The Importance of Inner Structure Part 1

Fabric is a fluid medium. It will move and drape according to its thickness and weight.

The outer appearance of any garment is greatly affected by the care taken to provide the correct inner structure for the fabric and style of the garment.

There are many choices to be made. Hopefully, this information will help in evaluating the desired effect for each garment and in making your decision on what will work best for your project.

Interfacing:

Interfacing is the most commonly used method of providing support to the outer edges of a garment
The purpose of interfacing to support the style and enable the garment to keep its shape during wear, increasing its longevity and resilience during and after wear
Always found in applied neckline and armhole facings and as otherwise indicated in the guide sheet but its use can be extended to other areas of the garment
Interfacing fall into two groups – fusible and non-fusible
Both groups also can also be either woven or knit fabric types and both types have fabric grain which needs to be used in a similar way to the fashion fabric
Most commonly, fusible interfacings are used and they come in different weights to suit different fabrics and garment styles
If a fabric is not suitable for fusible interfacing, the sew-in variety is used instead – cotton, organza, hair canvas – all of which can be either on the straight of grain or bias which results in a more fluid drape
Either type of interfacing is cut from the appropriate pattern pieces and either fused to the wrong side of the fabric or hand tacked to the wrong side of the fabric
When using sew in interfacing:
- Cut interfacing on the same grain as the fashion fabric and slightly smaller than each pattern piece being used
- Place the interfacing on the wrong side of the fashion fabric and hand tack close to the seam line, just within the seam allowance
- Once seams are sewn or edges taped, cut excess interfacing away from within the seam allowance
- Cut out shape of darts to avoid build up of excess in the dart stitching line – darts are usually slashed open and attached to the interfacing by hand using a catch stitch
- Pad stitch to attach the interfacing to the fabric – heavier padstitching can be used to add extra stiffness where required (see blog post 21st June, 2015)
To achieve the correct adhesion of fusible interfacing, you need to:
- Warm up the fabric by ironing the wrong side of the garment piece to be interfaced
- Place the glue (rough) side of the interfacing on the wrong side of the fabric
- Cover with a press cloth
- Using a steam iron and a lift and press motion, move over the piece leaving the iron in place for 10 seconds each time – also press firmly on the iron to ensure it fuses properlyIf you do not have a good steam iron, use a spray bottle to moisten (not wet) the press cloth and press until the cloth is dry
- Turn the piece over, cover with cloth, and press again from the right side of the fabric
- Once the piece is fused, allow it to lie flat to cool and then trim away any little pieces of interfacing that extend beyond the fabric edge
- Whichever type of interfacing is used, replace the pattern tissue on the garment piece to check that it has not distorted; trim any excess interfacing
- Marking is done on the interfacing
Fusible interfacing can also be used to support a fabric which on its own would not have enough body for the chosen style
Extra fusible interfacing can be applied in areas of the garment which may need extra support, for example a lapel collar or unusually shaped collar, hem or sleeve hem
If a more subtle and soft drape is desired, interfacing can be cut on the bias grain
Calico is often used in top areas of heavy jackets and coats for sleeve cap and underarm supports, chest pieces and saddle backs because that is the area of the garment which takes the whole weight of the garment during both wear and storage

Machine Stitching:

Rows of machine stitching will also stiffen fabric and can be used on under collars in place of hand pad stitching sew in interfacing.

Underlining:

The purpose of underlining is:
- to provide shape and strength for the outer fabric where the fabric is delicate or unable to be fused, for example fine silks, satin, velvet, bouclé and fabrics with an embossed surface
- to hide any trace of inner construction details on white or light coloured and shiny surface garments
- to make an unlined garment more comfortable to wear
Fabrics which can be used for underlining include:
- soft cotton flannelette (to create a little bit of loft and/or to add warmth) – be sure to prewash as flannelette shrinks considerably
- silk organza
- cotton batiste or lawn
- cotton muslin
Underlining pieces are cut the same as the garment pieces and hand basted together just inside the seam line – they are then sewn as if they were one layer
Seam allowances, hems and other inner details can be stitched by hand to the underlining to keep them flat and in place

Interlining:

The purpose of interlining is:
- to provide extra warmth to a garment, or
- to add loft to otherwise flat surface/thin fabrics
Fabrics which work well include:
- thin quilt wadding(batting) in either wool, cotton or bamboo, and
- flanelette (be sure to wash it first in hot water to deal with initial shrinkage).

Inserting Zippers Part 4 – Fly Zipper

Posted by sewinglady286

In this blog I will share the methods that I find work best for me. I most commonly use the cut on fly to achieve a flatter finish over the tummy.

Fly zipper with cut on facing gives a flat finish with minimal bulk.

If I am making jeans, I use a much softer fabric for the fly and zipper shield.

Soft cotton used for fly facing.

Some of this information is contained in the guide sheet of patterns; however, to make installation easier and flow better, I have changed the order of some steps.

A fly zipper can be inserted to be opened from either the right hand or left hand side. Traditionally women’s pants the zipper fly is placed on the right hand side and for men’s, on the left.

Ready-to-wear women’s jeans often have the zipper on the left hand side.

None of this really matters when we can sew our own clothes because we can choose whatever side we like!

Except for jeans, most commercial patterns for women’s pants are designed with a cut on fly and use a regular dress zip. This technique minimises bulk on the front of the garment.

Many ready-to-wear garments are designed with a traditional separate fly facing which can be either made from lining or, in lightweight fabrics, from the same fabric as the pants. Tailored pants usually have a regular dress zip. Jeans most often have a metal zipper and zipper shield.

If you would like closer fit or wear your pants below the natural waist, the traditional fly with separate facing may give a closer fit – necessary with a lower waist position.

Pattern Work:

Add width to the centre front seam allowance where the zipper will be set. I usually use 2cm/ ¾”.

To convert a commercial pattern with a cut on fly to a separate fly, changes will need to be made to the commercial pattern with the addition of a fly facing, zipper shield and extended waistband.

The centre front can be either of the straight of grain or slanted inward slightly. The former allows for a little more tummy room.

If you would like to slant the seam, draw a line from the top of the seam (waist area) to the dot marking the lower end of the zipper.

To alter a pattern to accommodate cut on fly, trace centre front and mark bottom of zipper. Trace the topstitching line and add a line ¼” beyond. Flip this pattern piece over and align the centre front lines. Mark the centre front fold line.

Draw desired width of fly extension and line up CF markings when adding this to the front of the pattern.

Use fly extension to make a pattern for separate fly facing which will be sewn at CF.

Interfacing:

Interface the fly facing and finish the outside edge.

Interface cut on fly facing and over CF on opposite side.

For pants with a cut on facing, interface the underlap with the interfacing extending over the centre front seam on the side of the pants where the visible fly stitching will lie.

Preparing the Zipper:

Shorten the zipper if necessary. For dress zips, use a longer zipper than the pattern requires. Metal zippers should be as close to the correct length as possible.

If it is necessary to shorten a metal zip, do so by marking the desired length at the top of the zipper. Carefully remove the metal stops (pointy pliers are good for this) and pull the unwanted teeth away from the tape. When the required length is correct, replace the metal stops and pinch them firmly in place.

Make a template to assist with final topstitching of the zipper.

Zipper template is useful to accurately mark topstitching position.

Insertion Technique – Cut on Fly:

Sew approximately 2”/5cm of crotch seam first – be sure to end exactly at the dot which marks the beginning of the zipper opening and back stitch to secure.

Stitch approximately 5cm (2″) of crotch seam, finishing at mark indicating bottom of the zipper – back stitch to secure.
Lengthen stitch to 4.0 and machine baste the remainder of CF seam.

Machine baste centre fronts together (SL4.0-5.0) in the area of the zipper opening; press seam flat and then open.

Then press a fold on the underside seam allowance so the fold is flush with the cut edge of the fabric.

Press seam flat and open. Press a fold on the underside 15mm (5/8″) from CF

Open the zipper and position the teeth of the zipper along this fold with the zipper stop at the bottom of the opening.

Position zip (coils up) under the folded back seam allowance – align the stop to the marked position.

Using a zipper foot, edge stitch the zipper tape in place.

Using zipper foot, stitch on the seam allowance close to the zipper teeth and along the length of the zipper.

Close the zipper and place the garment right side down on a flat surface. Allow the zipper to sit flat against the garment (right side down) and pin the other side of the tape to the cut on facing. Stitch in place with the regular sewing foot.

Lay the work flat with wrong side of zipper uppermost.

Pin and stitch the other side of the zipper tape to the opposite seam allowance.

Using a sliver of white soap or chalk marker and your template, mark stitching line on right hand side of front and topstitch from bottom of zip to top – bed the needle into the centre front seam line and walk the needle until past the metal stopper.

Turn work right side up and use template to chalk mark stitching line on front of garment.

Stitch bar tack at bottom edge of zipper opening – bar tack is stitched with regular zigzag SW2.0, SL0.5 for about 1cm and centred over the zipper stitching.

Use a small zigzag to make a small bartack at CF at the base of the topstitching.

Finished zipper installation with zipper hidden.

Fly Zipper:

Press under 1cm/ ½” on the underside seam allowance.

Press under 1cm(1/2″) seam allowance above point where bottom of zipper will sit.

Make the fly protector by folding wrong sides together and overlocking the edges to close.

Stitch fly to centre front seam – working from bottom up – press seam flat, trim back by half and press seam open.

Fly stitched along CF seam – stop at mark indicating bottom of zipper.

Fold fly to wrong side and edgestitch if desired.

Press fly to wrong side and understitch above marked point for bottom of zipper.

Starting exactly at the dot which marks the beginning of the zipper opening sew approximately 5cm of crotch seam and back stitch to secure.

Stitch approximately 5cm(2″) of crotch seam – start exactly at bottom of fly seam.

Working with zipper teeth closed, place zipper tape under the fold and fly protector underneath – using zipper foot stitch close to the zipper teeth from bottom to top through all layers.

Place right side of zipper against underlap fold – keep teeth close to zipper.

Pin underlap on underside of zipper tape

Stitch in place from right side.

Place garment on flat surface, wrong side up and fold the zipper shield out of the way. Pin other side of the zip to the right hand side fly facing and stitch in place.

Position edge of fly with CF together over underlap.

Pin underlap out of the way.

Stitch other side of zipper to fly facing.

Using a sliver of plain soap or chalk marker, mark stitching line on right hand side of front.

Start fly stitching with small stitches (1.5) to add extra security.

Chalk marks can be easily removed using a clean eraser.

Position the zipper shield in place. Topstitch from bottom of zip to top through all layers – a cardboard template can be used to mark the stitching line.

Stitch bar tack at bottom edge of zipper opening– bar tack is stitched with regular zigzag (SW2.0, SL0.5) for about 1cm and centred over the zipper stitching. Add an additional bartack to ensure zipper shield stays in place.

With fly facing in place underneath, stitch bar tack at bottom of zipper at CF and on curve of topstitching – to catch fly facing and keep in in place.

Underside showing secured fly facing.

Finished zipper.

Waistband with Fly Zippers:

With a cut on fly, the waistband will extend from the centre front on the fly side to the edge of 3cm/1 ½” beyond the zipper teeth on the underside.

With a traditional fly, the waistband will extend on the left hand side so that it finishes flush with the zipper fly extension. Pin in place and stitch using your desired method.

I usually either press under one side of the waistband or overlock/bind one long edge and stitch the garment side in place with the band on top so the action of the feed dogs will ease the waist of the garment to the band.

Fold the waistband wrong sides together. On either end stitch from the waist seam line towards the fold – do not stitch over folded fabric.

There is no need to clip across the corner of this seam unless you have a waistband with a seam on both sides.

Turn to right side, pin waistband in place and baste before stitching in the ditch or topstitching from the right side.

I hope you have found this blog helpful and would love to hear your feedback.

Next time I will cover exposed and separating zips.

Photos have been restored!

Posted by sewinglady286

My apologies to any readers who have been unable to see the photos with my blogs. It was my error – I am still on L plates with this blogging caper!

I have restored the photos and in the process I discovered that I had inadvertently deleted “Inserting Zippers Part 4 – Fly Zippers”. It has now been uploaded again.

I hope the blogs are helpful and would love to hear feedback.

Thank you for your interest.

A Great Method for Adding a Shirt Collar and Stand

Posted by sewinglady286

I first used this method quite a few years ago after reading “Shirtmaking – Developing Skills for Fine Sewing”
by David Page Coffin Published The Taunton Press, Inc. 1998. A variation of the method has also been featured a number of times in Australian Dressmaking with Stitches.

Collar on stand with neckline worn open.

Previously I had used the methods shown in the pattern guidelines, often with disappointing results – I could never seem to get the rounded ends of the collar stand exactly the same on both sides without lots of unpicking and resewing.

This method works very well with lightweight shirting fabrics and I have also used it on heavier jacket weight fabrics with good results.

To achieve a great shirt collar, there are a few things to consider:

Would you like a crisp or softer collar?
Will the collar band be worn mostly open or closed?
Do you want to wear the collar standing up at the back?
Is the fabric opaque or sheer/semi-sheer?
Does the fabric print need to be highlighted by using contrast details?

Preparation:

Working with smaller seam allowances makes the attachment of the collar stand and collar a lot easier to handle. I normally use a seam allowance of 6mm to 1cm / ¼”- ½”. After removing any excess seam allowance width from the collar, collar stand and neckline seams, I cut out the upper and under collar and collar stand pieces.

So that the upper collar will roll out of the stand without showing any of the under collar, it is important that the upper and under collar are separate and different pattern pieces. I have read many times that approximately 3mm / 1/8″ should be removed from the neck edge and ends of the under collar. This can cause problems if the ends of the collar do not meet exactly where they are joined to the stand.

The pattern I have used is a KwikSew shirt pattern which uses 6mm/1/4″ seam allowances and provides separate pieces for the upper and under collar. It is interesting to compare the two and see exactly where to remove the excess from a pattern that is the same for upper and under collar. The corner edges of the collar which will be joined to the stand are not trimmed.

Under collar pattern has been placed on top of upper collar, matching CB position. Front edges of collar remain in the same position on both pieces. Narrow wedge trimmed from front edge.

Under collar is approximately 3mm/1/8″ narrower in CB and tapers towards front edge at neckline.

The collar and stand pieces can be cut on either lengthwise or crosswise grain to use the fabric pattern to best effect.

They can also be cut using bias grain with the addition of a centre back seam – the interfacing can be cut on a more stable grain to keep the pieces in shape during the life of the garment.

Fuse the interfacing to each collar piece and both of the stands. I prefer to use a woven fusible lawn which is lightweight but can be layered if extra stiffness or support is needed.

After fusing, reposition pattern piece and trim accurately. Fabric can stretch or distort during the fusing process.

Tip: Always test interfacing on a large scrap of fashion fabric to test stiffness and reaction of adhesive to the chosen fabric.

Tip: To make a shirt collar stand up at the back, use extra interfacing in the back of the collar. Cut and fuse an extra layer of interfacing to do this. This piece of interfacing should be narrower at the outer edge of the collar then at the neck edge.

Additional interfacing to support collar if it is to be worn up. Draw position marks on pattern. Cut interfacing and fuse to under collar on top of original interfacing.

Transfer all pattern markings to the wrong side of the collar, stand and shirt neck. For further accuracy lightly mark the collar attachment points, the curve of the seam at the ends of the collar stand and the seam allowances.

Tip: Make a cardboard or plastic template for the curved at the edges of the stand to ensure that they will be the same shape.

Collar Stays:

If your fabric is very soft, collar stays can be helpful in keeping the collar points sharp.

Mark the position and width of the stays on the pattern for the under collar. Also mark the position of a buttonhole to allow insertion of the stay.

Mark position of collar stay and buttonhole on pattern and transfer stitching lines to right side of interfaced under collar.

Stitch the buttonhole on right side of under collar and cut. Place a piece of scrap fabric against the wrong side of the under collar and stitch the pocket for the stay.

Collar stay pocket on under collar.

The collar is then constructed as detailed below.

Construction Method:

Construct the collar, stitching from centre to each collar end and press (seams open first) with the upper side down. Edge stitch the outer edge of the collar if desired. Carefully roll and mould it around a tailor’s ham. Pin the collar to the ham, steam and set aside to cool. See blog post 5^th July, 2015 “Collars – Tips and Techniques”.

Before collar is inserted into the stand, stitch the neck edges together within the seam allowance.

Collar pressed in place and, with under collar uppermost, a small strip of upper collar is visible.

To maintain correct placement when collar is attached to stand, place two bottom edges exactly together and stitch within seam allowance.

When collar is placed on a flat surface, the roll of the upper collar becomes obvious.

Side view with upper collar on top.

Sandwich the shirt neck between both collar stand pieces – the collar stand pieces will be right sides together. Pin along neck edge through all layers and stitch along the neck edge from end to the other.

If using a double yoke, tack both pieces together at neckline (on the garment side so tacking will not be caught in stitching). This will keep neckline edges together and minimise problems when attaching the stand.

Neckline edge sandwiched between the collar stand pieces and pinned in place. Pinning at right angles to the seam keeps everything in place well when stitching curves.

Tip: Use your left hand to smooth the shirt fabric under the collar stand as it comes up to the needle – be sure not to pull the fabric – the cut edges must all remain together.

When stitching, keep fingers under stand and smooth fabric at right angles to seam line as you proceed around the neckline curve.

Mark the centre front on both ends of stand.

Both ends of stand have CF and stitching lines marked.

Tightly roll the shirt front out of the way.

Roll the shirt tab edge tightly between the stand pieces.

Pin the rounded edges together – place a pin right beside the tab at the front edge of the bodice to guide the position of the machine needle. It is important not to stitch through the tab.

Wrap stand pieces over the rolled section and pin together at CF.

Fold back upper seam allowance and position a pin so that it lies right against, but not through, tap. This pin will help with positioning the machine needle to commence stitching.

Both ends stitched from neckline to CF. Check the curves match.

Using small stitches, sew around the marked curve to the collar attachment point. Repeat at the other end. Grade the inside neck stand turnings to collar attachment point. Trim to 3mm (1/8”); clip the curves as needed and trim across the corners.

Trim the folded or pieced tab section between the stand seam allowances; clip across turn from neckline into stand.

Clip the curved section quite close to stitching – this section may also be notched on thicker fabric. Do not clip the top of the band to CF as this can cause stress of that point when collar is attached.

Tip: Do not clip to the end of the stitching.

Turn the work right side out and press, taking care not to stretch the unfinished edge of the stand.

Finished collar stand ends.

Lay the shirt on a flat surface, with back closest. Place the collar as it will ultimately sit, with upper collar on top and against the collar stand. Flip the collar towards the inside section of the stand and pin the upper collar to the inside neck of collar stand. Match the centre back, shoulders and front edge with the collar attachment points. Pin to the inside of the stand, leaving the outside stand free.

Shirt RS up on flat surface and collar in place as it will be worn.

Collar flipped to inside neck edge and pinned with upper collar to inside of collar stand.

Machine stitch through all pinned layers, commencing and finishing exactly on the marked points.

Tip: To avoid stretching the collar stand, I find it helpful to start stitching approximately 25mm /1” from the end of the collar to the opposite end. I then reverse the work and stitch back to the original end. Overlap the stitches rather than backstitching.

Start stitching with collar stand on top and approximately 3-4cm/1 1/2″ from edge. Stitch to opposite end of collar. Turn work and stitch the remainder of seam towards the other end of the collar. This avoids the possibility of stretching the end of the stand when positioning the machine foot.

Turn under the edge of outside collar stand 6mm (1/4”) and carefully press with the tip of the iron.

Turn in this edge and place the fold on the row of machine stitching. Pin in place and slip-stitch or tack in place before top stitching the stand.

When making buttonholes, stitch buttonhole on inside of collar stand so that right side of buttonhole is showing when garment is worn open at the neck.

Cllosed at neck

Back – collar stand rolls nicely with no hint of under collar showing.

Collar turned up at the back

Side view with collar turned up at the back

Binding Curved Edges

Posted by sewinglady286

This article was first seen in Australian Dressmaking with Stitches magazine – Volume 20 No 12.
Permission has been sought and granted by Express Publications for electronic use and the photos and text remain the property of Alison Wheeler – Sewing Lady.

Binding a curved edge can be a frustrating task, particularly when the binding twists and puckers. The following are the methods I use to prevent this from happening – no more frustration or puckering, just a perfect result every time!

To avoid show through from neckline and armhole facings, binding is a great alternative when using a lightweight and/or sheer/semi sheer fabric.

There are a number of things to consider when using a bias binding finish to curved edges.

Firstly is the thickness of the neckline edge. If the garment has pleats of gathers, the edge will be thicker which will take up some of the bias trim width. It would be wise to cut the bias strip wider to accommodate this extra thickness.

Secondly, the thickness of the garment fabric needs to be considered. If using a lightweight fabric with thickness at the edge to be bound, it would be better to use a double binding technique. The bias strip is cut four times the desired finished width plus two seam allowances. If the fabric is heavier or firmer, a single binding may well suffice – cut the strips twice the finished width plus two seam allowances. A small allowance in width to allow for the turn of the cloth may also be needed.

Tip: Whichever method is chosen, making a sample first is important to ensure a good final result.

I find that bias strips are best cut using a rotary cutter, mat and ruler – this results in strips with an even width and evenly cut edge. If you have a pattern piece for the trim, measure its width and length and cut your strips slightly wider than needed and allow extra length to enable a bias join which is much flatter and less bulky.

If you do not have enough length in one strip, it is quite easy to join strips. Simply cut several strips in the same width. Place one strip right side up vertically on a grid; take another piece and place it with right sides together at right angles and to the right of the first piece. Pieces are then stitched across the diagonal –hold threads to start stitching; use small stitches and do not back stitch. Seams are trimmed to 6mm and pressed flat and then open.

Joining bias strips

As an aid to preventing puckers, I have recently been using a steam iron to “stretch press” the strips before preparing the binding. This seems to prevent further stretching when the strips are applied.

You can either use a bias maker or carefully press under 6mm on each side of your bias strips.

Press under 6mm on each side – one at a time is best

My newly purchased Thermal Thimbles keep my fingers protected from the heat and steam.

Thermal Thimbles – a great idea! Available from punchwithjudy.com.au or nancysnotions.com

Once your strips are ready to be applied, take a look at the shape of the curve they will need to match.

Check the curve so bias can be prepared with steam

Using an iron and steam, press the bias strips into the shape of the curve of the pattern piece.

Use iron to steam and press a curve – allow to cool before applying to fabric

When applying the bias to a neckline the inside curve is applied to the neckline.

Always stay stitch the neckline close to the seam line (using a small stitch length 1.5-2.0) before applying the binding.

If the outer edge of the binding is to match the finished edge of the neckline, the seam allowance of the garment will need to be removed before applying the binding.

If you are using satin or other tricky fabrics or applying a binding to a neckline edge with pleats or gathers, tacking the binding in place before machine stitching will really help in achieving accuracy.

Place the binding with right sides together at the curved edge. Fold the start of the strip at right angles to the curved edge.

Start by folding leading end of trim at right angles to cut edge and start stitching

Start machine stitching away from the thickness of a seam line. Continue right around the curve and lap approximately 2cm over the folded trim at the start.

Lap approximately 2cm over the stitched trim and stitch in place

Once the stitching is complete, trim seam allowance slightly narrower than the desired binding width and gently roll folded edge of binding to the stitching line. Place pins at right angles to the seam when holding the fold in place. Tack in place.

Once trim has been rolled over edge, tack in place before hand stitching

Tip: To avoid puckers and wrinkles, it is critical to make sure that fold is brought directly to the stitching line and does not slide to either side before it is stitched in place.

Invisibly hand stitch by placing hand needle under a machine stitch and taking a stitch through the underside of the folded edge of the bias. Make several stitches and then pull the thread to make the binding roll into place.

Hand stitch from just under the fold to the seam stitching

Tip: To keep the binding edge looking softly rolled, be careful not to press the binding flat.

I hope this will be useful as we get ready to sew some lovely cool lightweight tops for the summer which will be with us before we know it.

Another Winter Jacket

Posted by sewinglady286

A couple of years ago I purchased some lovely soft woollen fabric with a mottled grey, black and white weave to make a winter jacket. Having ”aged” the fabric for a couple of years while I waited for its project idea to arrive(!), I finally decided the time had come.

I wanted to incorporate the collar and asymmetrical front from KwikSew 3531 and the back and sleeve details from a Marfy jacket which is offered as a free pattern with their 2009 issue. This pattern is not sold separately and I am not sure whether the 2009 issue is still available. However, the details I used are fairly easy to replicate using a plain bodice jacket back and one piece sleeve.

Kwik Sew pattern 3531 used as a base – front and collar unchanged

Marfy Catalogue 2009

Marfy jacket in linen

Back and sleeve detail

I traced all pattern pieces from the KwikSew pattern and made the styling alterations.

The Back

To achieve the swing back, I used the back pattern piece from the KwikSew pattern which was to be cut with centre back on the fold and positioned the centre back 3 inches /7.5 cm from the fold which resulted in an inverted pleat. A line was also drawn parallel to the grain line from the centre of the shoulder to the hem. This insertion was cut and spread by 1 ½” / 3cm at the hem and an extension added to the back side seam ( ¾” / 1.5cm which is half the insertion measurement). Using this ratio, more could certainly be added to achieve a fuller swing.

Pattern changes to include inverted pleat and swing back

To keep the pleat in position, I stitched from the neckline down 6 inches /15cm. Pleats were sewn from the centre to the outer fold and the excess fabric above the opening trimmed from the undersides of the pleats to avoid extra thickness at the neckline seam.

Return side of pleat removed to minimise bulk

The remaining underside of the inverted pleat has been catch stitched to the interfacing and joined into the neckline. It acts as a stay to keep the pleat in place.

Top edge of underside of inverted pleat connected at neckline seam provides a stay for the pleat

The Sleeves

Again using the KwikSew pattern which has a one piece sleeve, I drew a seam line down the centre of the sleeve and drew in the sleeve flap which lies towards the back section.

Centre seam line added to sleeve; width of facing and sleeve hem detail drawn on to KwikSew sleeve

I joined the seam to the top of the button extension and applied a hem facing to finish the bottom of the sleeve.

The top section of the sleeve was cut down the centre and clearly marked front and back.

Pattern pieces for sleeve and hem facing

Seam allowance was added to all new seam lines.

Inner support

The wool fabric has a very soft hand and is inclined to fray easily. I fully fused each garment piece with a medium weight knit interfacing to support the structure of the jacket long term.

Underarm Gusset

Once the jacket sleeves were set into the armholes, I tried the jacket on and found that, despite my taking careful measurements, the sleeves felt a little too close fitting with a heavier top underneath.

To fix the problem, I have inserted an underarm gusset. This is a good solution for any sleeve that binds a little around the bicep area.

A gusset can be one or two piece. I chose to open the underarm sleeve seam and the underarm bodice sleeves and insert a diamond gusset 7” x 3” / 18cm x 7.5cm. The stitching points were marked on the sleeve and jacket seams. The longest section of the gusset was cut on grain and the piece interfaced for stability.

Diagram of an underarm sleeve gusset

Gusset pattern

Underarm gusset in sleeve and lining

When stitching I gusset I find it much easier to achieve an accurate result if I stitch each side individually. Starting at one sleeve/ side seam junction, each separate section of the gusset was stitched in place in both the garment and the lining. This has given much easier movement when the jacket is worn over heavier clothing.

Hem Finish

Because of the swing back, the jacket lining has been hemmed and left hanging separately. Hong Kong finish has been applied to the jacket hem which was then hand stitched in place.

Frenchtacks have been added at the side seam allowances and between the underarm seam allowances to keep the lining in place.

Hem finished with Hong Kong binding; French tack secures lining and top of hem

Trim

Russia braid has been applied by hand to the outer edges of the jacket, around the bottom of the sleeves and on the flaps of the pockets.

Russia braid applied by hand around outer edges of jacket, sleeve and pocket tab.

Buttons covered with faux leather have been stitched in place on the sleeves and at the collar. The opening for the button is an inseam buttonhole and a large press stud/snap has been stitched to the underlap side to hold the front in place.

Inseam buttonhole, faux leather button and large snap on underside

The weather in Brisbane is indulging my love of wearing coats with a westerly wind due on Monday and Tuesday so I will have an opportunity to wear this new one as well.

Front detail

Side and back detail

Beau has been helping me with the blog – he has his own cushion (formerly a pin cushion)

How Can We Make Commercial Patterns Fit?

Posted by sewinglady286

This article was first seen in Australian Dressmaking with Stitches magazine – Volume 20 No 4.
Permission has been sought and granted for electronic use and the photos and text remain the property of Alison Wheeler – Sewing Lady.
I started teaching dressmaking in 1998 and, right from the beginning, I was determined that I would not allow students to make garments which did not fit them -to do so would be very counter-productive, especially those who are beginning to learn how to make their own garments.

Finishing a simple garment which fits well and you are proud to wear is the goal of sewers of all levels of ability and greatly contributes to our pleasure in achieving good results with new and different techniques.

Achieving a good fit is probably one of the most vexing issues for sewers.

The major commercially produced patterns use a set of measurements which represent “ideal” figure proportions. This method ensures standards of commonality across the various designs and brands and is important in keeping mass produced patterns relatively affordable.

Over the last 40 years since the measurements were standardised, body shapes and sizes have evolved and changed along with women’s lifestyles and attitudes to exercise – all of which contribute to the need to customise commercial patterns to fit the individual.

In an effort to make altering patterns easier, lengthen and shorten lines and multi size patterns have been incorporated over the years. The Palmer/Pletsch patterns in the McCall’s catalogue and Today’s Fit by Sandra Betzina in the Vogue catalogue give expanded instructions covering how to alter for fit.

There are also excellent reference books and DVD’s on pattern fit and alteration available.

After 17 years of fitting people, I am yet to meet the person who does not need at least minor pattern alterations. Many home sewers who learned to sew when they were in their teens never really learned about fitting since the patterns they used rarely needed much alteration apart from length. However, with maturity comes many figure changes and unless there are minimal differences in the body shape and the chosen pattern, it can be quite frustrating to accomplish a good fit.

With some knowledge of simple techniques, this situation can be overcome so that the pleasure of making and wearing an individual garment which suits the wearer and fits well will be experienced again.

From my experience in fitting many women in many and various patterns, I have come to the conclusion that an organised approach utilising a combination of flat pattern measurement comparison, tissue fitting and making a toile is the best way to achieve success. Once a pattern is altered to properly fit, it can be used as a basis to assess other patterns or as a basis for different styles.

A good place to start can be to make a fitting shell – patterns are available from all the main commercial pattern brands.

Vogue 1004 Fitting shell useful for bodices and skirts

The assessment of correct fit is subjective and depends on a number of things:

personal interpretation of appearance and comfort
posture of the wearer
style choice
fabric used

When making pattern alterations, the key points to remember are:

make one alteration at a time and re-check on the wearer after each alteration is completed
alterations need to be done where the problem is happening – this is not always at the side seam!

Style Choice:

Styles which are meant to be worn with a tighter fit often require more alteration than looser fitting styles
Selection of a style which will flatter the wearer’s figure and highlight the most pleasing features is really important
When determining the fit, skimming the figure rather than swamping it with lots of loose fabric will always be more flattering – whatever the wearer’s size

Pattern Choice:

Many fitting issues arise because the design and shape garment is unsuitable for a particular body shape
Choosing a pattern with vertical seams, for example an armhole or shoulder princess style, will make width alterations much easier while maintaining the original proportion of the style lines

Pattern Size:

For garments which hang from the shoulders, select size by high bust measurement
For garments which start at or below the waist, select size by hip measurement
Take hip measurement approximately a hand span from natural waist
If figure has a fuller tummy, high hip is needed as well and note how far down from waist that measurement is taken
If fullness is in the upper thigh area, ignore this when selecting size and use the hip measurement as above

Fabric:

It is sometimes necessary to alter a garment because of the type of fabric used
Make sure that the stretchiest part of the fabric (usually the crosswise grain or weft) is going around the body
If using Bengalene™ and some other woven fabrics with stretch threads made from Spandex™ or Elastene, check to see that the stretchiest part of the fabric is not parallel to the lengthwise grain – if it is, the pattern needs to be cut with the grain line at right angles to the selvage to ensure a comfortable fit
The stretch threads woven into these fabrics are for wearing comfort and to reduce the fabric wrinkling during wear and are not usually factored into the fit
When purchasing stretch wovens, it is important to check the recovery of the stretch threads
Sometimes garments made from these fabrics will shrink with washing and grow during wear
Stabilising either facings is important with these fabrics
Even if fabrics do not have stretch threads added, different weaving methods will result in natural elasticity of the fabric, for example:
- crepe weave has more stretch than twill (gabardine) weave
- loose weave fabrics have more stretch than tighter weaves
- thin fabrics will give more than thicker fabrics
If you are unsure about the fabric will behave during wear, cut wider seam allowances on vertical seams to allow for adjustment during fitting

Key Measurements and How They Equate to the Flat Pattern:

Measurements should be taken wearing the undergarments and shoes which will usually be worn with the garment to be made (Shoes are important because the height of the heel can alter the stance of the wearer affecting the posture and thus the hang of the garment.)
Check that tape measure has not stretched – they are quite cheap to replace
The tape measure should be firm against the body but not tight
With horizontal measurements, keep the tape measure parallel to the floor
Tie a piece of cotton tape or narrow elastic around the body at natural waist level
Take the following measurements:
- High bust – across the broad of the back and above the bust
- Bust
- Shoulder length from base of neck to shoulder bone
- Shoulder to bust point – from base of neck to bust point
- Bust separation – distance between bust points
- Shoulder to shoulder – front and back
- Chest width – from crease where arm meets the body
- Back width – from crease where arm meets the body
- Back length to waist – from nape of neck to waist
- Bicep – place tape around arm with top of tape at point where arm meets body
- Cap Height – from top of tape placed as for bicep measurement up to shoulder bone
- Waist – often easier to find waist at the back
- High Hip – note measurement down from the waist where this measurement is taken
- Full Hip – usually a hand span from the waist – also note the measurement down from the waist where this measurement is taken
- Side length from waist level to finished hem
- Side length from waist level to knee
- Crotch length – from front waist, between the legs and up to back waist
- Crotch depth – using a dressmaker’s square placed between the legs, approximately 1.5cm from body, measure depth to the level of natural waist
- Thigh at fullest part – keep tape measure parallel to the floor
- Knee measurement level with the crease at the back of the knee
- Calf measurement at fullest part
  It can be difficult to take your own measurements accurately. A sewing buddy can be a great help.
These measurements can then be compared to the corresponding finished pattern measurements to assess possible preliminary alterations prior to tissue fitting and/or making a toile – even if measurements are not made before tissue fitting, assessment of differences between the body measurements and pattern measurements will give an idea of where to focus when looking at fit

Length alterations:

Horizontal alterations are needed to ensure garment shaping is in the correct place for the person wearing the garment
These include:
- Position of darts/bust shaping in relation to bust point
- Natural waist position
- Crotch depth to cater for full abdomen or derriere
- Finished garment length – including sleeve length

Provision for Width Alterations:

Width alterations need to be applied where the fitting problem occurs, for example full bust, abdomen, tummy, thighs and calves
Provision for these alterations during the tissue fitting step can be accommodated by allowing larger seam allowances on side seams and inseams

Tissue Fitting:

Be sure all seam allowances are marked on the pattern tissue and allow additional width in seam allowances on side seams and inseams
Apply Magic Tape™ around the curved seams – armhole, neckline, crotch seam lines – tape is placed on the garment side of the seam and not in the seam allowance
Clip seam allowances so tissue won’t tear
Pin darts/pleats in place on the outside of the tissue
Pin front to back at side seam and inseam – place pins parallel to the seams and pointing towards the hem
Carefully try on the tissue

Making a Trial Garment (Toile or Muslin):

After making alterations indicated from the assessment of the tissue, cut out the front and back of the garment as well as any pieces which form part of the garment, eg yoke, slash pocket pieces
Use a fabric which is similar in weight, thickness and drape to what will be used in the garment
Mark grain lines on the fabric
Mark horizontal lines at right angles to the grain line
Stitch using long straight stitch and slightly looser tension
Stitch darts/pleats and insert zipper in centre back
Fold hem to desired length
Try on garment

Assessing the Garment:

Stand as you would naturally
Look for wrinkles, folds or pulls in the fabric to indicate areas which need alteration
Use a hand mirror and full size mirror to assess the back
Mark areas to be altered directly on the tissue and toile

Order for Alterations:

Start at the top of the garment (shoulder and neck area for tops; waist for pants and skirts)
Whether I start at the back or the front depends on the area most in need of alteration
Work on one thing at a time – it is all about cause and effect – trying the garment again between each individual alteration

Fitting a basic dress is a good place to start as this will help you identify your challenges. Unfortunately there is no magic formula; even if you know what type of alterations you regularly need to do the amount will often vary because of design ease. However, the more you practice pattern assessment and alterations, the easier it becomes.

I urge sewers to give this a try as there is no substitute for actually doing. If you are worried about wrecking your pattern, trace it on the greaseproof paper first and remember it is only paper!

Another Beautiful Bride

Posted by sewinglady286

Earlier this year, one of my wonderful students, Barbara, decided she would like to make a wedding dress for her new daughter-in-law to be, Rocio.

The wedding was to be held on the beach at Stradbroke Island (in Moreton Bay) off the coast of Brisbane. As Rocio is an ecologist, such a beautiful outdoor setting was perfect for her marriage to James.

She and Barbara shopped for a basic pattern which could be adapted to her chosen style and, once the dress was made in a lovely cotton print, the fit was adjusted and, not only did Rocio have a lovely new summer dress, but we were ready to start!

Rocio and Barbara purchased the beautiful silk taffeta and corded Chantilly lace at The Fabric Collection in Sumner Park. The colour is just beautiful – a lovely clotted cream shade – and suits Rocio’s colouring perfectly.

To support the taffeta, Barbara has underlined the whole garment with silk organza and hand stitched all the seam allowances to the underlining to keep them in place. The dress has been fully lined with lightweight silk satin. A half slip of several layers of bridal tulle lightly supports the skirt – this was essential in the breezy weather which sometimes occurs in a beach setting.

The lace was draped over the bodice; shaped and hand stitched in place. Scallops were appliquéd by hand around the neckline.

Close up detail.

The inspiration for the adornment of Rocio’s beautiful gown incorporated a randomly ruched swathe from the underarm on either side and crossing in the front.

Rocio has a classic hour glass figure and once the dress was underway, I suggested that a more structural bias basque would be much more flattering. I had seen this technique in an article by Kenneth D King “Curved Tucks” in Threads magazine Issue #166 April/May 2013.

The bias construction causes the basque to follow the waistline curve of the garment and adds an interesting point of interest between the beautiful lace covered bodice and the pleated silk skirt.

To be sure that Rocio would be happy with this detail, I decided to test a mock up in calico on the dress form first before committing to the silk. She was absolutely delighted so it was on with the silk.

The bias strips are 4” /10cm wide and carefully pressed in half (right sides out). The strips were then stretched and curved while being steam pressed. When cool, they retain the curved shape and are ready for assembly.

I used a June Tailor cut and press board to pin each strip in place, starting at the top and weaving in a dip at the centre front. Strips were steamed over the board to set them in place; carefully pinned and hand stitched on the underside of each edge to the strip under it.

Toile version pinned in place on dress form

Side view

Back view

Front view

All the raw edges on the wrong side were hand stitched in place using acatchstitch.

Tacked in place through centre front

Underside handstitched along each raw edge

Bottom edge turned under and stitched in place.

Once the basque was completed, it was pinned in place from the centre front to the centre back and hand stitched to the dress from the inside. Each strip was carefully matched where the invisible zip was to be inserted.

Shaped basque

Barbara did a wonderful job and should feel very proud and satisfied with her achievement.

Rocio was a beautiful bride and very grateful for her special gown. She and James enjoyed a wonderful celebration at the start of their lives together.

The lovely bride and her proud father

A beautiful setting.

Collars – Tips and Techniques

Posted by sewinglady286

Portions of this article were first seen in Australian Dressmaking with Stitches magazine – Volume 22 No 5.
Permission has been sought and granted for electronic use and the photos and text remain the property of Alison Wheeler – Sewing Lady.

Collars make a statement and give garments a great style lift. They frame the face of the wearer and I hope that using these tips will help you create a beautifully finished collar. It is worth trying a few different styles to find the one which suits your face.

Because most collars have a seam at the outer edge, a great opportunity presents to include contrast or matching piping, edging lace or scalloped braid to really make the collar a focal point of garments.

Rolled (blue)and standing (white) collars

Types of Collars:

While it is certainly possible to use a single layer collar, generally collars consist of two parts – the upper collar (the side that is seen) and the under collar (the underside) and can be designed in many different shapes but fall into three main types:

Flat collars which sit perfectly flat against the garment
Flat collars
Rolled collars which roll gently out of the neckline
Rolled collars
Stand collars which stand up from the base of the neck
Standing collars

Interfacing:

Most collars require inner support so that they will hold their shape for the life of the garment.

This support is usually provided by interfacing. There are many interfacings on the market and, from my observations, much confusion about how and where to use the different types and weights available.

Tip: Always test the interfacing on a scrap of your garment fabric cut on exactly the same grain as your pattern piece before working on your garment so that you can assess its effectiveness in giving the support needed for your particular fabric.

The pattern guidelines will usually say to interface the under collar only; however, if more support is necessary because of the weight of the fabric or style of the collar, it can be helpful to interface both collar pieces – perhaps a lightweight woven fusible on the upper collar and a slightly heavier knit fusible on the under collar. The possible combinations are endless which is why testing a few different interfacing applications is so important in finding what will give you the result you are after.

Tip: It is often useful to layer interfacing if more support is needed. Simply fuse the first layer and allow it to cool and dry and then apply another layer for either the whole collar or the middle of the neck area to keep the collar standing in place if the fabric is floppy.

For a shirt collar, I would recommend using a fusible cotton batiste interfacing cut using the same grain line as the collar pieces. In the case of a sheer or silky fabric where fusible interfacing is not appropriate, silk organza also cut from the same grain as the collar pieces can be hand tacked within the seam allowances and before the collar is constructed.

For dress and jacket collars, I usually prefer a fusible knit interfacing (usually light weight) which gives the collar support but keeps it soft and allows subtle shaping. However, should your garment have a dramatic collar or your chosen fabric be heavy, heavier Shapewell ™ (sew in, not fusible) or hair canvas can be used for the extra support required keep the collar in place as designed. (See blog posted 21st June 2015 Donna Karan Jacket Vogue 1263 – Part 3)

Flat Collars

While not as common in today’s fashion, flat collars are an interesting addition to the neckline of a vest or a summer dress or top, especially when a contrasting colour and lighter weight fabric are used.

They can circle the whole neck or be applied to the front section of the garment only. You can also use virtually any shape for the outer edge, for example scallops, points, square corners or sailor collar.

They exactly replicate the shape of the garment neckline and should lie flat against the garment. Depending on the fabric being used, they quite often do not need the support of interfacing. To keep the collar soft and sitting flat against the garment, a lightweight fabric lining fabric can be used as the under collar. Fine cotton or silk organza are good choices for this purpose.

The neckline is either finished with a facing or using bias binding for a neat, smooth finish.

Rolled Collars

Some patterns will have two separate pieces for the collar – an upper collar and an under collar. The upper collar is slightly wider in the centre back section to allow for the turn of the cloth. Collars made using a slightly smaller under collar roll nicely and do not allow the under collar to show at the outer edge.

If your pattern has one collar piece which is to be placed on the fold and cut twice, it is a good idea to trace the pattern piece on to a folded piece of greaseproof – place the fold line marked on the pattern on the fold of the paper, pin in place and cut out – this gives a pattern piece for the whole collar which can be cut on double fabric, making it much easier to have accurately cut pieces.

Place pattern piece with folded paper underneath to cut full collar piece

Tip: Marking and naming the match points on your pattern is a great help in working out what goes where when putting the collar and neckline together.

Mark and identify match points

Collars can be cut with the grainline parallel to either the crosswise or lengthwise grain or even on the bias when using a plaid or striped fabric. If you decide to change the grain line in this way, be sure to cut your interfacing on the grain line suggested in the cutting layout so that the collar will sit as intended.

To achieve a separate upper and under collar when the pattern provides only one piece for both, trace a second copy of the collar and mark it “under collar”. Trim a scant 3mm from both ends of the collar. Mark the centre back and measure and mark a point up 6mm* (see Tip below) from neck edge and reshape the neck edge.

New cutting line for under collar

Difference between upper and under collar pieces at neckline and front edges

Tip: The amount removed from the neck edge is determined by the thickness of the fabric. * For lightweight, remove 6mm and for thicker fabric as much as 12mm. To test, cut two pieces of fabric (on the same grain); stitch one edge together; grade and press the seam and fold the joined pieces in half. Have a look at how much difference there is on the width of the upper fabric – this is the amount of the turn of the cloth.

Fabric with no interfacing

Interfaced fabric

Standing Collars

Standing collars usually sit slightly away from the neck and can vary in width. Checking the width of the finished collar before proceeding will result in a garment that is comfortable to wear as sometimes these collars can be too wide for the wearer.

These collars are applied directly to the neckline and are self-finished – the inside neckline edge is folded under and stitched in place, removing the need for a facing.

In the case of shirt collars, the collar band should sit close to the neck when the button is fastened (even if the garment is to be worn with the neckline open). The collar is sandwiched between the top edges of a standing collar and the inside neckline is finished in the same manner as above.

Construction Tips

Regardless of which collar type is being applied, be sure to stay stitch the neckline directionally before applying the collar (see blog post 26th April, 2015 – Stay stitching and Under stitching)

Directional sewing is important for a symmetrical collar so that both sides of the collar end up the same shape. Pin the upper and under collars together at centre back and stitch from centre back to neck edge. Turn the collar over and repeat on the other side.

Seams need to be trimmed, graded, clipped and/or notched so that the collar edges will sit flat.

Seam allowance against under collar is cut smaller

Press the seam flat as sewn and then press the seam open (using a point presser makes this much easier).

Press seam allowance open over point presser

Before collar is applied to the neckline, bring the neck edge of both collar pieces together and tack in place. Pin the collar around a ham and steam to establish the roll of the collar – allow to dry and cool thoroughly before removing the collar from the ham.

Special Technique for Pointed Collars:

Start sewing in the centre back of the collar and sew to within 2cm of the corner point
Reduce stitch length to 1.5 and make sure needle stops in the fabric
Stitch to the turning point and leave needle in fabric
Raise presser foot and turn fabric 45⁰
Take a piece of scrap thread approximately 30cm long and, holding one end in left hand, take other end in right hand and pull it between the fabric layers and tight against the needle
Leave needle in fabric and wrap thread ahead of needle

Tuck thread between layers
Holding thread ends in left hand, wind hand wheel one stitch and leave needle in fabric
Thread is caught between stitches and can be pulled against needle before being tucked between the layers

Wrap thread back around the needle and take stitch across the corner.
Raise presser foot and bring thread back in front of the needle and take both threads to the left, between the fabric layers
Stitching end of collar – thread is between upper and under collar pieces

Stitched collar – small stitches around the point reinforce the seam which is clipped quite close to the stitching.
Stitch towards the neck edge – 2cm at the small stitch, then at regular stitch length
Stitching end of collar – thread is between upper and under collar pieces

Trim the seam allowances as above and clip the corner points

Clip corner

Seam allowances are trimmed so that they meet in the corner with no overlap and no gap

Press the seams open using the point presser
These threads can be left in to help with edge-stitching later

Attaching Collar to the Neckline:

Carefully keeping all cut edges together, pin the collar to the garment neckline, matching centre back, shoulders and centre front

Tip: Tacking the collar and facing in place by hand before stitching makes it easier to manoeuvre easily around the neckline with no pins in the way.

Apply the facing and stitch through all layers (garment, collar and facing) using a longer stitch length to accommodate the thickness of the layers
Trim all seam allowances by half and clip garment and facing seam allowances as necessary so enable the seam to lie flat
Press carefully and under stitch, catching all seam allowances to the facing (see blog post 26th April, 2015 Stay stitching and Under stitching)
Turn facing to inside of the garment and hand catch to the seam allowances

Tip: When using lightweight or sheer fabrics, bias tape can be used in place of a facing. Simply tack collar to neckline as above. Open out one folded edge of the bias tape and place right side of bias tape against upper collar with the crease on the bias tape along the seam line. Stitch the tape in place and trim seam allowance. Roll the tape to the inside of the garment and either machine or handstitch to the garment. The collar will hide the stitching when the garment is being worn.

Donna Karan Jacket – Vogue 1263 – Part 4

Posted by sewinglady286

A cotton back saddle has been applied across the shoulders and upper back of the garment.

Cotton back saddle added to upper back

The technique of reinforcing the corners with organza certainly helped achieve a sharp corner where the back of the garment joins the front, resulting in a three seam join just above the pocket.

Sharp corner where side seam joins waist seam and side front

The pouch pocket is quite unstructured and rather floppy so, to keep it in place, I have added pocket stays to the waist seam line and front edges of the jacket. Cotton tape and grosgrain ribbon were used for these stays.

Grosgrain pocket stay runs from front edge of pocket bag across to front edge of jacket.

Cotton tape stay attaches top edge of pocket bag to waist seam

The sleeve seams were flat felled and the hem stabilised with hair canvas. To accommodate attaching the sleeve lining by machine, the hem has been hand stitched in place half way up the hem depth.

Hem catch stitched half way from hem fold to allow space to machine lining in place

I eased the caps (see blog post 31^st May Set-In Sleeves) and inserted the sleeves.

Shoulder pads have been added to provide a pleasing shoulder line while support the weight of the jacket.

At this point, I needed to make a decision about the width of the collar. While I am not a small person, I do have narrow shoulders and the collar extended about 10cm / 3 ½” beyond the shoulder. I measured, marked and removed 8cm /3” from the upper edges of the collar and feel it still maintains the basic integrity of the garment but is better suited to my body proportions.

Collar has been narrowed to keep the integrity of the style but better suit body proportions.

The lining has been constructed and attached to the collar and front facing; followed by the attachment of the facing to the garment.

To hold the back neckline section in place, the seam allowance of the facing/lining has been hand stitched to the seam allowance of the under collar jacket.

Neckline seam allowances of under collar and upper collar whipped together.

Following the attachment of the sleeve lining to the upper edge of the sleeve hem allowance, French tacks have been used to hold the underarm sleeve and lining seams loosely together.

French tacks loosely hold sleeve seams and lining waist seams in place.

French tacks have also been used to keep the waist seam of the lining loosely attached to the garment waist seam.

I have chosen to slipstitch the bottom of the lining to the top of the hem allowance rather than using a machine bagging method which would be extremely difficult to achieve because of the weight and bulk of the garment.

The seam allowances at the front edge of the jacket have been graded, pressed flat and pressed open. The finished seam allowance has been pressed from the right side and I used diagonal edge tacking to keep the edges in place for topstitching – again to avoid problems using pins with the weight and bulk of the jacket.

Diagonal basting holds front edges in place for machine topstitching.

The topstitching has been done using two threads in the one needle.

As a final feature, I have used a hand whipping stitch and a variegated DMC cotton perle thread (No 5) to enhance the topstitching on the collar. A chenille needle was used to accommodate the thickness of this thread and the stitches have been wrapped over each stitch along the length of the collar and back.

Variegated DMC Cotton Perle 5 thread “wrapped” around each topstitch around edge of upper collar and then reversed for emphasis.

Thread ends buried between layers.

When the thread needed to be finished, it has been threaded back in between the layers. A snag tool was very helpful with this as well as in repairing other pulled threads in this type of fabric.

Snag tool does an excellent job of repairing any thread pulls as well as burying thread tails.

I am really pleased with my finished jacket – now all I need is some cooler weather so I can wear it!

Since the collar is such an important feature, I am really happy with the way it hugs the neck and rolls so beautifully.

Alison Wheeler – The Sewing Lady

Start your sewing adventure with me today

The Importance of Inner Structure Part 1

Inserting Zippers Part 4 – Fly Zipper

Photos have been restored!

A Great Method for Adding a Shirt Collar and Stand

Binding Curved Edges

Another Winter Jacket

How Can We Make Commercial Patterns Fit?

Another Beautiful Bride

Collars – Tips and Techniques

Donna Karan Jacket – Vogue 1263 – Part 4