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Vintage Jocardi Camel Coat Relined

3 Oct

In one of my previous posts, I talked about my expanding vintage winter coat collection. One of my favourites is a vintage camel coat which I found at a Salvos opshop a couple of months ago. It was in beautiful condition, and guessing from the cut it was probably of a 50’s-60’s vintage. The brand was Jocardi, and the only reference I could find online was from  a 1957 book about an Italian who had worked in the Jocardi Coat Factory in Canada.


Vintage Camel Coat


The coat is cut in a very flattering princess style, with topstitching, welt pockets, and a military-looking sleeve head.


Interesting sleevehead


Being interested in patternmaking myself, I was fascinated with the cut  of the sleeve, which is half set-in sleeve, and half whatchacallit. The whole cut of the coat was very feminine. You wouldn’t be able to get anything like it at the shops today. I especially love the way the skirt flares out.

However, the lining was in pitiful state. It was moth-eaten, ripped under the sleeves, threadbare, stained and torn in a few places. And it was a really awful pink typical of that vintage. Not to mention that it smelled something horrible.

But when I tried it on, I fell in love with the way it looked on me-it fitted me exactly, and I didn’t have that colour coat in my collection. The price tag on it was $35-which was a little high for an opshop, and I hesitated when I thought about the lining. But I convinced myself that it could be easily relined. The clincher came when I realised that it had a purple tag and it was half price day for purple tags! My parents were with me at the time and my dad offered to pay for it. So sweet of him. They both said the coat looked beautiful. And you don’t argue with your parents on that one.

So I got back home and sat on it for a week and studied it inside and out. And proceeded to rip the lining out and apart.


Lining front



Lining back


As you can see, the lining has an underlining made of cotton flannel, and the back has  a rectangle of suede sewn onto it. I took pictures of how the lining inside was constructed and attached and made notes so as to guide me  later. My plan was to rip one side of the  lining  apart at the seams, and leave the other side intact, then use the lining  pieces as a pattern for the new lining.


Lining pattern pieces


The lining pieces had to be ironed flat first. And I had to measure the seam allowance on it to determine how much to sew on the new lining.

I was set on a really funky lining, and had in mind some loud polyester fabric leftover from a maternity dress, which I got from  the bargain table at Spotlight.


Print maternity dress (See the Wyld Maternity Collection 2009 here)


To underline it, I used some tan wool crepe in my stash (which again came from an opshop). It wasn’t an attractive colour, and had some holes in it, but being an underlining, it didn’t matter too much.  I but both lining and underlining using the old lining pattern pieces.


New lining pieces


I made sure to mark the darks on both fabrics, then sewed the outline of the darts through both fabric layers.


Dart outline


I also sewed around the edges of all the lining and underlining pieces together, treating them both as a single layer from then on. For the back panels however, I joined the centre back seam of both fabrics together, but before sewing the edges of both fabrics, I sewed the suede rectangle onto the underlining. Then I sewed the edges of the lining and underlining together, treating it as a single layer from  then on. I then proceed to join all the pieces together, as well as attaching the sleeves.

Now comes  the big part-joining the lining to the coat. I sewed the lining edge to the coat facing, right sides together, all around from the middle of the collar down one side, and then down the other. This ensures that you don’t end up with one side of the lining longer or shorter than the other. It also means that the middle of the collar of the lining and the coat will match up. Now all that is needed is the hemming of sleeve and hem.

The sleeves were 1 1/2 inches too short-so I lengthened it. Luckily the hem inside was quite generous which allowed me to do that. Otherwise it would have looked a bit funny on me. I had cut the sleeve lining longer to accomodate  that alteration.

And this is the finished product.


New lining



Front view



Inside view


With the leftovers of the print lining, I made a square scarf to match (edges finished with a rolled hem on the overlocker) and a hair scrunchy.

I sent the coat to be drycleaned before I wore it. And I have worn it many many times over the last two months. I love this coat, and especially the lining. I feel like I’ve got a wonderful secret hidden under a demure coat. The loud print sings to me and to anyone I’ve shown it to.

Take note  however that if you remove the labels from the old lining to insert the care instructions for the coat into the new lining, because the dry cleaners might make you sign a waiver/indemnity in case of possible damage due to there being no care label.
This was a quick project and very satisfying. And it’s not that hard to do. So next time you see a beautiful coat with an old lining, rescue it and give it an internal facelift.


A Vintage Rabbit Fur

16 Sep

I’ve recently amassed a collection of  vintage coats. Living in a temperate climate, I feel quite justified in doing so. Coats are such necessities in winter. Everything that you wear next to your body remains unseen save for your coat. A beautiful coat and a pair of beautiful boots are absolutely indispensable for a lady. And because that’s what most people will see of you in winter, that’s all the excuse a lady needs to have more than just one.

A recent audit brings my coat count to 6 coats-all vintage or preloved save one, which came from Malaysia, bought before I first moved here. My most recent acquisition came from the Adelaide Vintage Fair last week. I found this beautiful vintage rabbit fur coat on a rack and tried it on…and loved it!

Vintage Rabbit Fur

The previous owner told me it belonged to her mother-in-law and was made in the 50s, but despite that it is in beautiful condition inside and out. The fur doesn’t even need to be dry-cleaned-it smells beautifully fresh. The lining has no tears or holes in it, and it fits perfectly. It’s very hard to get real fur nowadays, and they are up in the thousands of dollars. I kept stroking it and tried it on and Wyld Man said I should get it. So I did. I felt so glamorous when I tried it on. But it’s such a pity the whether is warming up now and I won’t have an excuse to put it on!

Here’s a back view.

Back view

When I first touched it I could feel the difference between it and an acrylic fur-it’s beautifully silky and warms you up immediately when it’s on. And real fur almost always has piecing because you don’t really get large hides from small animals. So this really was the genuine article.

I also came across a genuine Louis Vuiton bag in good condition for $50, but decided against getting it. There was a lady across the table who had been ignoring the bag, but started looking at it when I picked it up, and the minute I put it down, she snatched it up and bought it. I think she might have been afraid that I would pick it up again. I don’t know if carrying a monogrammed portmanteau is really my style, even if I could have gotten a good bargain, so it wasn’t a great loss for me.

The North Adelaide Vintage Fair is held fortnightly on the second and fourth Sunday each month from 9am to 4pm at the Estonion House on Jeffcott St, North Adelaide.  Lot’s of interesting things there to see and buy.