Processes. Tailoring. Sophie Moore Year two. Womenswear 2013.
Content. Design Development The Coat Draping. The Toile and Developments. Seam Ideas Seam Samples Knitted Samples Patterm Correction Fabric Samples Dying Fabric The Coat Production
The Trousers Drafting Developed Final Idea Fabric The Trousers Prodution The Final Garments The Coat The Trousers Evaluation of Processes
Design Development.
This is one of my selected final designs. I have developed this idea from my research into wetsuits and traditional tailoring. I have tried to incorporate classic tailored silhouettes and contemporary wetsuit seam shapes. The idea with this coat is that the underarm panel is one piece, cut on the bias, similar to the shape of an underarm panel in a wetsuit pattern. I want to try and add a 3Dimensional element by using a knitted panel for facing which will attach the underarm panel and the top sleeve.
This design is similar to the previous except that the knit panel is just another piece of fabric to form the facing. I have given myself two options for this garment as I want to experiment with the possibilities. I would personally prefer to do this coat using the knitted panel method,which is the design I intend to work on for the jacket. The concept behind the feature underarm panel is to allow for more ease of movement when bending the arm or stretching up, similar the the concept of the wetsuit.
My trouser design is similar to that of my coat, with a 3Dimensional panel. Except I dont intend to use knit on the trousers as I think it could be too much bulk where I intend to use a lighter wool compared to a thicker wool which I intend to use for my coat. The style lines for my trousers are inpired by the shapes of the wetsuit panels. But also, the 3D feature at the knees is intended to add more give in the trouser when the knee is bent.
This trouser design is the same as before but with the removal of the 3D panel. The panel at the knees would still be present but with no additional facing. Instead, to give the added ease of movement I would consider using a stretch fabric cut on the bias. With these panel, I could consider making a feature of them by using contrasting fabrics but I would have to be considerate of colours, textures and weights.
The Coat.
Draping.
To begin draping my coat, I needed to build my shoulder pads to a desired size and shape. In order to do this, I dismantled some bought pads and then reconstructed them by layering the wadding.
In order to create a smooth, gradient shape, I trimmed the pad down and then reused the original fabric to cover the top of the shoulder pads. To secure the layers, I used a large zig-zag stitch, sewing by hand, through all the layers.
Using black tape, I created the basic style lines for my jacket design onto the stand, as a guide.
When draping my coat, I ensured that the fabric was not tight to the stand, allowing space, for garments to be worn beneath the coat. The images above show how the side piece was not quite sitting aligned with the rest of the pieces. The fabric looks twisted. So by shifting the side panel piece up slightly, I have aloud the tension to be released, correcting the balance. By doing this however, I have shifted the seam allowance off, this is something I can correct later on my paper pattern.
I drape the rest of the coat. Trying to ensure that the tension is even all the way around, and that the fabric is not too tight. I have also taken care in the alignment of my pieces, as it is important that the side panel aligns with the other seams, as this is my feature focus.By taking care in this, I am ensuring the coat is balanced.
The paper pattern for my coat shows the simplicity of the the shape and cut I want to achieve. I found the sleeve pattern (over page) was more complex to work out, compared to the main body. This is because the bottom sleeve curves around onto the top sleeve, and the seam needs to line up with the side panel of the body, with the shapes mirroring each other. I begun by drafting a simple two piece sleeve. To achieve the bottom sleeve shape, I drew a rough outline of the curve I wanted. I then added up the measurements against the body and the sleeve, and mirrored the curves on each side so that they were even.
Bottom Sleeve
Top Sleeve
Guide Lines Two Piece Sleeve Draft Sleeve Draft
I wanted to create the coat so that the side panel and bottom sleeve were one piece. Effectivey a kimono sleeve on the underarm. To try and achieve this, I put the two shapes together (the side panel and bottom sleeve).
From this I created a rough shape, which I tried to curve into a shape that woud fit the empty space in the coat. To then create the 3D feature of this panel, I meausred a facing around the shape, which I intended to knit.
Grain Line Side Panel Facing
The Coat.
The Toile and developments.
Looking at the construction of wetsuit, an idea I wanted to incorporate into my garments was bonding the seams together rather than stitching them. The image above represents how wetsuits are glued together.
This image shows how the seams are silicon sealed, giving extra strength to the construction.
Seam Ideas.
Here are some examples of seams simply butted the two pieces of then sewn the seams together in hand sewing. I have also looked garment, as seem in wetsuits.
that I have experimented with. To fabric together so that they were various ways, including a zig-zag at using curved seams to add more
achiece these, I lying flat. I have stitch,binding and flexibility to the
Seam Samples.
I found this image in the Royal College of Arts gradate book. The designer has used coloured latex, which has been applied between the two pieces of fabric. When it has hardened, it creates a transparent, maluable bond.
I tried to source latex so that I could do some experiments similar to the image I found, but the university does not allow latex to be used due to severe allegies to the substance.
Instead, I have used a latex based glue, which allows more flexibility. To experiment further with curved seams, I have cut a curve through this sample piece. I have then glued this reflective stretch tape to the pieces to bind them.
Although the fexibility on the curve has worked, using glue is a messy process and it coud be a risk of ruining my garments, therefore I have made the decission not to use it.
Developed Seam Samples.
Another idea I had to bond my seams is by using a heat bond. Here I have used the same reflective stretch tape as before, but instead of applying glue, I have used a heat bond to bind my seams together. This has created a strong seam, but the flexibility is lost. However this could be a good detailing attachment.
Heat transfer Seam Sample.
I want to insert the kimono underarm panel, using a knitted facing which will hopefully create a 3D element to the garment. The images over page show the space in the jacket I intend to fill.
To experiment with my knitted samples, I have used different weights of wool and different sized needles. I think that the medium weight wool on a medium sized needle creates the best outcome, as if I used a heavier weight, the piece would become too bulky.
Knitted Samples.
After creating my knitted facing, I pinned it into my toile to decide if this idea worked. I have decided that it doesn’t. The knit is just too bulky and doesn’t sit nicely with the fabric. Also, the fabric I intend to use for the coast is a lot thicker and heavier than the wool and so there would be no structure at all. Textually I think this could be really effective, but in a practical sense, it won’t work.
Instead of a knitted facing, I decided to use fabric. But when I tried to fit the facing into the coat, it doesn’t have the desired effect. The images show how the coat has lost its fit and shape completely, it looks very top heavy. This is because my underarm panel is incorrect, and has distorted the whole jacket for this reason.
I decided to go back to my original pattern. This shape is classic and clean. Giving a beautiful silhouette. The side panel and bottom sleeve align, and this shape will be really effective, especially when done in contrasting fabrics.
However, Alan adviced me that the crown of the sleeve was slightly too tight. And so I have adjusted the measurements around the armhole to allow more room, by adding approximately 3mm.
To create more of a feature panel, I have eliminated the waist seam, so the coat body is now made up of 3 pieces instead of 4. I have also extended the side panel so that it curves down and arond the lower hip. But I have kept shape in my panels to allow for suppression and to create a silhouette that follows the body.
Pattern Correction.
Fabric Samples.
Warm Water Dye.
Warm Water Dye.
Spray Dye.
I wanted a specific yellow for my contrasting panels and so I decided to dye some cream wool. I wasn’t sure if it would work, as there was a risk of the fabric shrinking and felting. But by experimenting with different dyes I achieved the outcome I was after. The dye and colour and colour that worked the best was the warm water dye, I think it is a much softer colour than the sray dye.
Spray Dye.
Dying.
My final fabrics are varied in complimenting colours and textures. The heavy grey wool, is the main fabric, the yellow wool is the feature fabric for the side panel and bottom sleeve piece, and the checked grey fabric is for the facing. I feel that the shades of grey I have picked are traditional in tailoring and the injection of the yellow gives a different twist.
Fabric.
The Coat.
Production.
Before cutting my fabric, I did a shrink test as I wasn’t sure how much, or if, my faric would shrink. To do this, I drew around a square of fabric, then after steaming the square went back to where I had drawn. I found that it had stayed the same size.
When cutting my pieces I tried to fit them onto my fabric as best as I could, and as close together, to get the most out of my cloth. I just manged to fit the panels on the yellow fabric.
When sewing the curved panel, I had to take care, as it was cut on the bias and if I were to pull too much as I sewed, the fabric could’ve stretched which would’ve mishaped the garment.
To do my jet pockets, I used the reflective tape, to create a detailed feature. I had to use interfacing on the tape first as it is extremely strecthy and would’ve pulled the fabric out of shape.
I found the jets quite difficult to do, as you’re working with a small area of fabric with small seam allowances and it is important to get the jets balanced as they are a very visible part of the jacket. The pocket bag is also fairly tricky as I found getting the shape and pitch right difficult to achieve. But I am happy with the outcome of my pockets.
To create my floating chest piece I cut out the horse hair canvas and the domette.
I then basted the two together and pad-stitched all over.
I cut my canvas to the size of the coat and basted it in, along with the floating chest piece. It is important to position your internal pieces acurately as they mould the shape and fit of the garment and if they are not inserted correctly, the garment can distort.
Because I cut the side panel on the bias, I stitched a piece of organza around the seams, so that the panel is supported and this will help to prevent it from stretching out of shape.
Once I was happy with my canvasing position, I stitched on a piece of selesia down the roll line. I then pad-stitiched the lapel, ensuring to curve it and hold it taught as I stitched, so as to create the fold of the lapel.
I then basted and fennel stitched black tape,after shrinking it, around the edge of the canvas. This allows for more support and structure. It is important to pull the tape curved and taught at areas of shaping, such as the top of the lapel.
After sewing my facing together I then attached it to the main body of my coat, ensuring it was alligned.
I then did a single row of pad-stitching up the edge of the coat, remember to turn the piece as I got to the lapel. I also basted my neck line into place, as my coat is collarless.
When sewing my centreback together, I inserted a length of the reflective tape, which I had interfaced, to prevent it from stretching, and then folded in half to create a piped effect.
Once the main body was together, I could see the shape of my jacket forming. I really like the excentuated curve in the side panel.
The piping down the centreback is an effective, subtle detail. But I should’ve used a piping foot, as this would’ve created a straighter, more even line.
To put the sleeve together, I firstly sewed the top sleeve, inserting the folded reflective tape into the seam, as before with my centreback seam. I then sewed the bottom sleeve piece in, which I lined with organza to prevent stretching. I took care when sewing these pieces as they are on a curve and can easily stretch and mishape.
A problem I came across was that one side of my back had stretched and mishaped, this is a problem caused either when I was cutting my fabric, or when I was sewing in the stretchy reflective tape. To solve this I had to unpick my centreback seam. And then shrink the side that had stretched.
To prevent further stretching, I basted the seam together and then applied some bonding top which would hold the fabric and prevent it from mishaping again.
I then had to re-allign my vents, as they had come off slightly then the back panel had stretched out. I marked up the vents and then used some tape on the seam to hold it in shape and add extra support.
To insert the sleeve, I firstly basted it in, this allowed my to see if it correctly on the stand and meant I could alter it if it was not. I had to sleeve slightly as it is essential to my design that the sleeve seams and match up. Once I was happy with my sleeves position, I machine sewed them
was sitting shift the body seams in place.
I am happy with how my jacket has come together, and it sits nicely on the stand, with a simple, clean silhouette, that I wanted to achieve. The contrasting panels highlight the shape of the coat, and the reflective jet pockets add an extra element of detail. I think the colours I have chosen work really well. And the shoulder pads create a strong, powerful shoulder.
For the hem, I firstly marked out the hemline, and then basted in a strip of selesia. I then cross-stitched the selesia in.
I basted the 5cm hem up, and then cross-stitched this. I repeated this method on the cuffs of my sleeves.
Once the main body of my coat was done I was able to line it. I found the lining tricky to cut as it is quite a slippery fabric, so I took care in doing this to ensure that my pieces were accurate. After sewing my lining together I basted it into the coat, and then carefully hand sewed it in, ensuring that my stitches were not visible.
My coat has a fly fastening, with the buttonhole concealed within the waist seam in the facing. I sewed a small piece of lining inside the the facing to neaten the buttonhole, covering the internal canvasing.I did this before sewing my lining in.
The lining sewn into the coat.
The Trousers.
Drafting.
I drafted my trousers from a block trouser pattern.
I then altered the measurements and shapes to my design.
Cutting the pattern pieces was slightly more complex as there were more pieces than in a usual trouser.
After constructing the trouser I wasn’t sure on the 3D knee panels, as I didn’t feel the looked as I had designed.
Because I wasn’t happy with my original design, I altered it to a more simple design. This was a risk, but I felt it would be more asthetically pleasing.
I removed the dart in the trouser by shifting the excess from the dart out of the side seam. As shown in the image.
The pockets and fly are the most complicated part of the trouser. It’s essential to get these parts right as they can effect the fit at the waist, in turn effecting the way they hang.
I ensured the facings for the pockets were the correct size. Facings on the pockets are important, as I don’t want the white cotton pockets to be visible.
Developed Final Idea.
To achieve a better idea of how my trousers might look, I did this illustration by using images of my checked fabric and pasting them onto the drawing. I think this design and fabric contrast is going to work effectively and highlight the design features of my trousers.
I’m happy with my fabric choices. Both wools are of a good weight and drape well, and the grey is a classic colour and compliments the coat fabric. I intend to use the reflective tape for details, such as the pockets.
Fabric.
The Trousers.
Production.
When cutting my fabric I tried to lay out my pattern pieces in an economical way but also to line up the grain lines.
When cutting the checked fabric, I pinned the lines to match up, so that when I cut the pattern pieces they were the same, and the checked pattern is identical on each piece.
I begun my trousers by constructing my waistband. The waistband is made up of various pieces of canvas, selesia and fabric. The inner waistband is constructed of:
two 6cm(wide) one 6cm(wide) on the bias one 6cm(wide) one length of All 60cm long
pieces of fabricc piece of canvas piece of selesia reflective tape
I wanted to edge the pockets with reflective tape for detailing. I found that when I first did this the stretch in the tape pulled the fabric. To correct this I interfaced the tape to prevent it from stretching.
I trapped the tape between the outer fabric and and the inner facing of the pocket. I then french-seamed the pocket to complete it. I think the reflective tape looks great against the contrast checked facing fabric.
Once I had sewn the pockets I could check to see that they matched and that the front of the trouser was sitting correctly. If I didn’t check this, there could be a risk that the whole trouser would then be distorted.
I have decided to put a jet pocket into the back of the trouser. After sewing my darts and the back seam I inserted my jets. After doing jet pockets in my coat, I feel more confident in doing jets. As before, I had to interface the tape to prevent it from stretching. To face the jet pocket I have used the contrasting check fabric.
I have interfaced one side of each of the fly and zip guards, to add structure.
After sewing on the zip guard, I sewed the zip on, then the fly guard goes on. I have backed the fly guard with the contrast checked fabric, as a design feature.
Once I had sewed the front and back pieces, I sewed the side seams together. I can slowly see the trousers coming together and starting to form. The front of the trousers has worked really well, I was concerned because if the zip isn’t sewn properly, the front doesn’t sit flat.
After the top of the trousers were sewn, I begun to sew the rest of the leg panels, leaving the knee panels out, so the main part of the leg is constructed. I firstly sewed the outer seams, then the crotch and then inner leg.
When sewing the panel in, I was careful as the pieces could stretch, due to being cut on the bias. Because the panel is cut on a curve, the main trouser fabric has pulled slightly, but this can be pressed out.
I interfaced the facing around the knee panel, to give more support and structure.
I hand sewed the lining to the extra piece of selesia, underneath the waistband, so that the seam cannot be seen. The extra flap of the waistband neatens the inside of the trousers. I slo handsewed the lining to the around the fly. By handsewing, I can achieve a neater finish.
When inserting my lining I ensured that the seams lined up as best as I could, so that the lining is hanging nicely within the trousers. It is important to consider that the lining is not too tight or too loose, as this can effect the fit and hang of the tousers. Notches are a good guide to achieve this.
I looked at putting a loop in to hold the waistband extention, which I intend to be fastened with a button at the top of the fly and then a hook and bar on the extention. Although a bar would be practical, when I pinned it in, I felt it effected the design and look of the trouser. I want to keep the look I am trying to ahieve, clean and simple. If I insert the hook and bar correctly, there will be no need for a loop.
Once I was happy with the way my waistband was positioned I handsewed it in. This meant that I could conceal my stitches and the finish would be cleaner. The difficulty I found in fitting the waistband was getting it even all the way round and ensuring that when sewing I didn’t adjust the seam allowance as this would’ve effected the hang of the trouser.
I happy with how the I have had to stitch trouser in shape, if I also think that my subtle way.
trousers have turned out. I think they are a good cut, and fit well. the top and bottom of the knee panel, because this holds the there is no stitch the legs hang inwards. pocket detailing has worked really well, and stands out but in a
The Final Garments.
The Coat.
The Trousers.
Evaluation of Processes.
I think that my work is of a good quality, but there is always room for improvement, such as my lining. I would’ve liked to have spent more time on inserting my lining as i feel it is not sewn in as well as it could be. This is mainly due to my mistake in not allowing to include the vents in the pattern pieces of the lining, so I have had to cut out extra pieces and sew them in, so that the vents are lined correctly. Another factor that let me down in terms of time management, was the fact that I altered the designs both garments. These changes cost me time, but I feel that they were neccessary changes, as the result is much better than I had original intended. Although experimenting with the knitted panels was time consuming, it was important that I sampled various possibilities for my designs in order to achieve the best outcome I could. A difficult part of both garments was the use of the reflective tape, as this was an exetremely stretchy componant, but by interfacing it I overcame this problem. I feel that the detailing on the pockets and seams with the tape has really made the garments and brough them together, but in a subtle way. I am pleased with the outcome of my fabrics,I think that compliment one another well. I was concerned about some of my fabrics, such as the grey wool for the coat, as I wasn’t sure if it would shrink drastically. And by dying the cream wool yellow I was at risk of that shrinking too. By doing sample tests on these fabrics I was able to find that both fabrics stayed the same sized. I feel that I have learnt a lot of skills on this project, realising that tailoring is not just the art of a fitted garment, but it is the art of moulding the fabric into a bespoke garment. I have definitely noticed an improvement in myself and within my work since the begin of the project, both in pattern cutting and sewing, and computer based.
I feel that I have learnt a lot of skills on this project, realising that tailoring is not just the art of a fitted garment, but it is the art of moulding the fabric into a bespoke garment. I have definitely noticed an improvement in myself and within my work since the begin of the project, both in pattern cutting and sewing, and computer based. I feel the both garments are how I intended them to look, they are simple but aesthetically pleasing. I am happy with my colour choices, keeping traditional with grey but breaking up the flat colour with a check pattern and adding a colour pop with a bright yellow. The coat has a clean silhouette from the front but has an exagerated feminine curve on the side veiw. the trousers have a good fit and hang and by having varied checked panels (one cut on the grain and one on the bias) this breaks up the traditional shape of the trousers. I feel that I have achieved combined garments, of traditional and modern techniques. I have used traditional methods and materials to create my garments and added modern materials not traditionally associated with tailoring. If I were to do this project again I would consider my designs more carefully, as I feel there is a lot of repetition in my designs and I think I have constricted myself in how creative I could’ve been. Overall I am happy with the progress I have made in this project. But one thing I still need to work on I have found, as in the past, is my time management. Although I have managed to complete everything on time, I found that I did not leave myself time to perfect things and better myself.