Waistcoat manipulations for both fit and style

 Alexander McQueen, Spring/Summer 2015  WWW.Vogue.com.UK

Samuel Pepy's wrote on 7th October 1666 ""the King hath yesterday in council declared his resolution of setting a fashion for clothes which he will never alter. It will be a vest, I know not well how".  King Charles II had introduced the waistcoat as part of correct dress for men.



 In Pepy's report he used the original term vest which was longer in length finishing at mid thigh where as the new waistcoat finished at the waist. From the late 17th century a man's doublet became a waistcoat with men wearing a frock coat over it.

French waistcoat in silk, circa 1750, LACMA.

Men wore elaborately embellished and brightly colored waistcoats though to the end of the 18th century.






 This changed in the 19th century with the introduction of the suit. The waistcoat was restricted to formal wear or to be made in the same color as the rest of a man's outfit if worn informally. The waistcoat was to get shorter and tighter,so tight that it nipped in the waist, making the waistcoat a foundation garment or corset worn to enhance the figure.

 The waistcoat was boned and made with a laced up back that could be tight laced for the required fashionable look. Prince Albert, the Consort of Queen Victoria, had a reputation for his tight corsets and tiny waist.










The waistcoat changed to a more relaxed waistline around 1850. The lower button was even left un-buttoned.  This became the fashionable look worn with the pocket watch kept in a front pocket and the fob and chain of the pocket watch attached to one of the buttons.









  

The popularity of the waistcoat remained up until the second world war. One of the reasons for this is that it added an extra layer of clothing for warmth. With the trend for more casual clothing after the war men took to wearing sweaters or jersey's rather than a waistcoat. The waistcoat remained visible up until the late 1960's, worn as part of a three piece suit. 

In the 1970's the waistcoat was made in leather and denim adored with badges and and other embellishments for both fun and fashion

  Movies such as Saturday night fever, 1977 helped to popularise the waistcoat as a fashionable piece of dress wear.

And lets not forget the movie Annie Hall also from 1977 with Dianne Keaton wearing a waistcoat

There is a strict dress code for Royal Ascot. A waist coat becomes a good way to add a fashionable color or have some fun

Traditional wear for the groom at his wedding





So now you know a little about the waistcoat lets look at how to fit and  manipulate the waistcoat pattern for style. (Please note that a basic waistcoat pattern has been used) 

The fit
To tighten the armhole              Making a dart in the armhole approximately, 1 ½ inches (3.8cm) up from the chest line, mark as A. Draw a line to 16.  Measure up from A, ¼ inch (0.6), B and draw a line to 16.  Cut the pattern from A to 16 and from D to 16. Overlap A - B , ¼ inch (0.6cm); this will cause D to move to E Re shape the dart as shown	Adding more width in the chest area     Draw a line from the neck point, C, though 16 to D. Cut along the line C to D and open the pattern, 1 ½ inches (3,8cm) from D to E. Reshape the dart as shown.
The rotund or plump figure First establish the amount of disproportion. For example chest 42 inches (106.68cm), waist 44 inches (111.76cm). Take 4 inches (10cm) from the chest measurement and add the waist measurement: this gives a waist measurement of 38 inches (96.52cm). Now deduct this measurement from the actual waist (44”- 111.76cm); this will leave 6 inches (15cm) the amount of disproportion. The line 1 – 2 is the pattern center line. Apply one fourth of the disproportion, less ¼ inch (0.6cm), from 2 – 3; connect 1 though 3 for a new center line. Measure from 3 - 4, place this amount at 5, and continue out to 6 – half waist measurement plus 1 ½ inches (3.8cm). As point 6, goes beyond 17, there is a deficiency that must be made up at the side seam, 8 from 4, should equal two thirds of the distance 6 -7. Draw in a solid line. The remaining one third of 6 – 7 is added at 5 – 14 on the back. Draw a line from C, following the pocket placement line to 10, cut along this line to C. Close the dart A–B to C, 9 – 10 should equal half the distance 2 – 3. 12 below 11 should be ½ inch (1.3cm) more than 9 to 10 – this allows for the two seams taken in the dart To add to the front length – Halve the measurement 1 – 2, draw down from the chest line at 4 and mark 3, this is the new chest line. Draw down from the neck point, 6 to 5. Square up from 5 on the new chest line to 7 this line will be the same length as 6 – 5; 7 – 13 is the shoulder length draw in.
Single to double breasted style waistcoats          Move the neck point, 1, forward approximately ½ inch (1.3cm), 1 – 2. Drop point 2 slightly; shoulder length is adjusted by removing 1/2 inch (1.3cm) at 3 – 4. Mark forward 3 ½ inches (8.9cm) at 5 to 7 and 2 ½ inches (6.4cm) from 6 – 8. (5 and 6 are found on the center front line). For the bottom edge point 6 is 2 ½ inches (6.4cm) above the point of the single breasted pattern and point 8 is raised slightly. A small dart can be made at x to help to control 3 – 7. This dart should be no more than ¼ inch (0.6cm). Also 3 -7- can be hollowed out at the chest line ¼ inch (0.6cm).	Adding a waist seam          On the pattern front drop the waist line D – C, mark down ½ inch (1.3cm) at 21. Remove dart in the lower pattern or add pleats. The lower pocket is placed in the waist seam. For a more sporty look lengthen the back at the hem line 1 ½ inches (3,8cm). The back darts can be removed and a back strap belt can be added.   Adding a collar lapel The waistcoat collar lapel is usually laid - on. It can be notched (stepped) and made as one piece or a seam added as shown in the illustration indicated by the dash line at X. The collar width at the notch point is approximately 2 ½ inches (6.4cm) at the notch point.
The evening waistcoat There are many different styles of evening waistcoats but the basic structure is very much the same. The dotted line is the original single breasted waistcoat. Straighten the neck point slightly, 1 -2; cut the point back and add a button catch at A. Re-cut the points and shorten as shown Cut the front into two sections – follow the instructions for tightening the armhole. Cut though the darts from armhole to hem to create a front and side panel. There are two styles – This style is single breasted with the buttons close together. A bold collar has been added and 1/4 inch (0.6cm) has been taken out of the crease at X.  Double breasted style. The overlap is not too wide and the buttons are well spaced. Keep the collar at both crease and edge straight. Backless evening waistcoat. The back is going to consist of a neck piece which is shown as 0-1-2-6-0. Point 1 is 1 ¾ inches from 0 and 2 is 1 ½ inches from 6. The front is cut in two sections. A – 20 is 1 ½ inches. Shape A down to B, on the armhole. B to C is going to be approximately 3 ½ inches in length. E to B on the under arm curve is 4 ½ inches as is F to C.  Create a strap across the back that will be attached to the front at B – C. Small darts can be made at E –D and F – G for fit. A small dart can also be made in the pattern at 5 to hold the front edge to the body. Add a collar as with this Harris tweed waistcoat Make a double fronted waistcoat   Add contrast piping, collar and stitching Make an asymmetrical front closure.

Pocket flaps

Pocket Flaps

A pocket flap can sit over a double piped, single piped pocket, a patch pocket and even an in-seam pocket.
They can be small or over sized and have square or rounded corners or a mixture of both. The pocket flap can be used to change the silhouette of a garment as Christian Dior did in 1947 and you can see this also on the Alexander McQueen jacket.












In this Chanel coat the over sized patch pocket and pocket flap are set at an angle to flatter the body. The pocket flap is also cut  at an angle being longer at the back than front with rounded corners.






Again the pocket flaps are set over patch
pockets but this time they have been used
to balance the coat and are set straight and
cut with square corners and a dip in the center military inspired.

It is also not nice if the stripe or check is not matching with the stripe or check on the garment.Things like this cheapen a garment.

Thom Browne frayed or fringed the edges of the flap pocket on this jacket.




Or think of piping the edge of the flap or adding an edging of contrast contrast color as Viktor and Rolf did. This is after the fashion of the school uniform.



Adding design elements such as these give the garment a modern twist even if these techniques have been around for ever, it is just how the designers have chosen to use them.






What you don't want your pocket flaps to do is sit out away from the body because they are not constructed correctly. Or to be smaller in length than the pocket underneath. This is so ugly!

To make the flap that becomes part of a double or single piped pocket

Step 1
Draw a rectangle onto paper that is 1/8 inch (.3 cm) longer in width than your finished pocket measurement. This 1/8 inch (.3 cm) creates ease at the top of the flap will enable the flap to follow the contours of the body. The length of the rectangle is a design choice but the traditional flap on a man's jacket set into a double piped pocket is about 2 1/2 inches (6.5 cm); extend the side of the back  flap by 1/4 inch (.6 cm) and draw in the new line. By extending side back of the flap it help the flap to follow the contours of the body.
 And finally add a 1 - 2 inch (2.5-5 cm) extension across the top of the flap.



Now you have a basic pocket flap make any changes to the shape by rounding the corners, etc. to your pattern. Add seam allowances and cut the flap out of your fashion fabric.

The check is matching at the lower edge

If you are working with a stripe/checked fabric or a large print pattern take a scan of your fabric. match the scan check/stripe to the garment;  mark and trace the paper pattern onto the scan matching up the stripe; take this scanned pattern onto your fabric so that the first stripe or stripe in the check match up (the stripe/check will throw out across the top of the flap because of the shaping in the garment but if you match the start then the lower edge of the flap will match the stripe/check on the garment); pin and cut out the flap. You can also draw  the stripe/check onto your pattern if preferred.

Step 2
Place the flap onto the right side of the lining; pin or baste across the center of the flap and cut the lining even with the flap; ease the fabric flap in around the edge of the lining making the lining slightly smaller than the flap







 pin in place and machine stitch lining side up, with a stitch length of 2 mm  the 3 sides of the flap securing both ends of the stitching.Trim the excess lining back and turn the flap to the right side, press.




Step 3


Prick stitch the 3 edges of the flap (optional )









 baste across the top extension to hold the lining in place; draw a chalk line across the top of the flap marking the beginning of the flap extension.









Step 4
The double piped pocket will have been sown together up to the pocket bag being attached behind the piped pocket; insert the flap into the top of the pocket using the chalk line as a guide












baste  across the top piping adjusting the ease evenly across the center of the flap.





Step 5

Finish the pocket by attaching the pocket bag. The pocket back is not needed as the flap covers the pocket opening.

I left the pocket bag off so you could see now the flap sits behind the piping

The flap is sandwiched between the top piping and the top of the pocket bag; catch stitch across the top of the flap onto the garment interfacing. Press the finished pocket flap over a ham, any ripples at the top of the flap should vanish.

A flap that sits over a patch pocket


Follow step 1 but don't add the 1-2 inch (2.5-5 cm) extension to the top of the flap,  add the seam allowance plus 1/4 inch (.6 cm). Construct the flap up to Step 3; turn the seam allowances into the flap along the top edge and baste in place before slip stitching to close, press; prick stitch the 3 edges of the flap (optional ); draw a chalk line 1/4 inch (.6 cm) down from the top across the back side of the flap; place the chalk line on the flap onto the flap placement mark on the garment so that the 1/4 inch (.6 cm) extension is facing down towards the pocket; baste the flap extension to the garment adjusting the ease evenly across the center of the flap and using matching thread; stitch the flap to the garment; fold the flap down onto the pocket and press over a ham.

And to finish this coat

I’m so sorry this blog is way overdue and so is the coat!

Nashville was great and not at all like I expected. Strange now you get these ideas in your head about a place and you are totally wrong. Would I go back, in a heartbeat.  A mix of friendly people, great food and entertainment all among rolling green hills that felt so much like home.

The class was a mix of interesting people that worked so hard over the 2 days that by the end I felt a little guilty. But at the end of the class they were happy and all told me they would take one of my classes again. I was invited back next year to teach at the conference. It is because of these ladies who asked me what else I taught and did I teach private classes that I have exciting news to share with you at the end of this blog.

So now back to the coat.

The facings are attached and the shoulder pads made. I made raglan sleeve shoulder pads following the technique from my book, Tailored fashion design. They were shaped with my iron before slip stitching into the coat.

Next came the lining. This also was made following the technique from my book of adding ease into the lining and a center back pleat. It was then attached into the coat. I machine stitched the lining to the front facing and sleeve hem but slip stitched the lining around the neck edge.  

 

Because of the pleats in the skirt of this coat the lining had to finish just below the start of the pleat.

 

 

The lining was then loosely attached to the shoulder pad at the shoulder point, the under arm and on the lining hem line at the center back and side seams.

Oh, I forgot to tell you that I also used caught stitch down the inside of the front facing from the hem up to the first button to stop the facing from rolling out towards the front of the garment.

  The back of the button holes were then finished and the buttons attached.

 

 

As I had made patch pockets and wanted them to be a little different I added a buckle to the pocket and a tab.

 

All the buttons were sewn on  

The coat has now gone out on a photo shoot so no finished photo but I will cheer as soon as I can.

 

 

Now let me share with you my exciting news. I have put together a list of classes that I am going to be teaching Jan/Feb 2014. This is only the beginning there is a lot more to come.

The Canvas Coat Front

Chicago IL January 18 & 19 2014   9 -4.30pm

Two day tailoring workshop based on my article The canvas coat front in Threads magazine. Learn how to softly build the inner structure of a coat that will hold it's shape for the life of the garment.

Go further than the article learn to construct a piped pocket, pocket flap and bound buttonholes.

 

Making a skirt from your own measurements

Chicago IL January 25 & 26 2014

Beginner to medium sewing skills

2 day workshop   9- 4,30pm

This workshop begins with you taking your measurements, using them to draft a paper skirt pattern. You will then make a toile (muslin) from this pattern and make any fit adjustments for a perfectly fitting straight skirt.

 

The bullet Bra

Chicago IL February 1, 2014

Medium to better sewing skills

1 day workshop 9 – 4.30pm

The bullet or cone bra was a favorite of the pinup girls from the 1940’s -50’s. Madonna wore cone shaped bra cups designed by Jean Paul Gaultier to sing “Express yourself” the opening number on her Blonde Ambition tour in 1990. In this workshop you will learn to draft and construct a bullet bra.

 

Silk Ribbon Embroidery

Chicago IL February 2, 2014

 Half day workshop  1 – 4.30pm

Ribbon can be worked the same as any other thread. You can make French knots, bullion stitch roses and lazy daisy stitches in ribbon rather than embroidery thread. This workshop will introduce you to working with ribbon and some of the basic stitches.

 

 

 

 

 

 

 

Making from the catwalk Chanel coat continued -

Packing for Nashville, where I’m going to be teaching a 2 day workshop, the canvas coat front, so have to get this coat finished before I leave. I will tell you all about this in my next blog!

Back to the coat; the next step is to attach the under collar. I’m going to make the under collar in wool felt supported by hair canvas to shape and support the collar. The canvas is cut on the cross grain or bias and joined with a lapped seam down the center back. As the felt has no grain line it is cut in one piece. Both are cut with no added seam allowances.

Lay the canvas onto the felt and mark the roll line. Pad stitch the 2 pieces together using small 1/4inch (.75cm) work along the roll line in the collar stand.

Pad stitch the fall of the collar working along the roll line using ½ inch (1cm) pad stitches going back to smaller stitches in the collar points.

Great! Hugo my kitten is sleeping in the light box.

                                                                     

 Meet Hugo Boss

What are pad stitches -

The pad stitch is a diagonal stitch that is worked staggered from one row to the next. It is used to join one or more layers of fabric together. The coats lapels and under collar are pad stitched so that they retain their curvature. Pad stitching also gives added firmness this is why it is also used to attach the chest piece to the canvas.  The stitch length is approximately ½ inch changing to 1/4inch where firmer stitching is required. The line of stitching will run parallel  to the roll line and be worked from the under collar roll line out to the collar’s edge  and smaller firmer pad stitches in the collar stand from the roll line to the neck edge.  Traditionally silk thread is used to make these stitches that match in color to the fashion fabric so that the stitches don’t show on the finished garment.

The collar is now shaped using lots of stream from the iron. Wrap the collar around a ham and fold down from the roll line press. Remove the ham and shrink some of the fullness out of the collar stand. Stretch the outer edge of the collar so that it will sit nicely over the shoulder. Press both edges of the roll line flat.

Trim any canvas back from the edge of the felt so that it won’t show in the edges when the collar is attached.

Mark with chalk around the neck line of the coat and pin the felt under collar onto this line. Using small slip stitches attach the felt under collar to the neck line of the coat.





Finish by catch stitching along the neck line seam allowance.

For the top collar I rough cut a collar adding a good 2 inches all round. Place this fabric over the under collar and pin along the roll line (If you have a dress form it is easier to do this with your coat on the stand).  Baste along the roll line.

Pin along the edge of the outer collar and trim the fabric so that you have a ¼ inch (.75cm) seam allowance. Turn this in so that you have a small edge of fashion fabric before the felt and pin in place before finishing with slip stitch.

 Some people like to attach the front facings before the collar; I prefer to attach them after I have worked the collar.

The facings are also shaped so that the grain line stays straight with the coat’s front edge. Stream and shape the facing until it matches the pattern piece.

I have also cut across the facing at the waist line bound button hole. When I seam the 2 facing pieces back together I leave a gap for the back of the button hole.

And what you see at the front of the button hole

Now it’s time to stitch the facings to the front of the coat and press in place. I fuse welt interfacing onto the facing finishing under the last button hole. I think this gives support to the point of the lapel and behind the button holes.

When you attach the facing to the point of the lapel make a small pinch in the facing and ease the facing around the point. Stitch along side the tape down to the hem line.





Press the front seam open before pressing the front facing to the back. This makes it easier to get the seam line clean and neat down the front of the coat.


Stitch the facing across the hem line and turn to the right side and press. I'm going to finish the edge of the facing the same way as I finished the hem.






Catch stitch the top collar in place along the neck edge


Pin the facing along the neck line finishing at the shoulder. This will be finished with slip stitch when the lining is attached into the coat.





The coat is nearly finished and in my next blog I will show you how to make and shape the shoulder pads, make the lining and set the lining into the coat.

Making from the catwalk - continuing on

 It has been a busy week so far but this puts me in a place that is stress free and cut off from the chaos that is the world out there. Getting back to the coat, the seams have to be finished because a full lining is not going to work with all the pleats. I choose a Hong Kong seam finish and also to finish the top of the hem.

I always like this seam finish because you can have fun with it. I buy up the horrible reduced prints that no one wanted and cut them into 1 inch (2-5 cm) bias or cross grain strips just to make Hong Kong seam finishes. Think of a black unlined jacket or trousers with a black and white stripe Hong Kong seam finish, you have now brought another dimension to the garment meaning that the inside is as important to the outside. 

Slip stitch the hem from the first pleat to the  last leaving the front hem un-stitched so that the facing can be attached.

Make large crosses into each pleat to hold them in place until the coat is finished.

 

 

Now for the inner structure that makes the garment come alive. First the hymo or hair canvas, I cut this and the chest piece which I then pad stitched together.

 

 

 

 

 
The canvas is then attached to the coat front by basting up the center front line, along  the roll   line and around the armhole. Stitch along the waist line for a couple of inches (5cm).

The lapel was now pad stitched to the coat lapel.








Next the front coat edge and across the top of the lapel was taped. To do this I first draw a line along the stitching seam line and then slip stitch inside this line applying tension to the tape for approximately 2 inches (5cm) above the roll line. This is to stop any stretch in this area because of the first or top buttonhole.

The next step is to tape the roll line. This is like making a dart to make the collar roll line sit close to the body so there is no gapping.

 The hair canvas or hymo is now cut out of the seam allowance. You do this because the canvas will not lay flat it is not made to do this and you do not want a bulky front facing.

 

It may take time to hand stitch all these inner facings but there is a big difference in the finished garment, you will begin to look at what you are getting for your money off the peg!

It is now time to make the buttonholes. Here I’m going to make bound buttonholes, one because its women’s wear and two because I don’t have a commercial key hole buttonhole machine or access to one, which is so sad.

After stitch tracing the buttonhole positions make the bound buttonholes.

                                                                             

 I want to share a little of what I have been working on for my new book, Lingerie and foundations. Over the last couple of days I have had fun making bullet bra cups and samples for the bra construction chapter.

I have also been working on a corset that is going to have an exaggerated hip area covered with frills. So far I have the boning channels made and cording done.  I now now to add the boning and work out the size and shape of the hip extension.
  

Hopefully I will be able to post the finished garment or garments in my next blog!

 

Please, if you have any question ask me. If you want to know more about the bullet bra or corset  or is there is something else you have seen and would like to know how do you do that.