More progress on the Eton Jacket…and my fingers are just about done in! 😉



Designs From Maison Worth


The Master Himself

Today we take you across the ocean to Paris, the capital of fashion in the late 19th Century for a brief look at one (of many) creation by Frederick Charles Worth. Worth was one of the first “name” fashion designers who pioneered what ultimately was to become the Haute Couture system that ruled the fashion world for almost a century.

Along with creating his own dress designs, Worth also commissioned his own custom fabrics and in particular he patronized the French silk industry centered in Lyon1Unfortunately, the silk industry in Lyon has diminished since the late 19th Century and today, Prelle et Cie is one of the few silk weavers that remain. Prelle’s silks have been used to restore a wide variety of historic sites worldwide and they even recreated many of the silk fabrics used in 2006 film Marie Antoinette.. One such creation that Worth commissioned from the firm of Morel, Poeckès & Paumlin in 1889 was the Tulipes Hollandaises (“Holland Tulips). The design was intended to push the silk weaver’s art to its limits, the design has a three-foot repeat in the pattern which made it difficult to weave.

Below are two pictures of the textile’s design:

Worth Evening Cape 1889_3

Worth Evening Cape 1889_4

The tulips are depicted in bright colors set against a black background and some commentators have characterized it as an “aggressive” design intended to make a bold statement, especially given the size of the design repeat.

As part of the 1889 Exposition Universelle in Paris, the products of French industry were exhibited and naturally the textile and couture industries were part of it. The above textile was put on display and it ultimately was awarded a grand prize.

Paris_1889_plakatThe above fabric was ultimately made into an evening cape that was designed to show off the tulip design to its maximum advantage:

Worth_Evening Cape 1889_1

Front View- Evening Cape, House of Worth, 1889; Metropolitan Museum of Art (2009.300.1708)

Worth_Evening Cape 1889_2

Rear View- Evening Cape, House of Worth, 1889; Metropolitan Museum of Art (2009.300.1708)

Worth_Evening Cape 1889_5

Here’s a view that’s a bit less sterile than what is normally encountered in a museum setting.

The above evening cape shows off the silk textile to its maximum advantage. Some could argue that it’s excessive and perhaps even gauche but that was the nature of Haute Couture in the late 19th Century and given the spirit of the time, anything less would have been dismissed as banal. Less was definitely not more during the Belle Epoch. 🙂

At The Atelier- Design Creation, Part 6

In out last post, we assembled the pieces for both the exterior fashion layer and the interior lining/facing layers for the Eton jacket.

In full disclosure, we’d like to say that this project has been an interesting learning experience in that it’s demonstrated to us that there is a lot more involved to drafting a pattern than simply drawing lines on paper following some formula, cutting out the pieces, and putting it together. A lot more. The one thing that nobody really ever discussed in pattern drafting and overall development is that once a pattern is constructed and tested out with one or more toilles, there’s still the matter of working out just how exactly the garment is going to be constructed. Of course, it’s assumed that one just knows all the relevant techniques and that bears little or nor discussion but the reality is with historical garments, there’s a lot that’s become obscure or even lost over the years. Fortunately, there are a number of references out there so it’s not an impossible task but it’s one that’s going require a lot of practice and work to master. So with that said, let’s proceed to the next steps…🙂

We now arrive at one of the most crucial stages- assembling the jacket body.

A lot more pressing is in order but overall we’re pleased with how it came together.

And now onto constructing the cuffs:

The decision to utilize turn-back cuffs was purely an aesthetic one and we could have just as easily used a number of different styles… 🙂 Here’s  the  cuffs pinned to the sleeves:


And voila, sleeves!

And finally, the sleeves are attached and set in the proper position. All that remains is some final touch-ups.

(To be continued…)