“wilde”
Contents... Specification Sheet Final Pattern Pieces Pattern Drafting and Adaptation Alterations From Toiles Layplanning and Cutting Canvasses Linings Patch Pockets Canvassing Bridle Padding Shoulder Seams Under Collar Top Collar Attaching Facings Sleeve Construction Inserting Sleeves Finishing
4. 5. 6-7. 8-10. 11. 12. 13. 14-17. 18 19 20 21-22 23 24-25 26-27 28-29 30-31
Abigail Hardie A/W ‘15
‘Wilde Coat
Measurements Chest- 100cm Scye Depth- 24.4cm Natural Waist Length- 44.2cm Neck Size- 40cm Half Back- 20cm Jacket LengthSleeve Length- 82cm Cuff Size-
Cloth- Purple Wool Cashmere @ Dalston Mill Fabrics Lining- Viscose Twill 150cm Wide @ Bernstein & Banleys
Final Pattern Pieces
Pattern Drafting and FINAL Adaptation The coat is adapted from the overcoat block I drafted using the following measurementsChest- 100cm Scye Depth- 24.4cm Natural Waist Length44.2cm Neck Size- 40cm Half Back- 20cm Jacket Length- 90cm
The Coat has a two-piece sleeve, also drafted from the Aldrich book. Sleeve Length- 82cm Cuff Size- 29.2cm
1.
Eliminate neck dart
2.
Change side seams by extending out 5cm from the hem point and drawing line in to the top of the seam so that it is on an angle.
3.
Add seam allowance to the side seams.
4.
Drop CF edge by 2cm.
5.
Trace front body section along the CF, add 6cm button stand and mark the break point.
6.
Construct standard roll collar for facing (see diagram)- the under collar is drafted traditionally.
7.
Mark in pocket lines, 6cm under the waistline.
8.
Increase length of coat by 5cm.
Toile Alterations Fall of collar isn’t covering the stand.
Pocket shape needs to be altered as well as positioning
-Lower facing too tight and is pulling the hem up.
Dressing Gown CoatIssues and Possible Alterations
Construction Issues - The Shawl collar was a problem for numerous reasons, firstly the collar wouldn’t cover the collar stand, I tried altering it twice but the problem didn’t get better. Secondly, as I cut the facing in two pieces- upper and lower facings- one on the bias and one on the straight, it made it very difficult to get it to sit right on the garment as it was pulling the CF and making the hem kick up. - The cloth I used wasn’t ideal as it stretched quite a bit and was sometimes quite difficult to handle.
Alteration/ Adaptation Ideas Front - The patch pockets could do with being made bigger, due to the oversized nature of the coat; oversized pockets would make more of a statement, particularly if they are to be embellished. Collar - The pattern for the collar needs to be altered so that the collar stand isn’t too big and is covered by the collar. - The facing either needs to be cut as one piece or if I make it from 2 pieces the joining seam needs to be much lower down than it currently is.
LAYPLANNING AND CUTTING
Firstly, press cloth thoroughly to allow for shrinkage, fold in half right sides in. Lay pieces in the most economical way considering both the inlay amounts required as well as the directional pile and the grain line of the cloth. Transfer all markings from pieces on to the cloth.
Inlays Forepart 3cm along the CF 2cm along the shoulder and top of lapel 2cm around arm to FP 1cm along the side seam 5cm along the hem
Back NONE along the CB- on fold 2cm on the neck 1.5cm on the arm 5cm along the hem
Topsleeve 5cm on the hem Undersleeve 3cm along the longer edge 2cm around the arm from the pitch 5cm on the hem
Cut out all pieces and mark stitch.
CA
NV
AS
SE
S
Chest
Domette
Body
4.
chest the Body
Take the
canvas and
place it on canvas so that the grain line is sitting parallel to the breakline, 1cm behind it.
1.
Steam the Body and chest canvasses and press the domette.
2. Place the forepart on the Body
canvas Chalk around the front and around the back of the arm. At the hem, mark mid pocket point/dart point. Shape the canvas around the ribs from the back of the arm down to the bottom point.
3.
Mark the breakline and button point on to the canvas.
Cut it so that it sits 1� above the buttonhole mark, straight across and around the armhole.
5.
Place the chest canvas on the domette on the bias, cut around the chest canvas slightly bigger on all sides apart from the breakline, which needs to be cut so it sits 1cm behind the edge of the chest canvas.
6.
Baste the 3 layers in place.
Pad stitch all 3 layers together
s g n
ni
Li
Body & Sleeve lining
2.5cm
2.5cm
2.5cm
5cm
2.5cm 2.5cm
2.5cm 2.5cm
2.5cm 1cm
5cm
2.5cm
5cm
5cm
Suggested placement
Patch Pockets
Embroidery designs for the patch pockets.
p
p-
Ste
ste y b
1.Around
Each pocket there is 0.6cm seam allowance added and 2.5cm along the top edge.
5. Trim away the excess lining around the patch.
2.Fuse
a piece of bias cut fusing to the back, not on SA.
6. Baste around the edge of the patch 0.4mm in, easing in the pocket. The finished patch will be bigger than the lining, so the lining won’t be seen.
3.Cut
pocket linings on the straight of grain, slightly bigger than the pocket bags.
7.
Cut away the excess lining again so the lining is in line with the patch.
4.Fold
the top edge over by 1.5cm. Baste the lining to the patches so that the lining is sitting 1cm below the notch line.
8. Fold top edge back on to lining Machine around the pocket bag by 0.6cm; back tacking at the top edges. Trim away slightly around the edges, cut off the top corners up to the seam.
9.
Turn the pocket out. Roll the seam and baste around the edges of the pocket co that the lining isn’t visible from the front.
10. Cut a piece of silesia on the straight of grain, which is approximately 5cm longer than the top of the pocket and 7cm deep. Place over the pocket placement line on the wrong side of the forepart and baste in to place
12.
On the wrong side of the forepart over a ham, hand stitch the pocket using a felling stitch. Where the silesia is, double stitch the top of the pocket
13. Top stitch around the pocket on the front, bar tack corners.
N.B I decided against using the smaller breast patch pocket, I felt that it was better aesthetically without it.
11.
Place the patch on to the forepart along the placement line and baste in to place.
Free
Machi
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on Pa tch
CANVASSING
1.
3.
2.
4.
Take a strip of lining cut on the straight of grain. Baste the bridle over the breakline, pulling it tight while basting.
Bridle and Pad Stitching
Baste down around outer edges of the lining down. Start padding the lapels on the bridle; the first 2 lines should be stitched flat. Then roll as padding.
The lapel should be padded up to 4cm below the top of the lapel and 5cm in from the edge of the lapel, down to 1� above the button point.
PAD STITCHING SHOULD NOT BE VISIBLE FROM THE FRONT! *Before the facings are attached the front line needs to be rechalked in, inlay cut away. Cut 1cm of the canvas away from the CF line, take linen tape and baste it around the CF and fell its edge to the canvas*
CONSTRUCTION-
Shoulder Construction notes
*The shoulders need to be connected before the facings are connected- as the facing is one piece cut on the bias and therefore needs to be attached in one go*
AR LL CO 1.
Cut out the collar in both melton and collar canvas- ON BIAS
4.
2.
Machine the melton together and press open the CB seam
5.
3.
6.
Place the melton on the canvas, machine together along the collar stand line.
Press the collar stand over and stretch the collar with the iron. Baste around the collar, about 1 inch in from the edges. Pad stitch the layers together , using the basting marks as a guide as to where. Roll collar as padding.
Take the under collar by the CB and place it on the CB of the jacket so it is sitting along the inlay line, pin in place.
Pull the front of the collar round so that the fold will sit in line with the breakline.
Step By Step
Baste the end of the collar, make sure that it isn’t too tight and altering the breakline- Also ensuring that the collar is sitting at the same point on each side.
Baste the edge of the under collar to the jacket starting at the CB round to the front. This will be fell stitched with silk thread.
Put the jacket on the mannequin inside out and cross stitch the cloth around the neck to the collar. Ensure that the under collar is sitting correctly and is sitting in line with the breakline rather than it being too tight and altering the front shape.
TOP COLLAR
ATTACHING THE FACING 1.
Using the iron the top facingcut on bias- needs to be thoroughly stretched so it won’t pull the jacket when attached.
2.
The top and bottom facings need to machined together with a 1cm seam allowance and press open.
3.
The lining needs to be machined to the facing using a 1cm seam, trapping a 2cm dart approx. half way in to the armhole.
4.
Take the facing CB and pin it to the under collar CB- right sides together. \
5.
From the CB baste around the facing down to the hem with a 1cm seam.
6.
around to the hem- make sure the facing seam is sitting at the same point on both sides and the facing isn’t too tight, as it will kick the front up.
7.
Machine seam with 1cm seam allowance and press open seam. 8. Turn the facing through to the back, roll the seam and baste with small controlled stitches around the centre front and collar. Around the collar and lapels roll the seam under so it isn’t visible from the front, along the centre front roll the seam towards the inside so it isn’t visible from the front
Do the same again from the CB
Lay the facing flat, a 2nd line of basting running from the top of the lapel down the CF 2cm in from the 1st A 3rd line of basting runs 2cm in from the 2nd.
SIDE SEAMS
The facing/lining seam is then felled to the canvas so that it stays in place.
Place side seams together, matching all balance points, baste together. Machine seam with a 1cm seam allowance forward of the inlay line.
Sleeve Construction
Machine the sleeves together by 1cm on the inside seam. Press open seam. N.B. There is no working cuff or vent on the sleeves so the seams are crown to the cuff hem.
Make the sleeve linings up at the same time, they are the same in size except they do not have inlay on the sides.
Take a piece of bias cut silesia and place it along the hem of the sleeve, baste it flat and securely baste it to the inside sleeve seam. Snip in to the silesia at intervals so it will be able to move slightly instead of being too tight in the cuff.
Stitch outside seam and trap in the silesia. Press open the seam using a sleeve board.
Fold up the hem and baste in to place.
Machine the sleeve linings together, baste inside seam to the sleeve inside seam and bag out so it is sitting correctly within the sleeve.
Fell the cuff lining to the cuff.
Inserting SLEEVES
Shoulder Pads
Notes from Norton & Sons N.B. pad and the
The shoulder pad is a 4-ply and sits between the lining the canvas. It is basted to canvas.
Sleeve head roll (with canvas) inserted after sleeves along the seam allowance, from the front pitch to the back pitch.
Finishing Once the collar and sleeves are inserted finishing can start, this includes: -Felling in all linings -Hand finishing of collar -Inserting labels -Pressing -Hangers -Buttonholes and Buttons
The woven labels are 6 x 9cm and are hot cut, so they are felled to the lining all around the edge. On this jacket the label is placed just under the collar on the inside lining.
A hanger has been stitched on the inside of the collar.