I actually remembered to take some construction photos of my last project, the teal kimono jacket. I made an effort to document how to line the patch pockets because I originally found the process confusing. Lining the pockets rather than simply pressing the edges under seems like a faff, but it is totally worth it when you put your hands into them because the lining feels so nice!
My pocket fabric piece is 7″ wide by 9″ long and my lining piece is 7″ wide by 6″ long. The interfacing is 7″ by 4″. Seam allowances are 5/8″ and the pockets end up square.
Pocket piece with interfacing ironed to wrong side
Pocket piece with lining attached
There’s a gap left in the stitching for turning the pocket later on. I always think I’ve made this too small, and yet manage to turn the pocket anyway.
Pocket and lining after pressing
Pocket and lining after pressing (wrong side)
Pocket folded in half and stitched around edges (lining side)
Pocket folded in half and stitched around edges (outside)
Pocket with edges trimmed (lining side)
I could just use a smaller seam allowance rather than doing so much trimming!
Pocket with edges trimmed (outside)
Pocket after turning (lining side)
Pocket after turning (outside)
Turned and pressed pocket (lining side)
Turned and pressed pocket (outside)
And here are the pockets top-stitched on.
I’ve made this kimono jacket before. And practically lived in the original ever since; it can work both as a cardigan and a coat, has lots of pocket space, and is extremely warm.
This version was made for my sister. She wanted a teal colour, and I couldn’t get a boiled wool in that shade so it is made from a wool melton from Calico Laine. The surface is slightly smoother than boiled wool and you have to be a little more cautious when pressing it, but it works just as well for this style. And it was a dream to hem. I normally find hand hemming very tedious, but this fabric is so easy to hem neatly it was all over before I had time to get bored – and that hem is about 60 inches long.
I bound all the inside edges in a bottle green satin bias binding. It looks lovely with the teal, but you’ll have to take my word for it because I forgot to take any pictures of the finished insides, although I did take some construction pictures that I’ll post soon. It could be worse though – this is actually the third version of this jacket I’ve made and I forgot to photograph the second one at all. That one was for my mother and was a lovely sable brown boiled wool with brown satin bias. I’ll have to borrow it to photograph at some point!
I experimented with rounding off the inner corners of the sleeves in this version to try to get a nicer finish. I’m not sure it makes any difference on the outside but it makes binding the seam edges easier because you can just bind around the curve rather than having an awkward corner to deal with.
Here’s a side view. The back collar is very high, which I like because it keeps the neck warm. But you could easily reduce it by folding the collar over. Apparently that is is how proper Japanese kimono collars are supposed to be worn.
Back view. There’s meant to be quite a bit of ease in the jacket which ends up falling naturally into pleats at the back when you belt it.
You can keep things in the sleeves of this sort of jacket but I also put patch pockets on the front. I lined them with some navy blue poly taffeta lining. They were meant to be placed on the left front so the jacket wraps left over right like my original version does…but I got it wrong! Left over right is the ‘wrong’ way for western womens’ clothes but correct for a kimono. I find I don’t notice mine is the ‘wrong way’ much when wearing mine, and the pockets mean I automatically wrap it the Japanese way without having to think about it.
If anyone’s curious about how to make this then there isn’t really a pattern as such – it’s a series of rectangular panels which you work out the sizes for and chalk direct onto your fabric. There’s some more detail on my previous post. However I’ve refined the process a little since I made the first one, and I intend to get around to writing it up properly one day. Not least because I suspect this won’t be last one of these I make!
The weather in the UK has been so miserably cold that I decided what I needed to make next was a really warm cardigan. For one reason or another it took me a while to sew, and of course the very day I finished it the weather warmed up. Guess I should have sewed faster.
I chose the kimono style after a bit of snoop shopping on the Internet. I wanted something with a bit of shape to it but not too girly. Waterfall cardis are great but I find they look best in lightweight fabrics and worn open, OK for spring but certainly not for winter! The kimono has a very generous wrapover and you can make the collar as wide as you like to keep your neck warm. Here’s a better view.
You don’t need a printed pattern to make a kimono and it makes very efficient use of fabric. I always use this tutorial for the basic construction steps. I added patch pockets to the front because I had a little bit of leftover fabric and also I figured it would stop me stashing too much stuff in the sleeves. The patch pockets are on the left front because a kimono always wraps left over right whether worn by a man or a woman.
My fabric was 60″/150cm wide charcoal coloured boiled wool jersey from Truro Fabrics. This is how I laid out the pieces. Units are all inches because the sizes I needed divided into inches more nicely than centimetres. I could have made the collar piece quite a bit shorter. When I made the layout I hadn’t decided where I wanted the collar to finish so I erred on the generous side.
Seam allowances are 5/8″ except on the belt where I used 1/4″ to keep as much width as possible. The pockets are lined with a scrap of leftover cupro lining. The lining pieces are cut the same width as the pocket piece and about 1.5″ shorter because the fashion fabric piece folds over to make a facing. I fused a wide strip of interfacing to the top of the pocket pieces but there’s no pattern piece for that; I just eyeballed it. In the event that anyone wants to use the layout below as a basis for their own version, I’m about a size 10 in Big Four and 5’10” tall with an 18″ back waist.
The fabric I used doesn’t ravel at all but I bound all the exposed edges with satin bias because I like the finish and it’s quick and easy to do with a binding foot. I finished most of the hems with the blind hem foot on my machine. The fabric is so thick that stitches just sink into it and vanish so it’s ideal for a machined blind hem. Here’s the inside of the front showing the binding and the collar attached with ditch stitching from the outside.
The sleeves are the least practical feature of this pattern. I can just about fit these under my coatbut it’s a squeeze. I sewed up the wrist edges most of the way so I can use the sleeves as pockets, but left the back edge open as is traditional. I was a bit worried I might not be able to move my arms if I sewed the underarms right up. Kimono sleeves make great pockets; I’m always amazed by how much stuff I can get into the sleeves of my kimono dressing gown. I used to worry that things might fall out through the open back but they don’t seem to.
And here’s a back view. Not a lot going on here. You can see that I topstitched hems on the sleeve backs rather than breaking out the blind hem foot. The hems are a lot narrower here so this was the easier option.
I’m pleased with the way this has come out. It’s a really simple garment to make too. By way of contrast, while I was googling I came across this free download for an Alexander McQueen kimono jacket pattern. It’s beautiful but amazingly complicated! I intend to give it a try at some point so I’ll post a comparison when I do.
I made some kimonos for Christmas presents last year. One was made from a dark red cotton poplin from John Lewis that I was rather sorry to part with. Despite the fact that most reds clash with my (entirely artifical) hair colour I am still drawn to anything in that shade. So when I noticed the same fabric was back in stock last week but running out fast I grabbed the last five metres to recreate the red kimono. I needed a really simple project after the seriously fiddly Burda 111-02-2012.
And here it is. Excuse the indoor pictures; it was snowing heavily when we took them so no way were we venturing out of doors! The first one’s a little orangey. The colours are much truer on the back view.
This particular kimono is a very quick project when made in a solid coloured cotton. (If you pick a print and have to match the pattern, not so much!) It’s the fifth one I’ve made so I have it down to a fairly fine art now, but it’s easily doable in a weekend from cutting out to photos. And most of it’s sewing in straight lines which was about all I was up to after an unusually exhausting work week. It comes from this tutorial. The tutorial leaves finishing seam allowances to the end, but I find the end result is improved by finishing all the edges before sewing any pieces together. I made a narrow hem on these but I’ve used binding in the past.
At some point I want to make a much more authentic version with lining and things (check out Chanel No 6’s detailed series on the subject for inspiration) but this week I just needed some instant sewing gratification. And I like the Cardinal Richelieu effect of all the red draping.
I mentioned a couple of weeks ago I’d been making a kimono for my mother. It is now with her, so I can post some pictures of the finished object!
Unfortunately you can’t really see the sleeves when it’s hanging on the dressform, so here’s a better shot. The cuffs were an improvisation because I got the length of the sleeves wrong when I was working out the layout, but I think they work well.
It’s not lined. The brocade is a lovely gold colour inside.
And here’s a completely gratuitous shot of the seam and hem finish. I’m normally the queen of not caring what the inside of a garment looks like (after all, who’s going to see?), but this fabric frayed so much it absolutely required binding the edges. And I will admit it looks nice, but I doubt I’ll be doing this on any well-behaved fabric.
I’ve finished my mother’s kimono. Except I haven’t, because the sewing room looks like a bomb has hit it. Every surface is covered with fluffy polyester threads, including me. I think I’m going to have to vacuum everything, and I doubt the ironing board cover is ever going to be the same again. I never liked that ironing board cover anyway.
I had just enough fabric. I had worked out yardage for 45″ and 60″ width fabric before going shopping. When we found the perfect fabric in a 36″ width I had to do some hasty mental arithmetic. It worked out in the end. We will draw a veil over the fact that I got the sleeve lengths totally wrong and had to add deep cuffs. I think they look really good so clearly it was inspiration rather than incompetence!
The picture’s an in-progress shot, just after I’d finished the collar but before sewing up the sleeves. I’ll share photos of the final result after I’ve given it to my mother. And now to attempt to clean things up. I love the fabric but I’m going to be finding threads from it for months, I know it. Do you guys have to tidy up straight after finishing a project, or is it just me?
This little thing is magical. It’s a binding foot. I’ve had it for a couple of years but never got round to using it until this week, when I realised I was going to have to bind fifteen metres of raw edges on my mother’s kimono. I’d normally use a narrow hem for this, but that clearly wasn’t going to work with the poly brocade fabric we chose. It ravels as soon as you look at it. The edges show so binding it had to be. I armed myself with a large roll of satin bias binding and the binder foot instructions.
I am a girl racer on the sewing machine. I like to sew as fast as possible. This is probably the reason why I’ve never had great success with my rolled hem foot, which requires slow and careful feeding. Not so with the binder foot. It takes care of feeding the bias binding correctly all on its own. I just sat there keeping the cut fabric edge aligned with the foot and the pedal right down. Here it is in action.
The end result is pretty good. Right side.
Wrong side. I think if I was doing this again I’d probably reverse the fabric and feed it wrong side up to get the slightly narrower edge on the right side, but I’m still really pleased with the results.
Of course it wasn’t perfect from the start. I found the hardest thing was figuring out how to start and stop neatly – something the instructions that came with the foot didn’t mention at all. I had most success when I started by sewing just the binding with no fashion fabric. After a few stitches I stopped and inserted the fashion fabric into the foot, pushing it all the way to the point where the feed dogs would catch it. A tapestry needle was a great help for that.
At the end of an edge I found the best thing is to keep sewing right off the edge of the fabric. The foot is then sewing the binding together with no fabric between. Then cut the binding off behind the foot, insert the next edge at the front, and start sewing again.
The bound edge has a tendency to pucker slightly. A good press afterwards seems to help with that. Now onto the assembly of the kimono.