Day 14 Final Hand in

Day 13

I managed to put the lining into the jacket all hand stitched and ready to go the only thing I need to complete tomorrow is the button holes at the front. The bias finally turned up so I could finish off the edges of the seams.

Day 11-12

I spent the day working on the lining and finer details of the jacket as the seam tape still hasn't arrived and I'm starting to try and think of other options for completing the jacket. I attached the belt piece to the back of the jacket. I stitch fake buttonholes to the belt before stitching a belt on top of them. I placed it between the side back pleats setting the buttons in the centre of the seams.

I moved back onto the lining now that I don't need any more access to the inside of the back of the jacket. I attached the edges of the lining to the jacket and then pressed the seams of the pleats back of themselves so that the lining pleats could sit over them. I then pinned them together while I hand stitched the edge of the lining with a fell stitch. I encountered a problem with the lining at this stage. Lining up the box pleat with the lining and the fact the pleat sits inside the jacket so the lining either needs an extra piece like a semi circle piece to encase the edges of the pleat or bias binding can be attached to enclose the raw edges. I've opted for the bias binding option before placing the back pleats over it. To fix the problem of how the back pleat sits I stitched the lining to the lines of the pleat with white thread until it can be properly ironed and then they can be removed. The lining does however fit which was very encouraging and lines very beautifully inside the jacket which make me very happy. I could have left the bottom edge open but I think the weight is needs for the bottom edge for movement.

The final part I was able to complete at this time was to gather the sleeve head and attached my rope/cord detail to the edge of my sleeves. I found a pattern online to follow. I left extra for the sleeve edges and used pins to hold the parts in place and the stitched them before hand stitching it to the edges of the sleeves.

Day 9-10 Lining and Details

I attached the collar and interfacing which sits very very well on the jacket I feel. I'm very happy with it. I am still waiting for more seam tape to finish the sleeve seams. Next time I will buy extra or make triple sure I get enough.

So one of the techniques I feel is very important for this jacket is the stay tape around the centre of the jacket. This ensures the jacket does not stretch out of shape and helps to give structure. I set it just above the pleats of the jackets.and hands stitched it in with cross stitch to allow for movement with the jacket. I decided that putting cotton tape around the jacket edge and hem would be both a waste of time and is unneeded. The jacket is of a substitutional weight and the interfacing gives the front edge enough structure to give a lovely crisp line.

As for the pockets I had to change the possession of them because they didn't match the tartan very well so it looked off. So I relined up my pocket away from my tailor markings I'd done in red. I attached them with an edge stitch on the patch and a simple straight stitch on the flap. I had to do a small zig-zag stitch at the edge to secure the edges as the edges of the lining were still rare and this helped to enclose them. I hand stitched the small Chinese knot buttons to the edge to close the pocket. A simpler style to the 18th century knots and cord details I'd looked at previously.
I next started on the lining. The most common way to line pleats is to cut them slightly bigger (1.5cm bigger)so that when it's put together it creates a pocket for the whole pleat to sit in wit it's seams edges together. I went for the option of making it the exact same as the button of the coat and folding the pleat edges back. Lining comes together very quickly. It's just putting it in that's the problem. You have to let the lining sit at least 1cm short so that it falls shorter than the edge of the hem line so it isn't seen.

Day 6-8

So I discovered that the tartan fabric I picked is terrible for stretching... Even though I backed it with calico and the flower lining fabric. It still keeps stretching out of place. The cutting process took me a whole day just to make sure everything was cut and over-locked at the edges to stop the pattern pieces from miss-shaping. Once that was completed the out shell came together very quickly but the Hong Kong finish does take some time to complete and I realised I hadn't bought enough for the whole jacket so I've left the sleeves until last. When researching the Hong Kong finish I found to ways to do the technique. Both of them work, one takes longer than the other but the final out come is noticeably different. See picture above. The top is a technique similar to putting on bias binding with the top stitching visible as the final edge. The other is you iron in half  and sew both sides at the same time cutting out time but it does not leave much of the seam visible.

Day 5 Pattern solved

They jacket is finally complete and looks good. We finally solved the problem of the extra fabric across the bust. We opened the shoulder seam and took the top of the sleeve head out and then arranged the shoulder and extra fabric so that it went into the sleeve there for removing the fabric and moving the sleeve up to its normal point. The difference that made was massive, obviously I had then made on extra fabric at the neck line to reshape because everything had been pulled to the side but it worked very well. I then re-cut the basic collar I’d cut before and then added fabric to lengthen and reshape. The process took some time but it was worth it when I saw the finally outcome. Now just to decide on my manufacturing process. I’ve decided to definitely use cotton tape of the edges of the coat to not lonely weight it but also because it gives a cleaner edge during construction. 

I have several options in ways to manufacture:-

1. To finish off the seams inside with a full Hong Kong finish (see other entry for details). This would mean not lining it properly however it means that it can’t only be backed in calico but because of the seam tape it would save time. There would still be an interfacing for the cuff, front panel and back neck line. I would need to make sure my hand sewing round these edges and the hem were very neat. I would also have to think about weighting the bottom edge so it can swish better and hold its shape. It also gives the edges of the right side a top stitch look because you can top stick the tape so it had a double line of stitching which could look nice. 
2. The other option is to fully line the jacket, I will need to look over how you can line pleats again, and I’d also have to cut out lining patterns. 
3. To half-line the jacket at either the top or bottom (most likely at the bottom for the weight) this could allow the top to remain light weight while allowing the bottom to have more weight for movement. It would also allow me to use both techniques.

Day 4-6 of Jacket (Pattern Madness)

Nearly there just to fix the collar. It's taken far much longer than it should have to fix this coat. Part of it was me missing things that were obvious. Some is because it's a period jacket so the fit on me is very different. I still need to take out some of the volume in the front and get the fabric. I am getting samples for Monday because by the end of Monday and I want to have a plan of starting to make up the jacket. Start cutting on Tuesday.

Day One of Jacket Construction

The day started with printing of the references and circling the key details I liked on each coat with notes about other features I might want to try on the stand. The key things I highlighted fabric the jacket was:-

• Peter pan collar combined with a lapel collar which could change between the two. May also try a hood, shawl collar.
• Cuff  with buttons or panel at the cuff maybe in a different fabric and cord details like with Justaucorps jackets (see previous artistic.)
• Four panel back like with the Victorian coats. The panels at the back will split and become either pleats or gathered (I will try both.)
• Pockets maybe flap pockets or welt pockets maybe shaped. I will try that and others.
• I will use a shaped sleeve as see in the Victorian jacker picture.
• I'm still undecided about fastenings as the collar I go with will effect this.
• I'm considering have a plain coloured cotton fabric outside and then a light cotton lining in a print I saw from Rement Kings.

I started using a Victorian coat pattern because the original jacket was shaped for a mans body and it did not have the paneled back details which this pattern does. I felt the time taken to adjust the pattern and making it up from scratch than using this pattern. It had far more of the elements I wanted from my jacket.

I managed to draft up the pattern and adjust the length and for the stand before cutting it in calico. I will start modifying the pattern on the stand tomorrow and try out the detail options I'm not sure about. I also need to extend the front because it does not close properly.

Complete Tutu

Step by step Tutu part 4 Bottom Tutu Layer Construction

• Stitch back and gusset together with a French seam. Use pins to hold back layers while trying to sew them together. Put pants elastic through before closing the bias binding edges.

• Stitch layers of toille together for each layer with French seams. Leave the top 3 layers without being sewn together so the dancer can get in. Fold edges in and sew so there are no raw edges.

• Press tutu under a table overnight to flatten the tutu further.

• String layers together 3 at a time with a loose tack to help hold they layers together.

• Make up over lay by drawing round the flat tutu, leaving a hole in the middle with a split. Cut to the right size and make up in the fabric required and add embellishment. Hem the edge Fabric can be attached to the net for extra support if fabric is too soft. Fabric can also be gathered like the tutu layer before it.

• Stitch over lay to the top layer of toille.

• Make up bastque or york from calico if it's not seen and in the same fabric as the bodice if seen. Attach petarsham to the top of the bastque and attach piping to the bottom.

• Attach hanging loops to the top of the bastque.
• Attach piping at the bottom of the bastque to the tutu skirt.

•  Attach bodice to the bastque lining up the front of the york with the bottom of the bodice. Stitch in the line of the pipping. Attach hook and bars to the york waist band as required.
• Thread iron boning or rigilene boning doubled up through the 5th layer channel to make the hoop. Make sure to make the hoop flat with the gathers spread evenly over the hoop. After it's through tape or tack the ends together so there over lapping and seal inside the channel.

• Tutu Complete!!! :) What an experience. 

• 

Step by step Tutu part 3 Bottom Tutu Layer Construction

•  Attach the two leg ruffles around the edge of the bias with the layer facing up. Trim off any extra ruffles leaving 1.5cm just in case.
• The bottom 4 layers must all be sewn with the layers going up to counter act the rest of the layers which all are all going downwards.
• Pin each layer before you sew them to the pants, following the line marked on. Make sure to keep track or what layer you are on and which type of netting you should be using. This will help you avoid mistakes.Remember to leave 1.5cm at each end for attaching later.

Step by Step Tutu Part 2 Ruffles Preperation

• Cut out all layers using measurements that can be found bellow. More layers can be added. Just use the measurements bellow as a rough guide.You can cut down on layers but the top two have to be stiff net and the leg ruffle has to be soft. Bottom 4 layers have seems going up and the rest go down. To the top two layers add as much ruffle to them as possible.

Cutting Net

The size and shape of the dancer will determine the number of frills and the length of the frills.
The more slender dancer needs less length in her frill. A shorter dancer can accommodate fewer frills.
For dancers whose height is over five foot four inches ten frills works with widths generally no wider than 12.5 to 13 inches:

• 1.5 inches
• 3.5 inches
• 5 inches
• 7.5 inches
• 9.5 inches
• 11 inches
• 12 inches
• 13 inches = this is average
• 14 inches = this is average
• 15 inches = this is tall dancer range.

The 12.5 inch length leaving a twelve inch skirt. However, different roles require different lengths. 12.5 inches is a short tutu.
Remember, it takes 13 inches of net to create a 12.5 inch tutu length. Also remember there will be mistakes and length could come off the ends! Give yourself room for error if you are new to this.
A good example of a character tutu that typically calls for a long skirt is Cinderella’s tutu which is often longer than most though not quite a romantic tutu. This is an example of a bell shaped tutu that often contains a hoop.

Tutu Frill Dimensions

Yards of net required for an average tutu are 14 yards which are cut into the following lengths in inches:

12.5- (cut four lengths of 54 inch fabric)
12.0 -(cut four lengths of 54 inch fabric)
10.5-(cut three lengths of 54 inch fabric)
9.5-(cut three lengths of 54 inch fabric)
8.5 -(cut three lengths of 54 inch fabric)
{the 8.5 layer is the wired layer in which a two inch strips is sewn to insert the wire.}
7.0-(cut three lengths of 54 inch fabric)
6.0-(cut three lengths of 54 inch fabric)
5.0-(cut three lengths of 54 inch fabric)
4.0-(cut three lengths of 54 inch fabric)
3.0-(cut three lengths of 54 inch fabric)
2.0-(cut three lengths of 54 inch fabric)
1.5-(cut three lengths of 54 inch fabric)

• Remember to mark on the strips which layer they are so you don't get mixed up.

• The channel layer must be on the 5 layers ish as long as it's stiff net. For my tutu I have 4 layers of soft and 6 layers of soft. Attach the channel to the 5th layer while it's flat then scallop the edges of the fabric if required. Remember to vary the size of scallop for the best effect.

• Pleat all the layers using a gathering foot or a quick unpick pushing the fabric through. Keep the line of the fabric straight.  
• You'll end up with a row of curls like the picture bellow after there pleated.