Collar Cutting and Pad Stitching

The first step making the collar after drafting it is to cut out all the fabric pieces needed.

1. Collar Canvas- to the shape of the collar with 1cm SA all the way around, cut on the bias and cut in tow halves.
2. Collar Melton- to the shape of the collar with 1cm SA all the way around, cut on the bias and cut in tow halves.
3. Top Cloth- cut on the straight of grain, with 1cm SA all the way around and 2cm SA on the collar step slop, cut in one piece

Note: the Melton should be the same colour as the cloth or as close as you can get as the collar in not lining and the Melton may be seen. 

Tack through the stand line on all pieces.

Once the pieces are cut, machine the Melton halves together with the 1cm SA as a normal seam. The collar canvas is sewn together though these are over lapped and sewn down the middle of the 1cm SA. Then lay the two pieces on top of each other with the right side of the Melton facing out, tack through the stand line. Mark with chalk the 1cm SA all the way around the canvas and Melton. 

On the canvas side start at the top of the stand line on the stand and pad stitch (about 1.25cm long and 0.25cm wide). The first row has no or very little push. The second row has some push as do the rest, the pad stitch is not staggered like the lapel. Continue all the way along the stand of the collar and stop at the 1cm SA.

Then turn the collar around and start at the stand line on the fall of the collar and pad stitch. The first row has no or very little push. The second row has some push as do the rest, the pad stitch is not staggered like the lapel. Though like the lapel in the corner draw on triangles and don't pad stitch through these. When all the is pad stitched except for the SA and triangles, pad stitch the triangles in the opposite direction. This will stop the corners lifting or curling outward.

Having finished pad stitching the collar, trim away the 1cm SA on the top and bottom. Then on the fall of the collar bottom trim a small amount of the canvas away leaving a lip of Melton. Then on the stand top cut a small amount of the Melton away leaving a small lip of canvas. This means that on the fall the Melton won't be seen when sewn on.

Take the collar the iron and press flat not with a lot of pressure. Then on the stand line use the iron as an anchor and stretch the collar around on the stand section of the collar, following the shape when on the jacket. Do this for both sides and then turn the collar around onto the fall and use the iron as an anchor and stretch the opposite way. Don't stretch a lot. By doing this it stops the collar from moving upwards and keeps it in the right shape, making it easier to apply.

Then with your hands press the the stand under along the stand line, then with no weight of the iron press the fold. Should should end up with a collar like the one above in the photo.

 

Then apply the collar to the jacket on the stand to check its fit, correctly. Overall I am happy with my collar so far, it lays correctly and when I have shortened the ends will be right historically.  It was much quicker with my pad stitching, and more evenly spaced, though with more practice I feel I could achieve more equal proportions of stitches. I also have to watch the amount that I push as this time small ridges did start to form, though these did iron out. This is by far the best way of insuring the correct shape of the collar and like the rest of tailoring is clearer in it manipulation of fabric to achieve the desired effect.    

 

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.  

Calico Collar

I drafted the collar today, in order to this took measurement from my jacket and transferred them on to pattern paper. Measure from:

1. CB seam line to the lapel break line
2. Break line to collar step (together they make the one half of the collar length)
3. 3.5cm up (stand of collar length)
4. 4cm up from that (Fall length) 
5. 2.5cm from the bottom line. (this is the curve up)
6. The size of the collar width depending on the research and design. (4.5cm- 4cm)
7. From the top of the fall line to the slop of the collar width (6) this line needs to be slopping down.

When I drafted this I traced it off onto pattern pattern paper, and tried it on the stand/ jacket. It looked odd and was hard to tell if this was right, being my first collar, so I cut it out straight away in calico, as this would then be easier to see and manipulate into the shape of the collar. Having done this I pinned the calico onto the bottom of the neckline. The photos below show my results. I was amazed that this was right and worked perfectly. The collar sits flat, the right without any bunching or gathering, the collar width is also right as it follows my historical research and smoothly curves round. I am very pleased with my collar and will start to make it soon.  



 

Change in schedule week 14th May

Waistband of Trousers

Before doing the waistband I sewed  the backs of the trousers to the front along the side seam, matching up the checks and finishing the edge of the pocket.This went a lot better than my sample, as I sewed  close to the pocket, creating a really clean finish with the matching lines running around the trouser. I did have some problems with matching up the checks as when I went to sew on the machine the cloth would move and would no longer match. I found that in if I pined on every check line vertically and horizontally the checked matched and the fabric didn't move. Sewing up successfully. 

I did this for both legs I pressed the seams to the back on the pocket and pressed them open after that.

Once this was done I moved onto the waistband. I started by cutting out the canvas, leaving the seams, on the dart in made a tuck. This was then based down. The top of the trouser was then folded down and cross stitched down. I then cut the lining in two strips, creating the same tucks in the lining. This was then slip stitched down leaving the both end open front and back on both pieces. I then attached the trouser hook and bar. Threading a piece of cotton tape through the bottom hole, knotting and twist, which was then sewn to the canvas. I then 'put the hooks to bed' folding the lining on top of the hook and sew down. As shown bellow on photos.

I then slip stitched down the whole waistband as shown below.

  

After this I sewed the legs together matching the checks and the sewed up the back, place one leg the right side up in the a leg the wrong way. I sewed the back line twist for extra strength.

I am very happy with my trousers as all the checks match and are symmetrical, if I was to improve this I would try to make the inside of the trouser more clean and tidy.   

Sleeves, Cuffs and Shoulder Straps

Having made the calico sleeve first, and found no fault, I have moved onto the cloth sleeves. I started by cutting them out in both cloth and lining (I made the lining 2.5cm larger on top and bottom of the sleeve for extra ease and SA), I then sewed down the side seams as before (the lining was sewn fractionally larger), so I had finished with two cloth sleeves and two lining sleeves. I then matched them up together the right cloth sleeve with the right lining sleeve and place the cloth inside the lining with the right side together. Then I pinned the SA of the lining to the SA of the cloth sleeve matching the left and right of the SA to the left and right. I used 3 pins on the curve on both the hinder arm and fore arm, this was then tacked. (the lining had shorter SA as it was sewn fractionally larger.) I did this for both sleeves, then having done this turn the sleeve out and out again to the right side of the cloth of the sleeve was facing out. I then stretched my hand out inside the sleeve and tacked around the sleeve about 10cm from the bottom, not including SA. In order to hold the lining and cloth in the right place. I  did the same on the top of the sleeve, following the sleeve shape. This was also done for both sleeves, the tacking was relaxed.

I love the way in tailoring nothing is left to chance like in theatrical costume. The tailor makes sure that the lining will stay in the right potion and won't move, though still has the ease needed for the wearer to move. The sleeve is another example of this with its skill and cleverness. I suppose unlike some theatrical costume, the techniques have been mastered and developed over the centuries, and hasn't changed all that much in fashion, unlike theatrical costumes. 

The next step on the lounge jacket would be to add hair canvas to the hem of the sleeve and turn up the cloth and fold the lining and slip stitch down. Though on this style of jacket (tweed kilt jacket) the design has a cuff, with braid and button. (Like on my chosen image and pattern block, which I used to reference and draft the shape.) For this I cut the cuff in the lining, cloth and canvas, and have sewn them together, down the sides first then around the top to create the shape. I then tacked on the braid. To attach to the jacket I matched up the hem line with right side of the sleeve, facing the right side of the lining of the cuff and sewed around. I then pressed and folded up the SA, then pulled the lining of the sleeve down and finished the same as a lounge jacket.

I then attached the sleeve cloth to the jacket, pushing down the sleeve lining into the sleeve. I pinned, checked that this was right, then tacked and then sewed round. ( Adding the shoulder straps onto the top of the shoulder seam). I am very happy with my sleeve the ease has come out really well and created a smooth line on the armhole. They also sit really well with the straight of grain falling out at the cuff. This is the easiest sleeve I have ever had to put in, normally I have to unpick it at least once, but both sleeves went in perfect first time. I suppose this is because of all the preparation before, which clearly paid of.  

The sleeve was then finished by pulling up the lining and easing in tacking down, folding over 0.75cm, this gives the lining of the sleeve more ease. I managed to loose some of the ease of the lining on one of my sleeves, it still has some ease, just not as much as it was should of had. I future I will add a bit more allowing for the movement in the lining and fraying. This will then be slip stitched.

Overall I am very happy with my sleeves, as they both have the right balance and came out well.