The Trouser double piped back pocket

This pocket is found on the back of men's trousers. It sits flat to the body with the pocket bag extending into the waistline.

The first step is to mark the pocket placement.

As you can see here the placement line sits at the bottom of the dart.









Make the pocket bag 2 inches (5cm) wider than the pocket placement line by the depth that you want your pocket. Draw up to the waistline from the placement line. Extend this line up 1/4 inch (6mm) past the waistline. Round the bottom corners of the pocket bag. Cut one back and one top pocket bag from pocketing or muslin fabric.







Make the pocket piping and pocket back the width of the pocket bag at the placement line and

approximately 4 inches long.

• Mark the pocket placement line with chalk on the wrong side of the fabric; draw a  parallel chalk line 1/4 inch (6mm) up from  the pocket placement line; repeat drawing a parallel line 1/4 inch (6mm) below the pocket placement line. Draw  a vertical line connecting the to parallel lines at both ends of the pocket placement line to mark the ends of the pocket.
•  This makes a stitching template for the piping.

To make the pocket

Make the dart, if there is one on the back trouser.

Place the back pocket bag on the wrong side of the back trouser matching the pocket placement line.









 Turn your work to the right side; with right sides together and matching the pocket placement line pin the pocket piping in place.









Machine stitch along the chalk line starting approximately half way across the top line, down the side, across the bottom line, up the side and across the top line, finishing approximately 1/2 -1 inch (1-2.5cm) past the start point so that the stitching over laps.












Cut across the pocket placement line finishing 1/2 inch (1cm)  from the ends. Clip carefully out to the stitch at the corner on all four corners.

Press the seam allowance flat and pull the piping though to the wrong side or back.

Bring the piping down over the seam allowance to make the piping, press. Repeat with the top piping by taking it up over the seam allowance, press and pin the folds in place at all four corners.

Pull the triangle corners out towards the sides of the pocket bag and secure with machine stitching.

Machine stitch the piping fabric lower edge to the pocket bag to hold in place. Machine stitch another row of stitch just down from the lower piping as shown.






At this point if you want to make a buttoned back piped pocket, make the buttonhole.


  Place the pocket back piece onto the top pocket bag so that it will sit behind the pocket opening. Turn the lower raw edge under to neaten and secure to the top pocket bag with machine stitching close to the edge.








Pull the pocket bag thought the pocket opening.

Place the pocket top onto the back pocket bag  so that the edges are matching, the pocket back will be facing you; pin in place and secure with machine stitching 1/4 inch (6mm) in from the raw edge.








Pull the pocket bag back though the pocket opening and press around the pocket edge.










 Machine stitch around the edge of the pocket bag creating a french seam

The finished pocket

Turn your work to the right side. Create a machine back tack at one end of the pocket stitching though all layers of the pocket on the edge of the trouser, stitch in the ditch across the top of the pocket where the piping attaches to the trouser, back tack the down the end of the pocket on the trouser side of the pocket.

The finished back of the pocket

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Welt pocket

 Welt pockets

Alexander Wang autumn-winter 2013 RTW

A welt pocket is a small flat pocket commonly found on the breast of a mans suit jacket. It is also a great choice of pocket for a chopped jacket where the pocket is going to sit at the waist line or just above as it will add no bulk.The welt pocket also works well on slim fitting pants and skirts.

Chanel autumn-winter-2013/couture

 Traditionally a folded handkerchief also known as a pocket square is worn in the welt pocket of a man's jacket or coat.







 The welt pocket can be placed at the waist as in this jacket that also has a welt chest pocket. The pockets blend in to the front taking nothing away from the clean cut and design of the jacket.

Balmain spring-summer-2012 RTW

Slanted and placed at the hip for a slimming effect on skirts, pants and coats in both men's and women's wear



The welt can also be used as part of an inseam pocket.

Yves-Saint-Laurent  autumn-winter-2011 RTW

As with all pockets the first step is to decide where and at what angle you want the pocket and to draw a placement line.

The construction - making the welt

Working with the fusible interfacing measure the length and width of the pocket. The traditional finished width for a welt pocket  is 1 inch (2.5cm). The finished length for a breast pocket is 4-4 1/2 inches and 6-61/2 inches for a lower hip pocket welt.
Using the edge of the fusible interfacing draw the finished welt for your pocket adding 3/8 inch (1cm) to the length, here I've draw a welt 4 1/2 inches (5.2cm x 1 3/8 inch (3.5cm); because welt pockets are mostly set angled 1/2 inch or more in their placement draw a line  from the lower edge that angles over 1/4 inch (.6cm)  on the top edge; repeat at the other end reversing the angle so that the lower edge is 1/4 inch  (.6cm) in from the line marking the side of your welt; cut out.

Place the fusible interfacing onto the wrong side of the fashion fabric matching the stripe or check with the coat front if there is one and fuse in place; measure up from the bottom edge of the fusible interfacing 3/8 inch (1cm) and using chalk draw a line across the bottom of the welt; measure out on each side of the fusible 1/4 inch (.6cm)  and draw in the seam allowances; measure up from the top edge of the fusible 3/4 inch (2cm) and draw a line across the top of the welt; cut along the chalk lines.



Cut 2 pocket bags 1/2 inch (1.2cm) wider than the length of the welt; because the pocket is set on a 1/2 inch (1.2cm) angle measure down one side of the top of the pocket bag 1/2 inch (1.2cm);  draw in the new top line of the pocket bag;








place one of the pocket bags to the top of the welt so that the pocket bag will hang straight down inside the garment when finished, stitch across the top edge with a 1/4 inch (.6cm) seam allowance


press the seam allowance open.


Fold the fashion fabric back on itself using the top edge of the fusible interfacing as a guide line; Stitch down the sides of the welt from the top fold line to the bottom edge of the fusible interfacing securing both ends of the stitching.
Cutting at a 45 degree angle remove the top folded edge of the seam allowance at both sides; clip into the stitching at the lower edge of the welt cutting though the pocket bag





 press the seams open and turn to the right side and press the welt  flat.




You have made the welt now attach it to the garment.





With the right sides together and the welt upside down place the line drawn across the fusible interfacing onto the pocket placement line;  stitch across the line from one edge of the fusible interfacing to the other making sure to secure both ends of the stitching

Place the other pocket bag so that its top edge is sitting under the seam allowance of the welt butting up to the stitching line; measure in at both ends of the welt 1/2 inch (1.2cm) and mark onto the pocket bag, stitch across the pocket bag from one mark to the other being careful not to stitch into the welt seam allowance and securing the stitching at both ends.



Fold the seam allowance back out of the way and cut though the garment down the center of the two rows of stitching beginning at the center and finishing approximately 1/4 inch (.6cm) in from the end of the stitching; clip into the stitching at all 4 corners.







Pull both the pocket bags to the back of the garment though the cut; match the edges of the pocket bags up and stitch around the edges securing both edges of the stitch.


Finish the welt by slip stitching the sides to the garment or attaching to the garment with machine stitching down both side edges, press.








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How do they do this? Faux fur

Shiatzy Chen is a Taiwanese based luxury fashion house who is referred to as the Chanel of Taiwan. They describe their style as “neo-Chinese chic”. The house has a flagship boutique in Paris and a growing number of stores though out China and Asia. 

When I visited the Paris boutique I was inspired by all the beautiful silks,furs, embroideries, cut and finishing details. When I got home I wanted to sample as many different finishes as I could remember.

shiatzychen

Dress up, ladies. Let’s take a day trip to Paris 🥖with @kiwileehan

About the same time I visited the Saga Fur trunk show in NYC, where I saw this technique of fur striped with fabrics such as lace and organza.

 I decided to work half scale and use a faux Persian Lamb or Astrakhan woven fabric mixed with a silk organza and Bemberg lining.

The first design detail was the pleats at the elbow of the three quarter length  one  piece sleeve, pleated at the elbow over the under arm seam . This was a technique used in the mid to late 1700's.

pleats over under arm seam

Top of the sleeve

 First step is to recreate the sleeve using paper.

Cut the sleeve in two down the center line;
taped the under sleeve together and created
 the pleats on the elbow line, the add one
 above the elbow line  and one below
the elbow line.

The finished sleeve pattern will look something
like this depending on the depth of the pleats .

Using a technique of striping the fur with organza to  - 
1, make the fur go further 
2, to reduce the weight of the coat.
3, to create an interesting design detail. 


Decide the width of the fur stripe and the width of the organza stripe. Mark these stripes onto the pattern pieces; label all the pattern pieces before cutting the pattern pieces along these lines; add seam allowance to all the cut lines. 

Cut out the fur and organza fabrics. Sew the stripes together alternating the fur and organza stripes.

Sew together the body of the coat. Press the seam allowances towards the fur. Fold the seam allowance down the front edge of the coat to the wrong side and baste stitch to hold in place.  Make and attach the Mandarin collar.




Roll under the seam allowance on the organza down the side seams and under arm seam of the sleeves. Hand stitch in place using a small slip stitch.

Cut out the lining fabric only using the fur pattern pieces. Press the seam allowances to the wrong side of the lining. Hand stitch to the back of all the fur stripes. Attach the sleeves and bind the seam allowance to finish






Before attaching the lining to the collar seam add a small slightly gathered piece of lace.

Slip stitch the lining around the neck edge




Attach a slightly gathered piece of lace along the edge of the hem and cover the top edge of the hem with lining

Attach covered snaps 

The finished coat using the technique from Saga
and the sleeve and finishing details from Shiatzy Chen, Paris.

Part one, making the embroidered jacket

Part one, the embroidered jacket front.

To me this Chanel jacket is what Haute Couture is all about. From the first time I saw this jacket I know that I wanted to make a version for myself. The basket weave wool fabric has been sitting in my sewing room along with a lining fabric. 

A model wears a creation for Chanel's Haute Couture Fall-Winter 2016-2017 fashion collection presented Tuesday, July 5, 2016 in Paris. (AP Photo/Francois Mori)

For me I didn't want the yoke and also decided that I didn't want the 3/4 length sleeve. I prefer a full length sleeve that I can push up if I want a more casual look.

The next step is to work on drafting the pattern so I can work on the placement of the embroidery .  I love embroidery but for me this has to be simplified . On closer study of the embroidery on this Chanel jacket most of is applique. The leaves look to be from a printed fabric with the flowers embroidered onto organza then appliqued. I had already decided that I wanted to embroider straight onto the fabric. I played around with the colors for the embroidery going from strong pinks to a softer grey pink. 

The bodice embroidery follows up the princess seam  from the waist to a yoke. I do not want a yoke and I want the embroidery to start further up from the waist line seam. I'm hoping that this will give the illusion of lengthening and slimming the bodice.
Step one.
I have previously made and checked a toile for the fit of this jacket.  Cut the front and side front panels from both the basket weave wool and the interlining silk organza fabrics.
Because embroidery can 'pull in' when cutting the two pattern panel pieces from both the wool and organza I add a one inch seam allowance.
Step two.
Place the silk organza behind the wool and thread trace all the seam allowances.
When doing this keep the panels flat on a table and push the two fabrics together with your fingers while baste stitching, rather than pinning. 

The back of the front bodice showing the
seam allowances cut back and whip stitched
to the organza.

Pin the center front and side front together matching the thread traced lines, matching the notch points and keeping the ease in place. Securing both ends of the stitching and with a stitch length of 2.5 - 3 mm, machine stitch down the princess line on the thread tracing. Press the seam allowance open and flat. 

Cut the seam allowance back to 5/8 inch and whip stitch both the seam allowances to the organza.
Draw the embroidery design onto the organza and work the embroidery.

The right side of the front showing the finished embroidery.
I simplified the embroidery from the original Chanel jacket.

Place the front onto a bust shape and press to get the bust shaping back that has been lost while doing the embroidery. Stream and hold in place until cool.














Step three.
The front skirt

This image is showing the front skirt.
The silk organza is placed onto the back of the wool
and both
the waist line and lower edge have been basted.
The seam allowance, dart, straight of grain line
and hem line
have been thread traced. 

The organza is now placed behind the basket weave wool and baste stitch along the waist line and the lower edge. The seam lines, straight of grain , hem line and darts can now thread traced. 
The pattern for the embroidery can now be drawn onto the silk organza and the embroidery worked.

Front jacket skirt embroidery

Step four.

the cut dart

Make the darts in the skirt front. Using a stitch length of 2.5 - 3 mm machine stitch down the thread tracing. Secure both ends of the stitching. Cut down the fold line of the dart until the dart gets to narrow; press the dart open and flat and the end of the dart towards the center front. 

the whip stitched dart

Whip stitch the sides of the dart to the organza stitching the end of the dart down the fold line

fringe placement on the waist line

Step five,


Make the fringing.

With the fringing facing up towards the bodice, pin in place along the traced lower edge or waist line of the bodice.
Machine stitch along to thread tracing with a stitch length of 3.5 -4 mm.

the whip stitched seam allowance

 Baste stitch the skirt to the bodice.
Machine stitch across the waist line to attach the bodice and skirt together, using a stitch length of 2.5 -3 mm. Secure both ends of the stitching.
Press the seam allowances up onto the bodice. Whip stitch the seam allowance to the silk organza interlining.









Step six,

the canvas is baste stitched to the jacket front

The front edge and neckline have an added interfacing of hair canvas. I use two different types of hair canvas. The bodice neck line and front edge of the bodice  have a Ballato canvas and the skirt a medium weight canvas. These are lap together with a 3mm wide, 2.5 mm  zigzag stitch just above the waist line seam allowance.
Place the canvas onto the silk interlining of the jacket so that in sits along the thread traced front edge and neck line.

A Ballato canvas is an Italian canvas that will only bend on the cross grain or bias. Placed on grain this canvas resists folding or bending. Ballato canvas is a blend of 58% cotton and 42% horse hair.

the fringed neck line into the front edge

 Place the fringing onto the thread traced stitches marking the neckline, front edge and hem line. Cut to square around the corners as shown in the image. Hand baste stitch in place.

This is the end of part one as the jacket front is now ready to be attached to the jacket back .