Under-collar Inner-side
Under-collar Outer-side
Upper-collar Inner-side
Upper-collar Outer-side
Revising the Cathedral Cape reminds there are not two but four sides to regard when making a collar, with the new under-collar’s four bias-cut pieces guiding its interfacing fold-line to bring the satin to shape while the upper-collar holds a reinforced set of straight-grain pieces, building dexterity as the collar’s visible face.
This industrial-looking mouth-mask is designed to perfectly take on the facial shape, covering nose to chin, ear to ear, delicately delineating the eye contour while endowed with elastic loops for easy mounting and laced seams for venting, allowing the wearer to look killer while being comfortable all throughout the night.
In finishing the Marquis Coat we opted on handsewing the lining all the way against the fabric facing up until the second sideseam, where both layers continue in separate hemlines ensuring an unhindered, godet drop.
Never entirely satisfied with the result of the collar on the Cathedral Cape, I decided upon a different approach to the same design, redrawing the curve-lines and adding a central back-seam to better bring it to shape, making a new construction with parts from the old collar supplemented by bits of leftover satin fabric while taking the opportunity to insert a whole new interfacing, adding the rigidity to keep it from collapsing under the pressure of the chin, for which I found solace in a small stock of a rare flax-fiber interfacing, I cut once in full bias and a second time as a patchwork of pieces composed from the remainder of the first cut, looking to preserve as much as possible of this truly exceptional material.
Taking a day out of a busy production schedule in order to analyze some of the newer materials, determine in which manners they work and what they can bring to a subsuming outfit, all while consistently capturing each and every thought on camera to keep as an expansive idea-base, well-referenceable in further steps.
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