Julie Martin The Jacket Project
GARMENT ENGINEERING
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Contents 4 6 10 12 14 20 22 24 26 28 30 32 42 44 46 52 54 56 58 60 68
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Interfacing Research Burberry Research Pocket Reasearch Sleeve Research Inspirational Moodboards Customer Profile Designs Chosen Design Spec Sheet Collar and Revere Workshop Draping on the stand Constructing my pattern and 3D fit Initial Toile First Fit Report Sleeve Samples/ Toiles Final Design Spec Sheet Making the Lining Making the Interfacing Order of Assembly Evaluation
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Inside a YSL Jacket I thought I would research into how high-end, luxury jackets are made and the processes that went into it. The website in which I found this image states that “The front interfacing (lightweight hair canvas) is the same size as the jacket front and cut on the bias. The chest piece – a second piece of interfacing – extends from the roll line and shoulder to the top of the bust so the jacket will have a smooth line above the bust. It is slightly heavier, cut on the bias, and machine quilted with one-inch squares to the front interfacing.
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The interfacing is pad-stitched by hand at the lapel. This jacket does not have a bridle on the roll line, but some YSL jackets do. The back interfacings are similar to the front. They are cut on the bias with a slightly heavier interfacing for the upper back and one-inch quilting. The under collar is pad-stitched by hand.� From this I will try out various forms of interfacing to see what effect it gives.
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I also thought I would look at a vintage Burberry jacket as it’s a classic design and high-end. This coat is fairly basic and doesn’t have the look of a classic Burberry trench coat, but it does have the simple colour and the iconic lining, which is something I would like to do for my own jacket or coat. Perhaps not a pattern, but a bold colour. Another detail I found interesting was the fact that the use of buttons meant that you could wear it with or without a revere, making it customisable for the wearer. Finally I really liked the pockets that had two openings: one outside and one inside the lining. I had never seen it before on other jacket and it’s a nice attention to detail.
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Burberry jacket Research
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Pocket Research
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From researching into sleeves and pockets I found the kind on these four pages to be the most inspirational. I love how much detail can be in a pocket. I would preferably want a pocket that could go into a side seam as they are in convenient places on the body as opposed to other pockets. Flared sleeves also stood out for me as it’s not something I’ve seen before and it’s a nice touch.
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Sleeve Research
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I researched into World War One and Two as I was inspired by the Burberry coats and the original trench coat. Thomas Burberry also invented gabardine, which was used for the trench coats and I really liked the idea of a coat having a hard wearing fabric like this. The fact that the images are in black and white has made me want a monochromatic colour scheme, plus I feel like the colour black will make quite an impact, despite the fact that many army uniforms use the colour khaki.
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After researching into World War One and Two I was really inspired by the fact that women in war had to cover the jobs the men had left, giving then a chance for equality. When looking at images for research I saw that the women were wearing more masculine clothes and it gave them a ‘stronger appearance’. Also the fashion during the wars tended to stress a small waist so I wanted to combine these aspects for my design. The contrast between masculinity and femininity. Drawing on from the contrast lining for the Burberry jacket, I also saw designs where the collar and revere would be made from a different material like satin or leather, which is something I quite like as it makes the all black jackets stand out and also emphasises on this idea of contrast.
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Consumer Profile
The wearer is a woman between 20-30. She has a stable job, which allows her to have a disposable income to spend on coffee, concerts and expensive luxury jackets. She is cool and fashion forward.
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Final DesignsDesigns
My final designs primarily focus around the peplum and the tight waist. I have played around a bit with sleeves, turning classic shapes into something a bit different. I think the sleeves suit the historical theme. My favourite design is the bottom one on the left and bottom right.
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This is my chosen design. It is simple and subtle, but I still think that it is quite eye-catching. I thought I would add a belt that could easily be removed, but I am still unsure of this idea and will have to see what the toiles look like to figure out if I would still like to do this. I decided to go for a bold burgundy / dark pink for the lining as I felt that all black would be quite boring. I thought the colour of the lining would link back well to my theme of war and women in war as it is quite a feminine colour, but it’s hidden by the black outer. The top collar is going to be made from black royal micro satin as it has a nice subtle sheen and will contrast well against the black gabardine fabric used for the coat. I want the pleats or folds to be quite wide, so it will give a bold peplm, without being over the top. Finally there will be two pockets in the right and left side seam of the peplum so the wearer can put their hands in while walking too and a jet pocket in the lining for necessities.
Chosen Design
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Spec Sheet
Jet pocket
Side seam pocket
Inside right side of lining and facing 13 cm wide 20cm approx deep
Inside right and left side of fabric and lining 20cm approx deep
Knife Pleat
either side of box pleats Measurements going from 7-9 cm increasing with each pleat and 4cm fold in total
Box Pleat
One pleat at the front and back 11cm wide 4cm fold in total
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Inverted Box Pleat
One pleat either side of garmet 11cm wide 4cm fold in total
Gabardine Cotton Black
Acetate Lining Polyester Dark pink
Royal Micro Satin Polyester Black
Woven Interfacing Dark Grey
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Collar and Revere Workshop
Our first workshop was on drawing a collar and revere. You have to follow the jacket block firstly, mark the CF, add button stand and mark where you want your button which is knows as the breaking point. (See bottom left image for instructions) You also have to do two separate pieces for the top collar and revere where you add 2mm on to the edge, but going into 0 where both the collar and revere meet. This is so the collar can roll. I wanted quite a thin and long collar and revere, so I made sure to keep my pattern thin. I played around on the stand until I was happy. I then digitised collar and revere, attached to my front piece, into the system. I then had to make two new pattern, pieces on Modaris, where I reduced the collar and revere by 2mm. I did this uing pin and move function. The workshop really helped my understanding of how to create a collar and revere pattern as I have never made a jacket before, so I can use this information again in the future.
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I wanted to trial out pleats before I made my actual toile as I wanted to figure out spacing and direction. Unfortunately the piece I used to drape this was rectangular so it didn’t hang as well as I would have liked, but I realised that I would like to have my pleats around 7-10 cm apart. I also need to work on the direction of the pleats as I don’t like how it goes in one direction, so I think that I’m going to have a box pleat at the middle of the front and back pieces and then pleats going in the same direction as this. I find draping very useful as it means that I can create a shape i want and then draw on important information from that, which I can then digitise and turn into a pattern later, rather then doing a pattern off the top of my head and hoping for the best. 30
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Constructing my patterna and 3D Fit
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Once I had digitised my front onto the system I imported the fitted jacket block onto my file and increased the length of the sleeve and the width of its cuff. I then cropped the front and back pieces up to the waist notch as this is where I want my peplum skirt to start. To do this I used semicircular to draw where I wanted to crop it to and then I used the cut function to create the new piece. To create the pleat I tried using the pleat function, but it wasn’t working, so instead I took the bottom pattern pieces from but the front and back pieces and cut them out. Next I used the mirror function to make more of them until I had enough to cover the whole waist. However when I put it into 3D fit, the piece wasn’t coloured in and Ian error message kept popping up so I decided to try and see if the top half would fit. Because I used the thigh as a slip on point, it made the jacket stick to Flo, so for my next try I changed my slip on point to waist and it worked much better. I am happy with the fit of the top half of the jacket ad the collar and revere comes up in the right place. However, the sleeves seem too long and bulky so I will have to shorten this on my pattern.
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I had to re-do the peplum pattern with Penny’s help. I started again with the bottom of the back piece, in which I pivoted the dart. Then I used the Sym2Pts function to ‘mirror’ the piece. Then I measured how far in I wanted my pleat (4cm), used semicircular to draw this in, used the cut function to cut it out and then used Marry and cut both together. I did this for my back piece and my front pieces. Doing this now meant that my peplum worked on 3D. I’m happy with the length as if it was too long I don’t think that it would look as nice. Also, the sleeves are definitely still too big, despite the fact that I shortened them. I also don’t like how wide the sleeves are, so I think I’m going to try and curve it slightly, like I did in my original drawing. 34
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To change the sleeve pattern I used the reshape tool and curved the sleeve end slightly. I still think that it is too long and the curve isn’t obvious enough, so I’m going to use the reshape tool again. 37
For this 3D toile, I messed up the stitching and the pull on points, which is why it didn’t go on Flo well (top left image). I like this curve more, but now I feel that the end point is too pointy, but you can see Flo’s hands now which is good as you couldn’t before.
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This is my final 3D toile and I’m happy with this. The curve is a lot better and hangs nicely. Also it doesn’t look like the sleeves are swamping Flo now. I wasn’t able to put the collar on unfortunately, but 3D fit has given me a general understanding of how my toile will look, There are functions that allow me to see hoe and where each pattern iece fits on the body, and then I can easily change it before putting on seam allowance. as opposed to a toile that I would just make from a hand pattern, where I could have made it so that pieces don’t fit. Luckily all my pieces do fit, apart from my skirt, but I was able to rectify this quickly on the system, which I wouldn’t have been able to do by hand. 41
Toile 1
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First Fit Report
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From my first fit report Penny suggested I increase the length of the bodice at the front by about a cm and to do the same with the back. We also spoke about the sleeves and although I was happy with the 3D initially, it didn’t have the desired effect in real life and the sleeves looked quite witchy, so she suggested I try toiling different sleeves from that. Overall the jacket fits my model well and I am happy with the overall shape.
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This sleeve is similar to one of my designs, except that I have shortened the length of the peplum in the sleeve. I made the peplum sleeve through Modaris using the circle tool, which was quite complicated and probably why there is so much volume in the sleeve head. I also shortened the sleeve on the system to near the elbow. Using lectra is very beneficial when you have to change small aspects as it doesn’t take long. I didn’t like the amount of volume in the sleeve and the amount of pleats as I felt that it made the jacket look too much like a costume - even though my jacket is inspired by the past. I felt that I still needed to play around with the same a bit more.
Toile 2
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Toile 3
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The sleeve pattern piece for toile 3 was basically the same, except the width of the sleeves was smaller so there were less pleats - apart from the two at the back. I liked this sleeve more than the previous sleeves, however it still looked a bit like a costume as the sleeve still stood out, so I decreased the amount of flare and then only had one dart for Toile 4, but I still wasn’t happy. I felt that my jacket was quite simplistic so I did need something to make it stand out - even with the peplum and the contrasting black satin fabric for the collar and revere, but these sleeves were too much - especially if I was going to use a bold colour for my lining, so I thought it would be a good idea to go back to my designs and go from there.
Toile 4
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For my final toile I had to adjust my pattern to make sure the lining would fit, so I had to add 3cm to the bottom if my peplum and 5cm onto the bottom of the sleeves. I’m really happy with how the final toile has come out and I really like the lining. I thought I would try it in my toile to act as a sample and I like how bold the colour is and the sheen of the fabric. I think it will work well against the black gabardine.
Toile 5
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As I wasn’t happy with the sleeves I decided to go back to my designs and with the help of the practise toiles I felt that this one would work best. Because I felt that it was quite plain in comparison to my other designs I decided to use the same fabric that I was going to use for my top collar and revere for the under sleeves and having a different coloured lining. I feel more confident with this design than I did with my others. Due to my peplum now being made from one piece, I’m going to put one jet pocket inside the lining so it is hidden and not obvious. It is also a lot more accessible then if it were to be in the side seams of the peplum.
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Spec Sheet
Jet pocket
Inside right side of lining and facing 13 cm wide 20cm approx deep
Knife Pleat
either side of box pleats Measurements going from 7-9 cm increasing with each pleat and 4cm fold in total
Box Pleat
One pleat at the front and back 11cm wide 4cm fold in total
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Inverted Box Pleat
One pleat either side of garmet 11cm wide 4cm fold in total
Gabardine Cotton Black
Acetate Lining Polyester Dark pink
Royal Micro Satin Polyester Black
Woven Interfacing Dark Grey
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Making the Lining
To make the lining pattern I had to place my facing on my original front piece or draw it in using semicircular . then cut out the remaining shape, press down page and then 8 to get me to the new piece. From this I then had to pivot the dart into the side, which would be a tuck in the lining. For the back piece I had to add 2cm onto the top centre back , making it curve into the waist. I did this by using the reshape function. For the sleeves I had to add 1cm to the top of the sleeve around the arm pit, for my first toile of the lining I found that doing this made my top of the sleeve piece to be 1cm too short, so the next time I added 1cm to the top sleeve as well as adding 1cm to the width of the sleeve head. Finally for the pocket I used the semicircular tool to draw out where I wanted my pocket . I originally wanted it in the lining completely, but I moved it to the facing. Then I used the cut function to cut out the box and Mirror to double it so I didn’t have two separate pieces for the pocket bag. Then I drew out my welt pattern for the fabric and interfacing using semicircular. I found using Modaris for the lining so quick and easy and extremely useful because of this.
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Making the interfacing was fairly simple as well. I just used semi-circular where I wanted it to be on my pattern and then used the cut function to cut it out. I decided to interface all of my front, the peplum, the neck of my back pieces, the cuff, my top collar and my facing. I chose these areas as I didn’t want my peplum to lose its shape. I also wanted an overall good shape.
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Order of Assembly: Outer 1. Use the heat press to fuse the interfacing to the pattern pieces 2. Sew the front and back darts together. 3. Sew the centre back together an then the front panels to this. 4. Press 5. Pin pleats in peplum in place And then pin the peplum to the bottom of the bodice. 6. Sew shoulders together and press 7. Sew the under collar pieces together and then match up the notches on them with the notches on the back pieces. 8. Pin in place and then sew 9. Pin and sew the sleeves together and press seams apart. 10. Turn the bodice almost inside out and then place the sleeve in the arm hole and match the notches. Then put pins half way between each notch and keep going until the sleeve has been eased in.
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Order of Assembly: Constructing the pocket
11. Sew facing and lining piece together 12. Draw on the wrong side where you want your pocket to be, then do two dots either side of that 1cm away. 13. Sew along these lines that you have drawn 14. Pin welts either side of the middle line then sew 1cm away from that middle line 15. Cut the middle line 16. Pull welts through 17. Pull on the triangles, pin the welts to this and then sew in placeand then press.
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Order of Assembly: Constructing the lining
18. Sew the other facing onto the other front piece 19. Pin and sew darts in front and back pieces 20. Attach front and back pieces and then press 21. Pin pleats in peplum 22. Pin and sew peplum to bodice. 23. Sew sleeves together 24. Turn inside out and pin to bodice, using the same easing in technique as used before. 25. Attach top collar in same way as before 26. Place the jacket on a mannequin and decide where you want your shoulder roll and pad to be 27. Pin shoulder roll to arm hole, facing into the sleeve and sew just under 1cm so it doesn’t go into the seam allowance. 28. Pin shoulder pad with curved side facing towards the neck and pointy end towards the back. Sew to the same seam as the shoulder roll, making sure to sew just under the 1cm seam allowance 64
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Order of Assembly: Sewing the lining to the shell
29. Press Baste stitch the hem to the peplum taking care to make sure that the needle only catches on the material and doesn’t go through. 30. Pin lining and shell right sides together, matching up the notches on the collar and revere 31. Sew the collar from the centre and do a similar action to what you did to attach the collar and revere together, making sure you stay to a 1cm seam allowance. 32. Turn out to make sure you’re happy 33. If you are continue sewing the collar and reveres together. 34. Snip corners 35. Press Pin edges of collars together, but not all the way and then sew together. 36.Pin Edges of the peplum together. But leave a hole in the middle 37. Start sewing edges 2cm in then gradually go into 1cm seam allowance 38. Stitch the edge of the gabardine to the main body so the hem doesn’t fall down. 39. Create hole in one of the sleeves 40. Sew up bottom hole using the hole to pull this part of the jacket in 41.Press the sleeves where their seam allowances are, fold and pin. 42. Use the same hole to do the same for the other sleeve 43. Edge or hand stitch the hole as close to the edge as you can 44.mark where you want your button to be and use the button hole machine 44.Sew the button on 45. Give jacket a final press.
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Evaluation Overall I am fairly happy with my jacket. I took my time making it so I wouldn’t feel rushed and therefore more likely to make mistakes. Also this time allowed me to go over things that weren’t perfect, such as my pocket and trying to perfect the point on my collar and revere. I really like the contesting lining as you can’t see it from the outside until you open it up, making an impact. However, I didn’t press the edge of the peplum , so you can see a bit of red, but I do quite like this as the jacket is completely black. I am a little bit underwhelmed by the contrasting fabric as in my samples it looked really nice as it wasn’t over the top, but it didn’t blend into the fabric either. However you can’t notice it that much on the collar, which is a shame as that’s some thing I really liked from my research. I do feel that the other satin I had would have been over the top .Additinally after making I thought that I could have had bining in one of the sleeves seams in the same colour as the lining or just another satin like material. When sewing the lining and shell together I found that they were the same length at the hem and the sleeves which I was surprised at - especially when I double checked my pattern and they didn’t match. I felt that I could work with the peplum and the lining being the same length as I didn’t want to cut the lining down and it be too tight, pulling on the peplum and restricting its shape. However I had to cut the sleeves down a bit in order for it to work. Also, due to the nature of the material, it looks like there are tucks in the arm holes, but think this is from when I had to keep pinning and un-pinning the sleeves to make sure everything matched. Also, there is a bit of a ditch in the seam where the shoulder roll and the pad meet, which is quite unsightly, but I can usually arrange it through the fabric.
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I had to do the pocket twice as the first time the welts didn’t match up. The final one was a lot neater, but it wasn’t excellent as there are a few tucks. I found it really hard to sew as well because it was satin. I realised that I should have interfaced the welts as well as where I was cutting so it wouldn’t have moved about so much. Additionally, I think that the collar and revere isn’t rolling the right way and I’m worried that I got my pieces mixed up. There is also a slight hole near both sides of where the collar meets the revere as when sewing, pieces of material kept getting caught and bunched up and I couldn’t reach where the un-stitched part was. If I were to do the jacket again I think I would have looked for another fabric for my collar and revere that was somewhere between the shiny and matte satin, or I might have used leather or PVC. I would alter my lining pieces and do another toile to check that it was completely right as it was too late redraw, print, cut out and sew the lining again. However I am happy with how the peplum has turned out as I was worried that lining the same way as a normal jacket would ruin the pleats.
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