Button Holes and Buttons

I have already done machine button hole on my trousers, which I am really happy with, due to their even spacing, length and straightness. As a group we are not going to have time to do button holes on the jacket, I could do this independently, having done button holes before, though I want to learn the tailors way so will leave them until after hand in. I have done some research however into hand button hole like they would have used in Victorian times by hand shown below:

I have however sewn on my buttons on my trousers, cuffs, pockets and shoulder strap. For my cuffs and pockets I started by sewing down my braid. 

To start with I was unsure about the stag horn buttons, I thought a plainer navy blue button would look better. But as they are historically correct for the style of suit, and because of the McKenzie link, I went a head and added them all the same. I am now glad I did as I think they add to the over look and give it more of a historical Scottish feel. 

Tailor Stitches

To get a better understanding on the stitches used in tailoring and so I can improve them in the future I have done some research in to the stitches.From reading the three different felling stitches, I determined that I was sewing the third way. To get more of an angle I will need to change the position of the needle, though I will try the other two ways in the future to see if this makes any difference.

The cross stitch instructions is useful and I will try to achieve an more even stitch in the future.

Collar Research

I found this in 'The Victorian Tailor' which was useful to see how they create the collar. From what Graham has said, I don't think this is the way we are making out collar, though the main aspects seem the same. I also looked it 'The Modern Outfitter and Clothier' which seems to be the same. I will wait until tomorrow to learn the process. 
 

Jacket Line Up

As a year we all have to do a group presentation on the unit we deiced to do, for our tailoring presentation we decided to line our jackets up. Its interesting to see the different styles, fabric and cut of the jackets, that everyone choose. 

My jacket is the first navy blue one from the middle, you see in comparison to the other jackets, the shortness of the jacket length, the curve on the CF opening, the longer lapel, cuff, pocket, side slit and shoulder strap. You can also see the difference in cut/ the fit on the stand. (off course the stand is not to the correct size of my model, this will make the fit quite different.) Though is still is not as relaxed as the lounge jacket.  

Buttons

Button sizes vary depending on the style of jacket and period but generally:

Jacket CF buttons: 2cm

Sleeve/ cuff buttons: 1.7cm

Pocket buttons: 1.5cm

Shoulder strap buttons: 1.5cm/ 1.7cm

Fly buttons: 1.5cm

I will now order my buttons to these sizes, I have chosen stag horn buttons, historically correct to the style and period of the jacket. I have considered that they will be all different shades and shapes due to their natural material, though this would have been the same historically as well.

Attaching the Facing

Attaching the facing wasn't to different to attaching the facing on the waistcoat. To do this I machined down the CF line following the edge of the canvas between the two steps, collar and bottom facing line, at the lapel corner it curves. Using the wooden block on the iron press the seam open, mitering the corner of the lapel and then turn in. I then tack rolled the seam, this was different to normal as where the lapel folds over, you don't want the seam on the front, so it rolls inward. But then you don't want the seam to be seen down the CF of the jacket either, so to solve this its curves round rolling the seam around at the point where the lapel finishes and CF begins, so both seams can't be seen from the right side. 

After this I baste down the facing into the cloth making sure its flat and smooth, leaving the lining lose as above on the top left photo. I then peeled back the lining back to SA and tacked this down the jacket. This pulls the facing into place and keeps it there creating a smooth finish with no ease unlike the lining. This was then cross stitched down to the canvas, not going through to the right side, then the first piece of tacking was taken out. This was finished by taking around the armhole on the upright. This was done for both pieces. 

I enjoyed this part of the process as you begin to see the jacket take place and form the end result. I didn't face any problems or difficulties through any of these stages. However I did find that my lining on the facing can come out short around the armhole on one section shown above. I'm not sure how this happened as I added extra SA onto the lining to make sure this didn't cause any problems as I still have quite a lot of SA left, due to the extra I added on earlier.     

Inside Pocket

After canvasing the lapel, I trimmed the SA away on the CF on the canvas and left an SA of 0.75cm on the wool and stayflex around the CF line. I then created the step in the lapel which situates the position of the collar in relation to the lapel. For this I used my image below to determine the size. I used the man on the right of the picture as this is the jacket I am making. a
As you can see the lapel is quite small in comparison to the normal lounge jacket and that of later jackets. Lapel is about half size in comparison to the collarl, so I created the step at this point. I then created a step at the bottom of the jacket where the facing join would be.

This was  a good point to check that both sides of the lapel were matching, I had to change one side about 2mm moving the lapel out making it larger. They should now be identical.

Once I did this I made my facing making the overall shape 0.5cm bigger allowing extra fabric for movement. The front panel is both cloth and lining, the cloth starts about 2/3 along the shoulder and curves around the front, then after the chest the line straightens out. On the lining I have sewn in the dart. This is shown in the top photo. After this I created the inside pocket (jet pocket), this was done on the left hand side of the jacket facing as my model is right handed. The pocket is under the armhole has a mouth size of about 13cm and is about 15cm deep.

I thought that this pocket would be harder to sew as I deiced to make it completely from the lining material, which is commonly done for the inside pocket. However I was surprised when I found it easier to sew, mainly due to the fact that it is much thinner and there is no bulk. It was also much easier to form the jets. Though  sewing some parts it was hard to sew completely straight as the lining is slippery and moved when on the machine. I found by pinning more helped to stop this, though tacking the lining would also have worked. 


I am slightly concerned that the stayflex at the back of the pocket can be seen on the lining on the front. In future for the inside pocket I will use no stayflex or a much thinner strip, lessening the amount seen.

I am becoming more confident when sewing pockets and am starting to enjoy the process I put this down to practice, and hope through repeating the processes in the future I want have to think about and read before sewing. 


The finished pocket is shown on the top photo, I have now tacked the pocket down to stop it from moving, so I am ready for the next step.
 

Fitting

The tailor fitting is quite different to theater fittings, the tailor doesn't have much SA for movement is the garment doesn't fit.  Due to the skill, accuracy and judgement of the tailor  the garment should fit through accurate measuring and making. For tailor's the fitting allow the customer or actor to change any design area to their personal taste or to the designers.   

Although I am unable to have a fitting with my model, I looked in on a fitting to learn what needs to be looked at and the changes that would be needed to be made. 

 

Starting with the trousers, for the style we are making, they should feel relaxed with support(braces are worn with these trousers), they should be high waisted, with no creases at the front and have narrow legs compare to later trousers. (The crease in the front of the trousers can into fashion in the late 1920's). 

You should look for the break at the bottom of the leg. (This is were the material naturally creases). 

Then check the length, they should hit the bottom back of the shoe. You can then shape the hem,  from the back to the front. The front is normally shorter as the shoe is higher.

On the Jacket normally having the sleeves in for a fitting, you start by pinning where the buttons would go together. 

Go to the back and make sure the CB line is straight and that the top of the jacket is smooth across the back to the arm. Then check that it isn't distorted, if so find where and note how it can be changed. For example, if there is any bulk areas around the armhole, the armhole front does not scoop out enough at the front. This can be pinned to a new line. Though try not to make the armhole larger as it will restrict the movement of models arms. If the model is unsure about the armhole you can snip into the SA to show the finished armhole to reassure the wearer.

Then look at the hems checking it length, the hem can be tacked  before the fitting. Change if need be.

Of course there are different things that need looking at for different styles and garments.

Canvasing the Lapel

The photos above show the stitching and shaping of the lapel when finished.

Starting by tacking on black cotton tape along the break line was important as the break line is set on the bias of the fabric and without would distort the fabric. By doing this I has meant that I have forgo-ed any future issues. Also by tacking on the cotton tape along the break line I could pull the tape creating dips in the fabric, on these parts I have back stitched. (This is only done on the middle part of the breast felt.) I found this stage quite hard to get the right amount and found myself doing it several times on the first half. Though having made the mistakes of doing to much then to little, it was much quicker and easier the second time round. It was important to get this stage right as too much would not iron out and too little wouldn't have the desired effect. By creating these dips it will keep the garment close to the body, as it would otherwise bow on the lapel. This on it own was extremely useful to learn and is a technique than I will keep in mind for the future and use.

I  have also learnt a different type a pad stitching when sewing the canvas to the lapel. Basically it is the same stitch though smaller (about 1cm long) in matching thread to the top fabric. However, when sewing the stitch a very small amount of push is added to the fabric towards the break line using your thumb. You then feed the needle through with your finger to the top fabric and prick, catching a pin prick of fabric then back through, repeating the process to the CF chalk line. Though at the top corner changing the stitch at on opposite diagonal. (As show on the top photo.) By using this technique it manipulates the fabric of the lapel automatically folding the fabric back on itself , even when ironed the shape is still held and goes back how it was, stopping the lapel from sitting wrongly or folding back. The top corner is at a different angle stopping the corner from folding out. I enjoyed this part of the process and has a real positive effect on the garment, it was also a really useful manipulation technique to learn and is a key tailoring skill.

I didn't face any problems at this point though if I did push the canvas too much, ridges could have been formed and when ironed would have created ridges, the only real remedy to this would be to unpick and start again.

Canvasing the lapel is a new technical skill that I have learnt. Overall it wasn't as difficult as I thought it was going to be though is very clever, I am glad to have learnt it.

Canvas

I have added canvas into a garment before in Defining Practice, but for the jacket I have needed to further my knowledge and skill in canvasing. The canvas in the period jackets play an important role in the maintenance of the garment, style and overall look on the model. In the jacket I am making I have added three layers of different canvasing, hair canvas, shoulder canvas and breast felt. These three layers will give the jacket a smooth fit from the hollow of the male shoulder to the chest, creating overall smooth shape of the models chest area.

I have learnt a new skill of pad stitching the canvas together, this could of been done by machine but pad stitching is a skill I wanted to learn. The length and width of the stitch varies the overall finish of the garment. If I was making a Dress Jacket or Dinner Jacket the pad stitching would be small and close together, by doing this it would mean that the canvas would become stronger. Therefore, the finished garment would have a harder front over the chest giving it a good shape.

Whereas ,I am making an everyday style jacket the pad stitch is larger and further apart (about 2.5cm long and the same apart), still creating the shape but in a more relaxed, casual style.  

A different technique is used for attaching the canvas on to lapel, which I hope to learn next week.  I have done some research into this and it seems to be the same technique as the other canvasing though you roll as you stitch. The lapel has to be handled carefully to create a well shaped lapel. 

Below is a diagram that I found will researching canvases: 

Pocket sample

I have now cut out my jacket in top fabric and mark stitched, it was time to start my pockets. I have never done a pocket with a flap on before so I decided to a sample first so I could work out the best way to construct the pocket. For the sample I have done a jetted pocket with a flap, shown below:

I was told by my tutor Graham that the size of the flap shouldn't be any deeper than 4-5cm so I chose the larger size as it looked more in proportion to the jacket and style, although I can not see clearly on my chosen images the size of the pocket flap. (I am mainly going by the Tweed Kilt Jacket pattern block).  The size of the jets historical should also be about 0.75cm where as the modern jet is 0.5cm.

The majority of my sample went  well, there are a few things that I will take forward and change when doing the pockets on the jacket. The main being there is a small gap of about 0.5cm from the flap and the side of the fabric probably because  when I made the flap I rolled in the seam with a tack to push the seam inside. In doing so this decreased the size of flap creating the gap. To resolve this I will add the 0.5cm on the flap equaling doth sizes to create a larger flap, with no gap when sewn in.

I also decided  placing the braid on the pocket  looked a bit odd because of the brown next to the blue. So I decided to change the braid to a navy blue and thinner as this looks more professional and historical for this jacket style and is what they would have done. I also found from doing some research of, the modern version of this jacket, the braid has been replaced and now a pleat is made in the fabric.

New Chosen Fabric

I have had a really successful day! 

I managed to find a 'Brown Scottish Hunting Tartan' They did not  know to what clan it belonged to, though they expect that it is a general Scottish tartan that anyone can wear (This was told to me by the shop assistant who happened to be Scottish!). Unfortunately it does not feel like a 14oz wool, it is thinner, though it still has a strong weave and is thick enough historically not be mistaken for the modern suiting wool. (From researching I found that the weight of wool historically depends on season, though they still wouldn't be as thin as modern suiting wool.)

I then managed to match the navy blue in the tartan to a plain navy blue wool in the second shop, which will blend nicely with the navy blue in the tartan. This is thicker and feel more around the 14oz. Both fabrics are 100% wool and Scottish! It would have been better to have the same ounce of wool for both, though the match is more important. 

I am very happy with my brought fabric, historically a navy blue was used for the 'Tweed kilt Jacket' and the tartan, although not the Mackenzie looks similar and is brown like most of the Scottish hunting tartans. I would have been good to have purchased a Mackenzie tartan and would be more historically correct but I think that this is the next best option.

While I was in the shop I also managed to buy a brown lining, thread and braid, and was also able to go to the Haberdashery at university to purchase hair canvas, shoulder canvas, breast felt and stay-flex. All in all the day has been very productive and allows me to start making my costume!

I have started to source buttons, historically I want stag horn or leather. 

Here are photos of my chosen fabrics, braid and buttons:

 This is my navy blue fabric, this photo shows darker than it really is:

This is the hunting tartan, I did find a green to match the green in the tartan, though it was just to bright historically to be right.

This is the brown lining for both the trouser and jacket, its thick so your hand can not tbe seen underneath or through it. Although the jacket is navy blue I chosen the brown to blend the brown more into the costume:

This is the braid I also brought this in brown to blend the brown of the tartan into the jacket:

Below is a combination of all the fabrics:

Here is a photo of some stag horn buttons, they all vary because of their natural substance:

Chosen Fabric

After ordering the fabric sample I have spent the last week, trying to match the Mackenzie hunting tartan. I had no luck in London or in the local area as the brown and green is a muted colour and was hard to find a good match. Most shops also did not know the weight of the fabrics, though I  over came this as I had my 13oz tartan to compare them to.

 I phoned the supplier of the tartan, who were able to provide me with details of a mill that specialize in matching the tartans to the plain wools, as well as being 'Scotland's last artisan tartan weavers'. They also do the Mackenzie reproduction fabric which is the hunting tartan, which would have been worn historically and would give the best match. I have chosen to do it in brown, though I could have chosen any colour on the tartan. I also managed to find the fabric surprisingly cheap at £20.99 from a different supplier in Scotland. As I am ordering through the internet I've asked for a sample first, though due to the Easter holidays and bank holiday the orders are slow, and ideally I would like to start making my costume next week. So instead of ordering samples I have just ordered the fabric. This is estimated to be delivered by Thursday 12th April.

Here are some photos of the my fabric, taken from the D.C. Dalglish website (this is the mill, and is not where I have brought my fabric from) :

The plain is for the jacket and the tartan for the trousers.

After doing the research into the Mackenzie clan it aided me in the choosing of the fabric (Mackenzie hunting tartan and muted brown) and button (stag horn due to the Mackenzie's relation with the stag and their clan badge). It has also given me a great sense historically of the Mackenzie's tartan, past and fashion. I hope to bring my research into my costume to give it a true historical feel. 

MacKenzie

I decided to do some more research into the Mackenzie clan and came across the one of my chosen images,  I thought it was a fashion plate, instead it turns out to be a painting of Kenneth and Thomas MacKenzie, painted in 1868, both men wearing MacKenzie tartan. They wore traditional kilt jackets in matching fabrics, a navy blue/ grey jacket, with their family clan tartan. Even though Mackenzie have overall tartan fabrics, there are different clan sectors or family origins which have different tartans. There jackets blend in with the blue/grey lines in the tartan. The socks of Thomas MacKenzie show the clan design of stag’s head and horns. The background shows Loch Duich, on the west coat of Ross-shire, with Eilean Donan Castle and Tulloch Ard.

My models father is a Black Mackenzie, so normally a navy blue wool would be worn not to dissimilar to the above, the tartan is different.  

Fabric Sourcing

Speaking to my model, I found out that his father 'Kenneth' is part of the 'Mackenzie' clan. After this conversation I thought it would be interesting to  find a woollen Hunting Tartan from this clan.

I have done some research and this is what I found out about the clan:

‘The Mackenzie clan possessed Kintail in the 14^th century and take their name from a chief named Kenneth who lived in the 13^th century. They were a strong and powerful clan and feuded with their neighbours. They fought against the MacDonalds at the Battle of Blair-na-park in 1491. About 1607 they acquired lands of Lochcarron and Lochalsh. In 1609 Kenneth MacKenzie was created Lord MacKenzie, and the 2^nd Lord was Earl of Seaforth in 1623. They fought in the 1715 Rising and at the Battle of Glenshiel in 1719. They were a numerous clan and in the 18^th century could muster 2,500 fighting men.’ 

The Mackenzie clan motto is' I shine, not burn' and there clan badge consists of a stags head. So I think its real important that I choose stag horn buttons over leather. 

Below is a romanticized Victorian ear illustration of a Clan Mackenzie clansmen by R. R. Mclan from The Clans of the Scottish Highlands published in 1845, he wears the ancient tartan:

 This is the Mackenzie hunting tartan:

I will order a sample of this fabric and try to match the colour of a wool of the jacket.

Trouser Patterns and Style

The bases of the trouser block is similar throughout the Victorian/ Edwardian period, though  the type and styling of the trousers change depending on the use and type. Through the decades of the Victorian period the width of the hem widened and narrowed, the waist became higher and lower, the leg became narrower/ baggier and the use of different fabrics came in and out of fashion. For more information on this read Victorian Gentleman's Fashion an earlier blog. The pattern block above show some of the different styles of the period and are useful to determine the cut and tailoring as well as comparison. 

Sleeve Pattern Changes Over Time

To a get a greater idea of the development of tailoring of through the last few centuries I am going to look at patterns of sleeves taken from historical garments. ( The images of pattern piece are taken from the Norah Waugh book The Cut Of Men's Clothing 1600-1900).

Pattern to the left is of a sleeve from a 1600 Doublet.
The middle is from 1680-90 and is taken from a coat.
On the right is a sleeve pattern from a Frock coat during the 1800's.   

From comparing these sleeve patterns you can clearly see the development of pattern drafting made by  tailors over the years and the changes to their shapes.

On the early sleeves you can see that the shaping of the head of the sleeve is not very shaped in comparison to the century later where more of a curve is developed. This is then accentuated more in the 1800's where a much larger curve is created. The same can be said for the underarm. The extra material needed to create this shape was used as a built in gusset, though over time the need of a gusset has become less and less, shown by the change in shape.

Another detailing that can be seen is the curve in the hinder and forearm. In the 1600's the sleeve was much more curved and shaped, constricting the movement of the wearer, though over the ages you can the arm become less curved restricting less. In modern sleeve patterns a curve is still created but not so dramatic.  

Sourcing Fabrics

Over the Easter holidays I will source my fabric. I will first research into Scottish fabrics and clans before making my final choice.

For the jacket the drafting block stats 'Harris Tweed' and 'Shetland Cloth' for the Tweed Kilt Jacket, though a 100% wool can still be used historically. The jacket fabric colour would blend into the tartan fabric, this mean any colour can be used as long as it connects into the tartan. Normally for this style of jacket a weathered brown/ green or bark grey/ navy blue would be used though this varies greatly depending on the clan. In Edwardian times tartan became less used and instead a plain matching wool would be used for both the jacket and trousers, this was commonly a Tweed. 

As you can see from this photo of a Scottish hunting party, they wear a mixture of trouser and kilt in all Scottish tweed fabric:

The trousers become more common in Scotland rather than a kilt in the Edwardian period, though would still have been made from the tartan of their clan,  this faded out more during the later stages of the Edwardian period. However, the tartan kilt is still worn in modern times, socially in Scotland. I have decided to make the trousers from a tartan to date my costume between the late Victorian and early Edwardian period. This means that I will have to match the tartan to a plain fabric, which may be difficult.    

To start my costume I will have to source the following:

Around 14oz plain wool for the jacket (3meters)
Around  14oz tartan wool for the trousers (3meters)
Silk lining (2.5 meters)
Hair canvas (1 meter)
Shoulder canvas (0.5 meters)
Breast felt (0.5 meters)
Stay-flex (0.25 meters)
Braid (4 meters)
Around 22 buttons

I will now research into Scottish fabrics.

Weaves and Wools

I decided to do some research before buying my fabric to make sure I got the best type of fabric historically and the easiest to work with. I also wanted to expand my knowledge of wools from Defining Practice, to get a better understanding of the structure, stretch, threads and weaves. I first looked in the 'The Modern Outfitter and Clothier' though as I started to read, I got so confused with the scientific 'talk' I felt I needed to learn some science before being able to understand what was ment. 

So I left this research to one side and continued looking for other sources. When I can across these pages in 'The Victorian Tailor', it was much easier to understand and has allowed me to achieve what I wanted to know. I will use this information and knowledge that I have now gained and transfer them in to practice when sourcing fabric. 

The information on tweed and homespun fabric is particularly useful, as I now know that I am looking for a one or two coloured fabric, with a soft surface, with an open and flexible weave. 

I also found this page:  

Which is particularly useful for wool purchases in period garments as well as the thickness historically.

  

Chosen Garments

I going to make a Tweed Kilt Jacket and trousers!

I will use the basic block provide by Graham as a starting point, and then alter or develop.

I am going to try and make the garments as historically accurate as possible, but I will still use modern construction techniques. From researching into the Tweed Kilt Jacket, I have found that normally a hunting tartan is used. I will use this for the trousers and then match a colour in the tartan for the jacket, which is what was done historically. I plan to use a 100% wool at around 14 ounce as this will be the easiest and the best to work with. Historically a homespun cloth would have been use generally a Harris Tweed or Shetland Cloth. I will research into these, though the choice will depend on my budget, if the fabrics are too expensive I will find the best next thing. Historically stag horn button were used or leather, I will also try to source these over the Easter break as well as the fabric.

Over the next few days I plan to finish all my pattern drafting and be starting to source my fabric.