Red Blue and White check Linton Tweed made up in Burda 7041 (sadly discontinued but there are similar). It is quilted in 2″ lines to silk organza for stability and then lined in spotty silk satin. There is black satin piping round the collar and down the front and a heavy chain fixed to the inside hem to help the coat drape (it is particularly heavy so creates a real swing). It fastens edge to edge with a rouleau loops and metal half round buttons.
Bess finished making this coat nearly a year from starting due to some ‘issues’ so it’s a miracle it was ever finished as Bess does not do ‘issues’. Bess makes coats in a day, maybe over 3 days if there are complicated bits to do and she has other things going on. The problem with UFOs (unfinished objects) is once it goes in the pile it rarely escapes. To rectify this Bess hung it on the door and was not allowed to remove it – even though this meant the door couldn’t be closed. The problem that caused such a delay is No1. she used a cheaper silk organza that was heavier than normal which made it substantially heavier than she intended (unfixable). The 2nd thing was she cut the lining too short at the centre back (rectified by piecing in a bit of braid so it didn’t pull up the coat). 3rd, and rather majorly despite her checks matching perfectly at every seam when she tried to hem it it was going up in a spiral and being one check off at the front (rectified by hemming it straight and never looking at the hem thereafter).
Bess went to Vegas to see her Sister get married (Johnny Cash came back from the dead to marry her). Of course she needed a new coat but Vegas being Vegas sequins were in order, albeit subtle and rather stylish ones woven into a fabulous Linton Tweed.
The tweed was quilted onto silk organza to give it a bit of stability (machine quilted in vertical lines with silk thread), it was lined in silk crepe de chine, trimmed with a cotton decorative braid, fastened with corset hooks and weighted at the hem with chain.
It has since been the go-to coat for weddings/birthday parties and posh dinners out.
Tracey (in French France) made this fabulous boxy cardigan jacket using the wool and cotton Laurent Garigue bouclé knit. She quilted it by hand (as per tradition) to black Venezia lining and used lead weighted piping on the hem to make it hang nicely.
Ann-Marie here modelling her fabulous red Linton Tweed jacket, in keeping with the traditionally made cardigan jacket she quilted the fabric onto some silk lining, this not only stabilises the tweed but also strengthens the whole jacket. A cardigan jacket should be soft and cardigan like, with no heavy interfacing, there is a fair amount of hand stitching (a swear word in some circles) that needs to be done, but the results of the hard effort is amazing.
You can find lots more cardigan jacket type tweeds HERE
Lennie from our Cloth Club made this beautiful cardigan jacket using Linton Tweed and trimming with organza that she ruffled herself. The Vogue Pattern used (V8804) details how to do the traditional quilting that helps to stabilise this very loose weave fabric, there is additional advice in the Claire Shaeffer’s couture sewing techniques book, and we have a leaflet we can send you with tips. It is important to choose a lightweight lining (such as silk crepe de chine) as more stable linings (whilst easier to work with) can stiffen the jacket up too much once quilted; the jacket should remain soft, more like a cardigan).
Dolly wearing Alpaca and wool mix bouclé cardigan jacket with bluebell blue wool crepe A-Line skirt. To stabilise the loose weave of the jacket Jane mounted it on to cotton muslin before sewing. Made by Jane for Kath.
Fabrics and Notions:
Alpaca wool and acrylic cardigan jacket type tweed/knit #3197
Cotton Muslin (interlining)
Ivory silk double crepe (lining)
Blue satin bias binding (piping)
Blue lacquered coconut buttons
A rare photo of Jane taken in London wearing her mixed fibre tweed jacket quilted in the traditional cardigan jacket manner with added chain weight and fringe trimmings. Turquoise and chartreuse wool tweed skirt with kick pleat and pink lining (made by Bess).
Fabrics and Notions: Jacket:
Mixed fibre cardigan jacket type tweed
Printed silk satin lining
Silk organza (just the selvedge, used for staying the edges and hem)
Acrylic fringe trim
Double cover buttons
Turquoise and chartreuse big check wool tweed
Pink Venezia lining
Pink velvet piping
Clair wears black and white traditionally made cardigan jacket with matching straight skirt
Fabrics and Notions:
Mahlia black and white mixed fibres tweed
Purple silk habotai lining
Silk thread (for quilting)
Beaded fur trim
Decorative chain (for hem)
Silk organza (stabilising)
Salvaged Chanel ribbon
The trick to making a cardigan jacket look authentic (amongst other tricks) is to cut the sleeves skinny, and tight, up into the arm hole. It may feel like you are going to restrict movement doing this, but in fact the opposite is true. Try it, you will be pleasantly surprised.
Lulu wearing her lovely silk and linen shift wedding dress, holding her daughter, Kitcat, in her printed cotton seersucker ruffled dress and matching headband. Gemma to her right wears an embroidered cotton bridesmaid dress.
Fabrics and Notions (Lulu):
Turquoise silk and linen
Silk habotai lining
Silk organza feather trim
Iron-on lightweight interfacing
Fabrics and Notions (Gemma):
Embroidered lightweight cotton
Lightweight iron-on interfacing
Fabrics and Notions (KitCat)
Printed cotton seersucker
Cotton lawn (lining and collar))
Extra-Lightweight knitted iron-on interfacing
The silk organza trim gave Lulu’s dress just the touch of something special she wanted for her wedding dress without making it too impractical or unsuitable to wear at subsequent posh do’s. A shift is the most flattering of dress, and easy to make fit really well.
To use our fast and efficient swatch service please read the guidelines HERE
Allow 10% shrinkage for all your washable natural fibres (including viscose). Wash before making up in the same manner as you would with subsequent washes (including drying methods).
Jerseys and fabrics liable to mis-shape should be dried flat, or in a cool tumble dryer.
Most fabrics should be pressed before cutting.
If in doubt about care instructions please CONTACT US