Welcome to this week's discussion thread.

Feel free to share:

• A garment you've been wearing recently
• A fabric you've discovered
• A fit problem you're trying to solve
• A purchase you're considering
• A piece you're thinking about adding to your wardrobe
• Any question related to clothing, materials, fit, or craftsmanship

If it's related to clothing, it belongs here.

A lot of people judge quality by the fiber label: 100% wool, 100% cashmere, 100% silk.

But that only tells you what the fabric is made from, not how much material is actually there.

Fabric weight (GSM for wool/cashmere and momme for silk) tells you much more about the garment’s structure, drape, durability and warmth.

For example, two coats can both be 100% wool, while a 200 GSM coat and a 400 GSM coat will perform very differently.

When buying expensive clothing, I’d look at both:

1. Fiber quality: micron count, staple length, etc.
2. Fabric weight: GSM or momme.

Composition tells you what it is. Weight tells you how much of it you're actually getting.

Welcome to this week's discussion thread.

Feel free to share:

• A garment you've been wearing recently
• A fabric you've discovered
• A fit problem you're trying to solve
• A purchase you're considering
• A piece you're thinking about adding to your wardrobe
• Any question related to clothing, materials, fit, or craftsmanship

If it's related to clothing, it belongs here.

Fiber and fabric are two completely different things.

For example, a label that says 100% silk only tells you the fiber. It doesn't tell you whether it's charmeuse, habotai, chiffon, organza, crepe de chine... and those fabrics behave completely differently.

Same with cashmere. Two labels can both say 100% cashmere, but one pills after a season while the other lasts 10+ years. The label won't tell you the fiber grade, micron count, staple length, fabric weight, or construction.

When buying clothes with natural fibers, look beyond the composition label and ask questions like:

What fabric is it?
What's the weight (GSM or momme)?
How was it woven or knitted?
What grade is the fiber?

Curious if anyone else pays attention to this, or do you mostly go by how the garment feels in person?

A French seam encloses all raw fabric edges inside the seam itself. It creates a clean interior, reduces fraying and works particularly well on lightweight fabrics like silk.

It also takes longer to make because the seam is sewn twice and pressed between each step.

That doesn't automatically make every garment with French seams high quality, but when combined with good materials and proper construction, it's one of the clearest signs that extra time went into making the garment.

Most people look at the fabric label or brand name. One thing that's often overlooked is stitch density (SPI – stitches per inch).

It's one of the few quality indicators you can actually measure yourself with a ruler.

Guideline:

• 6–8 SPI → typical fast fashion
• 8–12 SPI → standard ready-to-wear
• 12–14 SPI → good quality construction
• 14–16 SPI → common in higher-end garments, especially silk
• 16+ SPI → tailoring and couture

More stitches don't automatically mean better, because thread tension also has to be correct, but assuming proper construction, higher stitch density generally distributes stress better and improves seam longevity.

It's especially important in silk, where the fabric can shift around the stitches more easily than wool or cotton.

Next time you're shopping, bring a small ruler or use your phone. Count the stitches over one inch on a straight seam, it only takes about 30 seconds and tells you far more than most marketing claims.

We'd really appreciate it if you shared your experience here.

Feel free to mention anything you think may help others:

• Communication
• Process
• Fit
• Craftsmanship
• Materials
• Packaging
• Delivery
• Overall experience

If you haven't been a Bradic client but have explored the website, social media or products, you're also welcome to share your thoughts on the designs, concept or presentation. Just please mention that your feedback is based on your impression rather than first-hand ownership.

Honest feedback (positive or negative) is always welcome. It helps us improve and gives future clients a clearer understanding of what to expect.

Thank you for taking the time to share your thoughts.

The edge finishing on double-faced cashmere is among the most technically demanding operations in garment construction. Here is exactly how it is done.

Double-faced cashmere finishing is one of the few operations in garment construction where there is no machine substitute. The process requires separating two bonded fabric layers, manipulating each independently, and joining them invisibly by hand. Every finished edge on a double-faced coat represents a sequence of precise manual steps that cannot be shortened without visible consequences.

This is an article about that specific process: what happens at the edges, in what sequence, and why each step exists.

What Makes Edge Finishing on Double-Faced Fabric Different

In conventional lined garments, edge finishing is solved by the lining. Raw fabric edges are folded, clipped, and enclosed inside the lining, which covers them completely. The exterior of the garment shows clean fabric. The interior shows clean lining. The construction in between can be imperfect because it is hidden.

Double-faced fabric has no lining. Both faces are visible. The interior of the finished garment is as exposed to inspection as the exterior. This means every seam, every edge, and every junction point must be finished to the same standard on both sides simultaneously, with no layer to conceal anything.

The fabric itself is the additional complication. Double-faced cashmere consists of two separate knitted or woven layers held together by interlocking yarns. These connecting yarns must be removed before the layers can be manipulated independently. The layers must then be repositioned and rejoined in a new configuration without any evidence of the joining being visible on either face.

The Fabric Structure Before Finishing Begins

Understanding the finishing process requires understanding what double-faced cashmere actually is at a structural level.

Two separate fabric layers, each with its own face side, are connected by a series of interlocking yarns that run between them. In some double-faced fabrics these connecting yarns are permanent and the layers cannot be separated without destroying the fabric. In the type used for quality finishing, the connecting yarns are designed to be removed over a limited distance at the edges, allowing the layers to be peeled apart for manipulation and then rejoined by hand.

The depth to which the layers can be separated depends on the fabric construction and the thread used for connection. In quality double-faced cashmere, the layers can typically be separated cleanly for 1.5cm to 2cm from any cut edge. Beyond this point, the connection yarns are embedded deeply enough in both layers that attempting separation would damage one or both faces.

This 1.5cm to 2cm of separable edge is the working zone for all hand finishing operations. Every manipulation happens within this zone. The precision requirement is therefore extremely tight: all folding, positioning, and stitching must be completed within approximately 15mm of the fabric edge.

Step 1: Removing the Connecting Yarns

Before any edge can be finished, the connecting yarns must be removed from the working zone.

This is done with a seam ripper or fine scissors, working from the cut edge inward to the required depth. The connecting yarns typically run in a consistent pattern that, once identified, can be removed in a systematic sequence. In quality double-faced cashmere, the connecting yarns are a different color or a finer weight than the face yarns, which makes them identifiable under good light.

The removal must be complete. Any remaining connecting yarn that crosses the working zone will prevent the layers from lying flat independently, which produces a visible distortion in the finished edge. The removal must also be controlled: going too deep removes yarns that are part of the fabric's structural integrity rather than its joining mechanism.

After removal, the layers at the edge of the fabric separate cleanly. Each layer can be folded independently. The fabric from the working zone inward remains bonded and stable.

Step 2: Seam Construction at the Interior

Before the edge can be finished, the pieces must be joined at their seams. Double-faced garment seams are constructed differently from conventional seams because there is no seam allowance in the traditional sense. The seam cannot be pressed open and covered by lining. It must be constructed so that it is invisible or nearly invisible from both sides.

The standard approach is to sew the two pieces together through both layers at the seam line, press the seam open, and then manually join the loose layer edges over the pressed seam.

More specifically: after sewing the seam, the seam allowances on both pieces are separated into their individual layers. The outer layer seam allowances from both pieces are pressed back and trimmed to reduce bulk. The inner layer seam allowances are pressed back and trimmed separately. The outer layers are then folded over the seam position and slip-stitched to each other with stitches that do not penetrate to the opposite face. The inner layers are handled identically. The result is a seam that shows only a thin join line on both sides of the garment, with no seam allowance visible on either face.

This process is slow because every seam requires four separate folding and stitching operations: outer layer on both pieces, inner layer on both pieces, each handled independently before being brought together.

Step 3: Preparing the Edge Layers for Finishing

With seams constructed, the perimeter edges of the garment can be finished. These are the edges that will be visible: the hem, the front opening, the neckline, the cuffs.

At each edge, the separated layers from the connecting yarn removal step are ready to be manipulated. Each layer has a clean face on one side and a structural interior on the other. The task is to fold each layer so that its face remains visible and its structural interior is hidden, while the two layers join invisibly at the edge.

The approach: the outer layer is folded inward toward the garment interior, so its face remains on the outside and its cut edge is tucked inside. The inner layer is folded outward toward the garment interior, so its face remains on the inside and its cut edge is also tucked inside. The two layers' folded edges meet inside the garment, where they will be joined by hand stitching.

The fold depth must be precise and consistent around the entire perimeter. Inconsistent fold depth produces an edge that varies in thickness, visible as a slight waviness along the finished edge.

Before folding, each layer is often lightly pressed to set the fold line in the correct position. Double-faced cashmere responds to steam: the fibers relax and can be repositioned while warm, then set as they cool. Pressing the fold before stitching reduces the amount of tension the stitching must hold and produces a flatter, more stable edge.

Step 4: Hand Stitching the Layers Together

This is the most time-consuming step and the one where the skill of the finisher has the most direct impact on the quality of the result.

The two folded layers are brought together at their folded edges, inside the garment, and joined with a slip stitch. The slip stitch is worked by picking up a few threads from one layer's fold, then a few threads from the other layer's fold, pulling the thread through, and repeating. The stitch travels horizontally along the edge, alternating between the two layers.

The requirements for this stitch are specific:

Consistency of stitch spacing. Stitches placed too far apart allow the layers to gap slightly between stitches, producing a barely perceptible waviness along the finished edge that is most visible when the fabric is held at an angle to light. Stitches placed at 4mm to 5mm intervals are standard for double-faced cashmere at medium weight. Heavier weights require slightly wider spacing to avoid compressing the fibers; lighter weights may require closer spacing.

Thread selection and tension. The thread must match the cashmere in fiber content and color closely enough that if a stitch becomes slightly visible, it blends with the surrounding fabric. Fine wool or silk thread is standard. Synthetic thread should not be used because its strength relative to cashmere means that the stitches will cut into the cashmere fibers under tension rather than releasing if the seam is stressed. The tension must be consistent: too loose and the layers separate, too tight and the edge draws in slightly, causing distortion.

Stitch depth. The stitch must catch enough of each layer's folded edge to hold securely but must not penetrate the full depth of either layer. A stitch that goes all the way through the outer layer of double-faced cashmere will be visible on the exterior as a tiny dimple or stitch mark. The correct depth catches only the inner few threads of the folded edge, leaving the face yarns of both layers undisturbed.

Corner handling. At corners, the excess fabric at the fold must be mitered: the corner fabric is cut away at 45 degrees, the cut edges are aligned, and the corner is stitched closed before the slip stitching continues along the adjacent edge. A poorly mitered corner on double-faced cashmere shows as a slight thickening or rounding at the corner point. A correctly mitered corner is as flat and sharp as any other point on the edge.

Step 5: Final Pressing

After slip stitching is complete, the finished edge is pressed with steam and a pressing cloth to set the fold and consolidate the stitching.

The pressing cloth is essential. Direct iron contact on cashmere, even at low heat, can compress the fibers and create a shiny, flattened appearance that does not recover. A pressing cloth diffuses the heat and pressure. The steam penetrates through the cloth and relaxes the cashmere fibers; the pressing cloth prevents direct contact.

The edge is pressed from both sides. The exterior is pressed to set the outer fold cleanly. The interior is pressed to set the inner fold and compress any slight excess from the slip stitching into the seam. The garment is then left flat or hung briefly to cool and dry completely before further handling. Moving the garment before cooling sets the fold temporarily in a distorted position.

On curved edges such as a rounded hem or a curved neckline, the pressing requires a tailoring ham or pressing mitt to maintain the curve while pressing. Pressing a curved edge flat against an ironing board flattens the curve; pressing over a curved surface maintains the three-dimensional shape while setting the fold.

Time Per Piece

The time required for hand finishing a double-faced cashmere coat depends on the design, specifically the length of perimeter edge that requires hand finishing. A full-length coat with a front opening, hem, neckline, and sleeve cuffs has significantly more perimeter than a shorter jacket.

For a mid-length double-faced cashmere coat, the hand finishing steps described above, excluding seam construction, typically require 8 to 14 hours per piece depending on the finisher's experience and the complexity of the edge lines. A coat with significant curved seaming at the neckline and an intricate front closure requires more time than one with straight lines throughout.

This time is the primary cost driver in double-faced garment production. Material costs for quality double-faced cashmere are high, but skilled finishing time at the rate required to maintain quality is often the larger component. It is also the component that cannot be compressed without visible degradation of the result.

What Correct Finishing Looks Like

A correctly hand-finished double-faced cashmere edge has specific visual and tactile characteristics.

The edge appears as a clean, slightly rounded terminus of the fabric. No stitching is visible from either the exterior or interior. No raw edge is visible from any angle. The edge has a consistent thickness throughout its length, with no variation that indicates inconsistent fold depth or compressed corners.

When the edge is flexed gently, it moves as a single unit without separation between the layers. The stitching is holding but not pulling: there is no evidence of tension at the stitch points when the edge moves.

The corner, if the design has corners, is flat and sharp. The miter is clean. The corner point matches the corresponding point on the pattern exactly.

When the finished edge is held to light at an oblique angle, the surface is consistent. No dimples indicate stitches that went too deep. No gaps indicate stitches spaced too widely. No waviness indicates inconsistent fold depth.

What Incorrect Finishing Looks Like

The most common finishing shortcuts produce specific, identifiable results.

Machine stitching substituted for slip stitching produces a visible stitch line along the interior edge. The machine stitch is consistent in a way that hand stitching is not, which paradoxically makes it more visible. Machine stitching also penetrates both layers consistently, which produces visible stitch marks on the exterior at regular intervals.

Adhesive bonding substituted for stitching produces an edge that is flat and clean when new but stiffens over time as the adhesive ages. The bonded edge loses the soft, slightly rounded quality of a stitched edge and begins to feel different from the body of the garment. Adhesive bonding also fails with dry cleaning chemicals that dissolve or weaken adhesives.

Insufficient connecting yarn removal leaves yarns that cross the working zone, which prevents the layers from folding cleanly. The resulting edge has a slight thickness variation where the remaining connecting yarns are located.

Inconsistent fold depth produces edge variation that is most visible when comparing the front opening edge to the hem: if one was folded at 8mm and the other at 12mm, the difference in edge thickness is visible and tactile.

Welcome to this week's discussion thread.

Feel free to share:

• A garment you've been wearing recently
• A fabric you've discovered
• A fit problem you're trying to solve
• A purchase you're considering
• A piece you're thinking about adding to your wardrobe
• Any question related to clothing, materials, fit, or craftsmanship

If it's related to clothing, it belongs here.