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Almost done on the front piece now. Honestly :)

This is a close-up of where we'll draw the lapels. Please ignore my pencil markings for now, they are left-overs of a botched attempt ;)

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Milford specs (RayR's a hero!)

After referring to pictures I keep analysing as I go on trying to make the best Milford copy I can, I thought maybe it would be cleverer to actually provide the pictures and measurements, too. Since my personal hero RayR (from the Replica Prop Forum) posted the pictures and data there himself, I think it's not a problem if I do it here again, just for the sake of easy access.


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Step VIII - Front construction (Part II)

And on we go...

Now let's draw the armscye. There's not much instruction there on this in my book, but from the looks of it I started with a symmetrical curve spanning the aux line we drew from A2 to point c before. This curve does not cross theother aux line in the pic (At-A1). The rest of the skye is another curve that meets the line At-D about four and a half centimeters from point At, kind of clings to that line for a bit before rising to reach a point 0,75 cm to the left of S2. This odd little horizontal line there is due to the fact that our pattern already includes seam allowances in most places! (Which I should maybe have pointed out earlier... And I surely will do so again, when we go on to cutting the fabric.)

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Step VII - Front construction (Part I)

Okay, it's time to start on the front pattern. Since this takes quite a number of steps and integrated adaptations, I'll split this in two parts...

Extend your auxiliary lines (except the first one starting in W, we won't need that one anymore) and mark point D at a distance of your choice from r. I recommend at least 13 cm (I used 11 cm and that turned out to be too little...).

Mark point At. Its distance from D is your value for Ad minus 4 cm (since we added 4 cm to the back piece before).

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Step VI - Back adaptation (upper part)

This will be much easier than the changes on the lower part.
First, remember that we reduced the waist by 2 cm for the lower back, so we have to do the same for the upper back, of course, for the two pieces to fit together later on.
Since we need to insert the two darts that the Milford has got, anyway, this is very simple. We merely add the darts, (beginning exactly where the side pleats in the lower back start) and make them 2 cm wide at the base.
Based on picture analysis I draw those darts 21 cm long.


All right. The addition of these darts means, that the side seam will run where there's the dotted red line in the pic on the
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Step V - Back adaptation (lower part)

All right. Now that we have the basic pattern of the back part, it's time to work on the adaptations. We will begin with the lower part of the back. It might be worth noting here, that in the original, there is indeed a seam running horizontally behind the belt (which is not usual for an Ulster), due to the pleats we are going to take a look at in a minute.

First of all, and easiest to do, we take away a bit of the width at the waist line. Based on the analysis of lots of pictures (check out the RPF link in my links collection, RayR, who actually owns the coat, has uploaded several, extremely helpful pictures there, also specifics as to measurements etc. He's a HERO!) I'm taking away 2 cm from the side. The new point T2 needs to be connected to L2 by a simple straight line to get our new side line.
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Step IV - Back construction

So! It's finally going to happen today, constructing the pattern! I'm quite excited :) Before we start, we need to take the auxiliary measurements we calculated in Step III and add the following standard Ulster allowances:

Measurement nameMy (auxiliary) measurement
(as calculated here)
Standard addition
for an Ulster coat
Rh22,75+ 2,525,25
Tl46+ 248
At24,25+ 327,25
Rb19+ 120
Ad14,25+ 418,25
Hs7,5+ 0,58
B21,5+ 122,5
Bau21,5+ 122,5

Those blue figures are the ones we'll use from now on.

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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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So, I'll give you my major measurements and the auxiliaries that I calculate from here as an example:

  • Kg (German Körpergröße = height) is 180 cm. My book gives data only for men up to 176 cm but I'll just add a little in length later on.
  • Ow (G Oberweite = chest circumference) is 90 cm. If you compare with the table below, you see that means I'm approximately a men's size 46.
  • Uw (G Unterweite = waist): is 70 cm but since this is supposed to be a men's coat, I will use the 80 cm the book gives instead.
This table (middle of the page) gives you the average major and auxiliary measurements for men of 172 cm (left hand part) / 176 cm (on the right).


Now, let's calculate my auxiliary measurements and compare them to the book's (for size 46):

  • Tl (G Taillenlänge = "length to waist") 1/4 Kg + 1 ==> 46 cm (45 cm)
  • Rh (G Rückenhöhe = "length of back") 1/8 OW + 1/4 Tl ==> 11 cm + 11,5 cm = 22,75 cm (22,5 cm)
  • Lg (G Länge = length) something around 120 cm, I'd say. Have to test, though.
  • At (G Armlochtiefe = depth of armhole) Rh + 1,5 cm ==> 22,75 cm + 1,5 cm = 24,25 cm (24 cm)
  • Rb (G Rückenbreite = width of back) 2/10 OW + 1 cm ==>18 cm + 1 cm = 19 cm (19,4 cm)
  • A'd (G Armlochdurchmesser = diameter of the armhole) 1/8 OW + 3 cm ==> 11,25 cm + 3 cm = 14,25 cm (14,5 cm)
  • Hs (G Halslochspiegel = width of neck opening) 1/20 OW + 3 cm ==> 4,5 cm + 3 cm = 7,5 cm (7,6 cm)
  • B (G Brustbreite = width of chest) 1/4 OW - 1 cm ==> 22,5 cm - 1 cm = 21,5 cm (22 cm)
  • Bau (G Bauchbreite = width of belly) 1/4 UW + 1,5 cm ==> 20 cm + 1,5 cm = 21,5 cm (22 cm)
You can work with these major and auxiliary measurements now, when we start drawing up our pattern. Alternatively, you may want to use your real measurements instead of calculated ones. I'll put up the instructions the book gives to get those in a later post.
Okay, wow. Zapping (German) prime time TV yesterday evening I was absolutely shocked by stumbling over A Scandal in Belgravia on ARD (Channel 1, so to speak). How could I have missed that? Actually, quite easily, because German TV is extremely negligent in promoting Sherlock. Why, I have absolutely no idea.
Anyway, I decided to be brave and see what they had done to the script during translation, and whether or not my ears would be bleeding by the voice actors' dubbing...

German dubbing is really not bad, usually. Technically speaking it's almsot always done very well, but I imagine finding a suitable voice actor can be very difficult at times, seeing how you do not only need someone with a similar tone of voice but definitely an actor in his/her own right. And they really tried, I think...
But, let's face it, it must be damn hard to find a substitute for Benedict's original voice; and I have to tell you, they just didn't. The actor did a good job, though, pronunciation and inflection and all were alright, I was not suffering the entire time :)
The voice actor for Martin was much closer to the original. But: I was rather having difficulties keeping Sherlock and John apart!! And I REALLY can't see that happening in English to be sure.
Well, I was not too surprised that Andrew Scott's voice, or rather his particular way of speaking, were not really captured in German, either. Since he has not THAT much screentime in SiB it was not all that annoying but I'm afraid of watching Reichenbach now...
The only voice actor who really got on my nerves was the one for Mark Gatiss. Especially in the Buckingham Palace scenes, his voice was SO... non-posh... Completely off somehow.
Una's voice was very well done though :)

I was already wondering how they were going to translate some of the puns and jokes when I watched in English for the first time, because there are several in this episode that simply don't work in German (or most other languages, I imagine).
This problem got most conspicious in the Buckingham Palace scenes: There's NO WAY to get "I'll be mother." "And there's a childhood in a nutshell." across. NONE. They tried to emulate something but I was like: Erm, wasn't this supposed to be a joke at Mycroft's expense...?? The German version went not at all in that direction.
Another good, or bad, really, example of translation problems was "Caring is not an advantage." which was turned into "Compassion is not and advantage" (in German, of course), and again I have to say: That's NOT the same thing and not at all what Mycroft was saying. It's exactly that little bit beside the REAL statement to make me grit my teeth...
But what was worst, by far, was John and Irene meeting in that disused factory. And this time there's really no decent excuse for a translation this LAME. Apart from the fact that in German you can't use 'gay' for homosexual women, which they did, this entire dialogue was SO BADLY translated that I kept pestering my poor co-watcher about how that wasn't at all what it SHOULD say, and what there should have been said...
Really, how do you even get the idea to make "Look at us both." into something along the lines of... I can't really translate back what they used, actually. But it's NOT saying the same thing, believe me. And there wan't even a need to not do it verbatim, because that would have been entirely possible in this instance...

For those who really can't watch Sherlock in the original this was quite alright, I guess. And it could have been MUCH worse (I just mention the plain horrible job SuperRTL has done of Merlin... You wouldn't believe it, the voice actors are SO BAD) but still...
Sorry, enough of a rant for now. But I had to get it out of my system :)