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Finally I have had the time to start work on the coat itself! And it's very pleasing to do something involving needle and thread and not merely rulers and paper!

Preparing the front pieces

After closing the seam running from the armscye downwards and securing the slit that will later be covered by the pocket, I started, enthusiastically, by padding the hair canvas to the right front piece. Because it interested me. And because I wanted to see the effect this had on the fall of the fabric for myself.
Well. What I should have done before, is a) ironing fusible interfacing on the area where the welt pockets are going to be inserted in the next step, and b) fix the placket in the shoulder area.
As I only realised this after I had completed the padding, I had to remove the whole thing again, of course. Well, it didn't happen again on the left front piece afterwards...

The closed side dart and the horizontal cut covered by fusible interfacing. You can also see the area where the welt pocket will go, which I have also doubled with the same light, but woven fusible.

The hair canvas being blind stitched to the fabric.
View from the farbic side. After some more ironing I convinced the irregularities to fo away ;)

Here you see what happened after I destroyed my work from before and added a placket (in which the fabric grain runs perpendicular to the shoulder seam and which is properly stitched, herring-bone style to the hair canvas) and marked the welt-pocket zone as well as buttons and the waist line in red thread.

Close-up of the lapel while adding a bias tape to the roll line.

The Welt Pockets

Time to start on my first welt pocket. Ever. So, as always I consulted a clever book. Which is nice as long as it really IS only one. Because, apparently, there are quite a number of different ways to go about making welt pockets.
I decided to go with this MO, after dithering over the damned things for WEEKS.

Because I'm a bit paranoid and don't trust things that I have to cut holes into my fabric for, I went with a double interfacing for the welts themselves. Fusible on the one half, hair canvas on the other (the one that'll look outwards later on).

Close the side seams, turn and iron. Then baste stitch the prepared welt in place...
...and the fabric part of the pocket lining, was well. Machine-stitch. The seam on the welt is about 1,5 cm longer than on the lining.

And now the AWFUL thing: Cut through hair canvas and fabric, but not the welt, or the lining, in this double Y-shape. Of course you have to stop cutting before you damage the thread of the two parallel seams.

Draw the lining fabric through the gap and pin it out of the way.

Add the second part of the pocket lining by stitching it onto the seam allowance of the welt. The result sould, on the wrong side, look like this.

Fold the fabric pocket lining down.

And stitch the three open sides. Preferrably BETTER than I did here, producing the worst ever overlock seam in history. But I honestly couldn't be bothered to fight my serger after all that work...

Now all that's left to do is finish the pocket by hand-stitching the small sides of the welts onto the fabric. I HAVE done that, but not taken any pictures yet. They'll follow soon!
This has only partly been in coming so long because of, well, procrastination on my part... I had to switch to an older camera that's got severe connectability issues with anything newer than XP. But now it's running just fine, so I can properly update again.

All right. First of all, a picture of the collection of different hair canvases and other interfacings I ordered for trying out on the test coat:

I'll add more specific description when I get to using them... Most are the sew-in variant, but there are also two fusibles I might try on smaller bits and pieces.Read more...Collapse )

The intended result...

I guess I should have done this before: post pictures of what the intended result with the pattern I'm adapting looks like.

In the schematic it's this. You see that there are a number of deviations from the Milford look I'm aiming for, that I've taken care of through changes as recorded in my posts of pattern construction, so far. Most notably the wider cut of the lapel, the lack of pleats or arrows in the back, and the pockets.

And here's a little (like, tiny) drawing that, I think, shows the belt-less version, rather.

New love!

Got an excellent book for my birthday, that'll help me a lot with the COAT (I hope).

Atelier Fachwissen

The title is "Atelier Fachwissen" ("Studio Know-How" ;)) and it's one of the books edited by the "Rundschau Verlag", which also publishes one of the few remaining professional tailors' magazines, "Rundschau für internationale Damen-/Herrenmode...". This book has it ALL! The pictures are in b/w, but pretty clear, and it covers almost all the points I need. For some reason, there's no explicit instructions concerning double-breasted coats/jackets anywhere, which I do find a bit strange. It's not that unusual to have a double-breasted coat, surely...

But otherwise, the instructions are all there, and I'll surely refer back to this one quite a bit in future, once I've actually cut the fabric and started putting the (trial) coat together. More pictures will probably follow, as well...

Tissue paper pattern! (Part 1)

Okay. This has taken me inexcusably long due to different RL issues, including the cold in my sewing room... But I've finally finished the first set of the tissue pattern.
I cut seperate patterns for the following outer fabric pieces: belt, pockets, upper and under collar, upper and under collar stand; plus patterns for the front facing and hair canvas interfacing.
I have not cut patterns for upper and under sleeves, cuffs, all the lining (and the intermediate lining I am still considering) or the placket, yet.
So, here goes:

ONE. The upper back.
For pattern construction and adaptations see Step VI.
This one's relatively easily copied. We'll only have to add the pleats at the centre back. Since the pattern we constructed does not include seam allowance here, we can just add 2 stripes of 3 cm width, running parallel to the centre back seam line. This piece will have to be cut on fold later on, or we'd end up with a seam inside the box pleat...

TWO. The lower back.
For pattern construction and adjustments see Step V.
It's mostly simple copying; again we need to add the box pleat at the centre back. Take care here, and with the side pleats, as they all change in width from top to bottom! This piece will alos be cut on fold.

THREE. The belt.
Well. Simple.


THREE. The front.
For pattern construction and adjustments see Step VII and Step VIII.
For the outer fabric pattern, I pivoted the master pattern around a point near the front end of the pocket, as visible in a picture from my tailoring book. I hope you can make out the dart this produced: This way you get the characteristical vertical seam running from the armscye straight down to the pocket, and a short horizontal seam hidden behind the pocket.


In addition I cut a pattern for the hair canvas interfacing (top) and the front facing (bottom). The hair canvas gets a longer, rounded dart to add a little width in the breast, and a shorter, narrow horizontal dart.


FOUR. Collar and pockets.
Originally drawn up here and here.
And eventually, here's a close-up of the collar, collar stand, pocket and flap pattern pieces. You see that there's an extra line along the upper collar edge, that would make it less rounded. I will have to try this on the mock up, but when drawing it seemed to me that the rounded version doesn't match the Milford really.


Master pattern complete!

So, having posted Step XII now, the master pattern for my Milford version is complete!

I'll cut the paper pattern next, that is the pattern that'll actually be used to cut the fabric afterwards. The major differences lie in the addition of the pleats, some pivoting of the front piece, and seperating for example the upper and lower part of the back piece and so on... The belt will get its own paper pattern, as will the pocket(s) (obviously) and the lapel... things that I can't remember the correct name of right now.

Once that is done, I can finally order my hair canvas, placket and stuff...

I finally found a possible fabric for the mock-up I know I should be doing before I ruin my good fabric! Getting my hands on anything mostly woollen and reasonably priced took me ages! And green surely wasn't what I would have picked for the real thing, but well. It could be worse.

Okay, there IS a reason why it took me forever to get on with the pattern. I was having a heated debate with myself about the sleeve.  A coat like this ought to have a sleeve consisting of two pieces!

I know that Jessamygriffin went with a one-pice sleeve, and the result looks fine, but well... In the back views of the coat you can see one seam running along the back of the arm (which kind of seriously suggests that the sleeve indeed was cut in two pieces), but there is no proof of a second seam on the inside of the arm, which would be conclusive evidence... After a little chat with the brilliant Bee, best beta and incredibly knowledgeable friend, I have now finally decided to try a two-piece sleeve.

The cuff that will be added later on, of course, will need to be made of only one, continuous piece of fabric.

First of all, I need to make a confession. I have ridiculously long arms. So don't wonder if I determine my
Ärl = Ärmellänge (length of sleeve) as 52 cm. The table of reference (as given here in Step III) says 45 cm...

Besides, we need two more measurements before we start drawing the sleeve:
Ärmelbreite (width of sleeve) = 1/8 of Ow + 13 cm = 1/8 * 90 cm + 13 cm = 11,25 cm + 13 cm = 24, 5 cm
Kugelhöhe (height of armscye) = 1/8 of Ow + 8,5 cm = 1/8 * 90 cm + 8,5 cm = 11,25 cm + 8,5 cm = 19 cm
As you can see, I round the final values up a bit...

All right, then.
On the right hand side you see what our sleeve construction should look like afterwards... (the figure on the left hand side shows the way we'll have to modify our master pattern before drawing our paper pattern, but I'll repost that one when neccessary)

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Patenkind Dress

I've just found pictures of this dress that I made about two months ago, for the little daughter of a very good friend of mine. I used a Burda kids pattern, changing it quite a bit as I went along, though.

I used a red linen fabric with white pinstripes, and the back closes with three press buttons sewn in, visibly, by hand. I left out the complicated smock around the waist that the original pattern included.


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Step XI - Collar construction

This will be by far the shortest and esiest of all the pattern construction steps.

BUT: I suspect that the collar might well be the piece that needs a lot of attention later on to get it just right.
The thing is: Ulster coats usually use a different pattern for the upper and under collar. In order to achieve a perfectly flat lie of the collar, fabric is added to the under collar, which can be done in two (or more, probably) different ways. Since I have absolutely no idea if this will be necessary, and considering that the Milford according to all available sources does NOT have a pieced-together under collar, I will try to use an under collar that's identical to the upper collar, for now.
We'll see how that works out during fitting.
On the upside, the under collar is not that large a piece that having to cut it again would be dramatic. On the downside, the standing collar part would be affected, too, so the entire under collar, interfacing an all, would have to be done again.

So, the collar pattern will (for now) consist of two parts: the collar stand, and the collar (proper). We'll get patterns for both by doing the following construction on our master pattern.

Extend the (red) roll line of the lapel upwards. The intersection with the horizontal auxiliary line is labelled h1.

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Step X - Preliminary pockets

All right, the following steps are kind of optional, really. There's no need to decide on the positions of the pockets and welt pockets yet, but I tried nonetheless :-)

FORTY-FIVE (I think).
The flap of the main pockets measures 8 cm vertically, and from the pictures it seems that the lowest buttons are pretty much exactly aligned with their centres. So I made pencil marks 4 cm below and above the button marking.

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