Looking closer at the technique for cutting the leather into the most fluid of lines, using a fresh scalpel-knife to carve the pattern pieces onto the right side and turning over the blade to lift the wrong side and re-trace the incision, effortlessly employing the material’s own weight while sleekly slicing the way through the hide.
..stitched to the fabric collar..
The supportive lining..
..and folded in unison.
..joined at the base..
The lining construction that supports its shiny counterpart took considerably less effort to make, merging the prosperities of both established methods -maintaining a supple sturdiness without having double seamlines pressing through the soft silk top- in a uniquely prefabricated piece to which the whole blouse can be sown.
As thick leathers are stitched on top of each other rather than through conventional seams, a much tighter baste-method is needed to keep the seams from drifting apart under the pressure of the machine-foot, for which I opted to apply separate lines of top stitching on both pieces and use an extra strong yarn to tensely hook those together on the inner side of the seam, and re-use the same holes to stitch both layers secure.
Conscientiously choosing a lorn corner of the full-grain to test out techniques through cutting and processing collar pieces and get a good feel of the wealthy material before commencing work on the larger structures.
..and basting them in sequence.
Cutting the individual pieces..
..and ironing in the folds.
Stitching the seams together..
Prompted by the delicate shine of the fabric, all 33 parts that make up this collar had to be cut alongside the same direction of the silky weave, introducing a total of 48 seams and darts that had to be basted and sewn before what might have been world’s most demanding ironing job could bring the whole formation to shape.
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