Voila! Mooshi’s Jean Patou Blouse!
Well, here it is! My reproduction of a 1960’s Vogue Paris Original blouse pattern designed by the fashion house of Jean Patou.
If you recall from my last Sewing Diary blog this couture project started out as a drafting challenge when I discovered the blouse pattern missing from the pattern envelope.
After much work altering and grading a pattern scaled up from the pamphlet’s pattern illustrations, I managed to successfully reproduce the pattern to a ready-to-wear size 18. The result is a very stylish loose fitting lightweight shirt style blouse suitable for any occasion whether casual weekend dressing, work, or more formal evening occasions.
The design features a wide winged collar more commonly seen in 1970’s fashion, dolman sleeves with gussets, patch pockets with box pleats, released tucks around the waist and sleeve cuff line, and hooks and eyes at centre front.
This sample is made in a medium weight wool flannel and underlined with silk organza to give structure and form to the soft wool.
If you’ve ever sewn a gusset into a blouse or jacket you’ll understand the sewing challenge I faced.
The trick to inserting a gusset is to baste a 2″ square of lightweight or sheer interlining fabric in a matching colour if possible, to the right side of the corner along the stitch line then slash up into the point and turn and press the square on the wrong side. This allows the corner seam to be stitched accurately and securely without the corner fraying and coming loose.
If machine stitching this square, I like to reduce my stitch to a size 2.0 or smaller as I approach the corner and come out of it, to reinforce it. For sheer fabrics I use silk organza or a very sheer fusible interlining like Floriani Dream Weave Fusible.
In couture sewing it is common practice to insert an underlining of silk organza and catch stitch the seams down. This gives a lovely handmade finish to the inside of the garment.
I have pinked my seam edges and stitched them down using a large catch stitch with matching silk thread as I intend to line this jacket with a cream silk satin. In an unlined couture garment smaller catch stitches should be used on overcast edges to prevent seams from unravelling and fraying.
Another challenging technique in couture sewing is concealing unsightly man-made notions. This Patou blouse has hooks and eyes down the centre front below the waistline and at the bust line.
It took me a few attempts to perfect my technique, but once I had it practiced a few times I developed a comfortable rhythm and found them a pleasure to sew.
Now that the blouse outer shell is finished I can begin making a lining for the inside. For this cream wool flannel I have chosen a beautiful medium weight cream silk satin. I hope to have the final result ready to show you next week along with an embroidered collar applique I started a few weeks ago.
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So what do you think of my Jean Patou jacket so far?