Chris Despos on Caraceni

For those who may have missed it, Chris Despos left an interesting comment on the Caraceni post that I am going to reprint. Those outside the U.S. may not know that Despos is considered one of the top bespoke tailors over here, so his input is greatly appreciated. Even more appreciated is his direct insight on the subject which is why I am reposting his comment here.

Jeffery,
Interesting post. I worked 3 years with a tailor from this shop. We would blunt the corners on sleeves and vents even for the basted try on. The process after the try on was to make the lower pockets then turn the front edges, sew them down then baste on the facings. After the lapels were done we would position and make the breast pocket, cutting thru the canvass, haircloth and flannel. This is a nice method and accommodates a pocket square quite well. Because the pocket is put thru the canvass to the inside, the bulk of the square is between the canvass and the lining rather than between the canvass and the cloth. We would cut the haircloth for the chest in two pieces. from midpoint of the chest up it was cut in the normal way. We would cut the bottom piece on the bias and attach it to the other piece. This gave a firm shoulder and a soft chest. This was the last 3 years of 9 years apprenticing. Great experience and opportunity to make clothes in this way. Most of these techniques have been abandoned.

Cutting the breast welt through the canvas is pretty old-school. Frank Shattuck was telling me last week that he still does it this way as well. Caraceni's method seems to have changed slightly in the meantime, from what Chris described.

Here is a view of the inside of the breast welt, which is more often now made before applying the canvas and as such is sandwiched between the cloth and the canvas. Chris is right to point out that it makes a cleaner chest to cut it through the canvas. I'm not a fan of cutting through the haircloth, but we will see that in this coat, that was not done. Nor was it sewn through the felt, which, in this case, has been applied by hand and trimmed around the pocket.



With the felt gone, we can see that the chest piece was split just below the breast line, and another piece of wool canvas butted to it. The breast welt was sewn through two layers of wool canvas, rather than canvas and haircloth. We can see that an additional piece of wool canvas, on the bias, was added to the shoulder for additional support, and the whole is heavily padded by blindstitch machine.



Oh and Chris' thoughts on the mezzaluna tacks:

Mezzaluna tacks hold the interior pipes in place and help support the stress on the pocket pipes. It binds the pipes to the cloth. Much stronger than a hand bar tack that is more decorative than functional. Actually I do bar tacks with a buttonhole stitch on trouser pockets.
Despos


Thanks, Chris.

Breast pockets, Huntsman-style

This one's for the tailors. Tiny little details that I obsess over.....

I have always operated under the assumption that there were two basic methods of setting the breast welt pocket (with many variations on the methods, but two global methods).

The first being the hand-made method, in which the welt is constructed (usually by hand), sewn to the front, then the ends felled or slip-stitched in place by hand. This is how I have always made my breast welts.

The other method is the factory method, in which the welt ends are machine-stitched on top, either by micro zig-zag (which is the common technique)or, horrors, by plain machine. The zig-zag method looks like this; you have to look very closely at some garments, but it is there and it is visible.



Every once in a while I would come across a garment whose welt ends looked cleaner, more solid and better executed than the ones felled by hand, but there was no visible stitching on top, leaving one to assume they had to have been done by hand, but with some very talented hands. I knew there was something that I was missing, something I had yet to figure out. The breast welt on this Huntsman coat was one of those types. I have removed some of the pickstitching, but you can see how the ends are done- cleanly, with no visible stitching, yet they are solidly affixed.





That's what's fun about studying other people's garments. We learn. We can improve.

Looking inside, we can see that the breast welt has been tacked by machine, but from the inside. At first it seems obvious, until one sits down to try to do it. Hmph.




I finally managed to figure it out. The welt has to be constructed in a totally different way than I am used to, but I got it.



This suit has just about paid for itself now. Now I have to practice this, oh, about a hundred times or so before I do it on somebody's garment....

EDIT

This blogging thing's cool. I got an email from someone who trained at Henry Poole, saying that this was how he learned to do welts there, and then proceeded to send me an explanation of his method. Most of it was pretty much what I had figured out, but there is nothing like experience. When you have done it a hundred times you come up with little tricks to make it easier or better, things that did not immediately occur to me. So he saved me a whole bunch of trouble; in the interest of sharing, I'll put together a tutorial showing the method.

Thanks R!