Tailoring 101 Finishing the front and starting the back

Tailoring 101    

 Finishing the front and starting the back

Gucci AUTUMN/WINTER 2016-17 READY-TO-WEAR

Continuing on with the fronts. Now that you have stitched the chest piece pad to the canvas, attach the canvas to the jacket fronts. Lay the canvas on a table with the chest piece upright.

With either chalk or pencil, transfer all the pattern markings, e.g., darts, center front line, roll line, waist line, and pockets.


Lay the canvas flat on the table, chest piece side down; lay the jacket front onto the canvas with the right side facing you; match all the notches, darts and pockets;



Cut the canvas around the pockets so it lies flat under the pocket bag.

  Using contrasting thread baste stitch along the centre front line starting at the hem and finishing at the break line; starting at the hem baste stitch a second row approximately half way across the canvas curving slightly up to 2-3 inches ( 5 - 7.5 cm) down from the shoulder; continue stitching across the shoulder to 1-1 1/2 inches ( 2.5- 3.2 cm) in from the armhole edge, stitch around the armhole edge; starting at the hem line baste stitch a third row of stitching on the edge of the canvas up though the pocket curving over to the back edge of the side panel or up to the under arm to meet with the baste stitches around the armhole; baste stitch along the waist line towards the dart for approximately 3 inches (7.5 cm); baste stitch along the roll line from the centre front up to the gorge at the top.









Not sure of the roll line? Turn the front over before baste-stitching the roll line so the canvas faces you; place a ruler along the line you marked as the roll line, fold the fabric over the ruler, and mark the roll line at the edge of the ruler.
The basting stitching should not be pulled too tight, and when finished, all the notch points will be matching.





Taping and shaping the roll line    
 Using a 1/4 inch (5 mm) linen or cotton tape, or a strip of pocketing fabric, pin the tape to the canvas at the top of the roll line; pull the tape taut (apply tension) until it is halfway down the roll line; then pin the tape in place. You will get a rippling effect on either side of the tape. Continue to pin the tape down to the break line with no added tension. Slip stitch down both sides of the tape, stitching into the canvas ONLY.

 

The lapel

The lapel is now going to be pad stitched, but before you start stitching, mark the seam allowance around the lapel and down the front edge onto the canvas with chalk or pencil.
Because you don't want these pad stitches to show through to the underside of the lapel, use a thread that matches the fabric. Roll the lapel over your hand with the canvas side facing you. Pad stitch from the top line marking the seam allowance down to the break line, following the taped roll line. The pad stitches are going to be 3/8 inch (1 cm) long and 1/4 inch (5 mm) apart, much closer and smaller than the pad stitches on the chest piece. Keep a finger under the lapel to feel the needle as it comes through the fabric; as you feel the needle, take the needle back so that it just catches the fabric before bringing the needle up on the canvas side. Don't pull the stitches as you stitch, as this will cause the lapel to pucker, and don't stitch into the seam allowance. The lapel should look slightly dimpled on the fabric side when you have finished.

Fig. 6.18,

If you have a peak lapel, roll the peak back over your hand so it rolls toward the jacket body; pad stitch using small, close stitches.






Cut the canvas along the line marking the darts; push half the canvas under the dart with the other half lying flat over the dart; catch stitch the edges of the canvas over the dart.















Catch stitch the top edge of the pocket bag to the canvas and halfway down the pocket bag to hold the pocket in place.












Taping the front edge

Check the width of the seam allowance around the lapel on the canvas, and re-mark if the stitching has pulled in and distorted your original seam-allowance line. Using 3/8 inch (1 cm) linen or cotton plain weave tape, pin the tape to the canvas at the top of the roll line inside the line marking the seam allowance; pin across to the lapel tip and twist the tape under and continue down to 1 inch (2.5 cm) above the break line; pull the tape taut or add tension to the tape for the next 2 inches (5 cm) and continue pinning the tape down to the hem line. If the front hem line is curved or rounded, add tension or hold the tape taut around the curve line. Slip stitch both sides of the tape to the canvas.


Repeat on the other front, matching the length of the roll line tape and the taped front edge. Do not press the lapel or cut away any canvas in the seam allowance until after the next fitting.


The Back

Elsa Schiaparelli evening coat (back), c. late 1930s, Paris

The back of a jacket/coat can be completely different from the front, adding more interest to your design. The back can be single or double vented, split, laced or zippered. The back can be belted with a full or half belt, or feature a pleated, flared, split, or tailed skirt. Let your imagination run free and see what you can add to your design.

Theory, Geltha split- back crepe blazer
, www.net-a-porter

ALEXANDER McQUEEN A/W 2000 “Eshu” Gray / Black Chevron Tailored Blazer Jacket

Collar Houndstooth LACE-UP Cinched Waist Button Blazer

Iconic Alexander McQueen Black/Ivory Zip Trim Wool Peplum Blazer

Haider Ackermann

twist detailed jacket

The Jacket Front

Tailoring 101 

The Jacket Front

 Adjustments have been made to the toile and transferred to the paper pattern and the fashion fabric cutout.

Cut the center front pattern pieces out in weft fusible interfacing. This is optional, and I can see some tailors cringing at this, as they would never use fusible fabric. The reason is that when first learning to tailor it is easier to use a fusible interfacing.

 Choose a fusible interfacing that will not change the hand of your fashion fabric.

When working with a fusible interfacing, place the two wrong sides of the fabric together on a table; set the iron to the correct or wool setting for your fabric; place a pressing cloth over the jacket front;  hold the iron just above the fusible and lightly steam over a small section of the front; you will see the fusible interfacing start to shrink; drop the iron straight down onto the front and hold for 5-10 seconds without moving the iron; lift the iron and repeat the process until the fusible interfacing is attached to the front, and leave to cool. 

Cut the side front panels out in weft fusible interfacing; measure up from the hem line 2 1/2 inches (5.25 cm)  and mark; square across from this mark until you are approximately 2-3 inches (5-7.5 cm) from the end of the pocket placement and mark as A; measure down 2 -3 inches from the back armhole and make a curved line down to A; cut away this section of fusible interfacing. Fuse the weft fusible interfacing to the side front panel.

Please note: Traditionally, no fusible interfacing is used. Strengthen the pocket areas by placing a strip of pocketing/silesia fabric on the wrong side of the pocket placement area.

Remark the darts, roll line, centre front, buttonhole and pocket  placements; attach the side front panel to the centre front using a stitch length of 2.5mm stitch down the seam allowance matching the notch points and back tacking to top and bottom of the stitching; pin and stitch the darts together using a stitch length of 2.5mm,  starting  about 5 stitches in from the top of the dart back tack back to the dart point  and stitching back 5 stitches at the bottom point of the dart ( this will stop the first stitch from pulling or showing on the right side of your front) 

Press the seam open and flat using a clapper and a seam roll; press the dart(s) towards the center front. Stretch the folded side of the dart rather than clipping into the center of the dart.

Make your pockets.

Whip stitch across the pocket opening





If you are not using weft fusible interfacing and are working with a striped fabric, make your dart by folding the dart with right sides together, pinning, and checking that the stripe matches perfectly. By this, I mean the dart sits between the stripes. 

Place a small piece of lining fabric under the top point of the dart, then machine-stitch the darts together using a stitch length of 2.5 mm,  starting about 5 stitches in from the top of the dart, back tack to the dart point, and stitching back 5 stitches at the bottom point of the dart ( this will stop the first stitch from pulling or showing on the right side of your front)  

Check the dart position to make sure it sits centered between the two stripes (as much as possible), with the stripes coming slightly together at the waistline before curving out toward the hemline. Check that both sides match; if not, this will alter the balance of the finished jacket.

The dart here is not centered 

Menswear

In menswear, finish the dart and side seam with hand stitching. The hand stitch used is a prink or stab stitch. The stitches are barely visible but form a small dimpled effect very close to the edge of the seam or dart. Use silk thread for the stitches. Beginning at the top end of the dart or seam, bring the needle up from the back to the front of the work and take a tiny 1/16 inch (2 mm) stitch before returning the needle to the back of the work

And here on the wrong side, you can see
       the small line of stitches worked close to
the seam line.
The stitches here have been worked after the
 canvas has been attached to the jacket front

The front dart has been prinked or stab stitched

The Hair canvas or Hymo

Using Interfacing for Structure

• Hair canvas provides shape and support.
• Fusible gives crispness to lapels and collars.
• Hymo is lightweight yet firm.
• Interfacing adds resilience and durability.

Interfacing is essential in tailored garments. Match the weight and application method of the interfacing to the fabric. Interface individual pieces before assembly for the cleanest finish. Proper interfacing supports the shape and structure of the garment.

The canvas has no right or wrong side and can be cut straight of grain or on the bias, as I have for my jacket.
Working with the canvas folded in half or doubled, lay it flat on a table and place the jacket front on top, matching the grain line or on the true bias.
Chalk mark around the outside edges of the jacket front; mark the underarm point and remove the jacket front piece from the canvas; measure towards the back at the underarm point 3 inches (7.5 cm) and following the armhole shape extend the chalked shape out 3 inches (7.5 cm) mark as A; Measure up at the front edge 2 inches (5 cm) or your hem allowance and square over 5-6 inches (12.5- 15 cm) and draw a chalk line mark as B; connect with a curving line A-B; cut out the canvas.

Divide the canvas shoulder into 3 and mark; cut down from the marks 2-
2 1/2 inches (5-6.25 cm) to allow for the shoulder bone.

Menswear
Lay the canvas onto a scrap piece of canvas so that it finishes 3/8 inch (1 cm) up from the break line and mark; pin along the roll line to hold in place; on the shoulder, open up the cuts, forming small wedges approximately 3/8 inch (1 cm) wide at the top shoulder. Open these wedges towards the armhole only, as you don't want any added canvas in the neckline. Pin in place and cut out the canvas chest piece, cutting along the roll line to the mark above the break line, across the shoulder, and around the armhole, and cutting down in a curving shape to the roll line.

Women's wear
For women, you cut more of a canvas shoulder piece than a canvas chest piece. Lay the canvas onto a scrap piece of canvas as in menswear and follow the instructions for making the wedges from the shoulder. Cut out the canvas shoulder piece by cutting across the shoulder and down the armhole until the armhole starts to shape under the arm; cut halfway down the roll line, then curve back up to the armhole.

For both menswear and women's wear, stitch the shoulder/chest piece to the canvas fronts around the wedges.
Quilt the shoulder/ chest piece to the canvas fronts in 1 inch (2.5 cm)  squares (optional)

Wedges stitched in place

The chest piece

The chest piece is traditionally made from domette or flannel, soft woven fabrics made from wool. 

 If your flannel has a grain line, it will run parallel with the roll line when you place the domette onto the canvas front. The chest piece fabric I'm using here does not have a grain line.

Place your chest piece fabric on the right side of the canvas front so the shoulder edge sits just under the shoulder seam allowance; cut the chest piece down the roll line and around the armhole to the underarm point, then curve across to the roll line. Stagger or graduate the length of the chest piece fabric so that you will get a nice finish on the finished garment.

From the front armhole notch point, draw a line across the chest piece.

Pin or baste the chest piece to both canvas fronts, making sure they are in the same position.












The pad stitching

Pad the chest piece to the canvas layers using pad stitches. The stitching runs in two directions: horizontal lines from the line up toward the shoulder, and vertical lines that follow the roll line below the line. Start with the horizontal lines, with the first row of pad stitches worked across the top of the line. Roll the canvas and chest piece in your non-needle hand with your fingers on the canvas where the stitches are being placed, pushing up so that the stitches remain small and smoothing the canvas as you work. The stitches should be 1/2-3/4 inch (1.3-2 cm) apart  , being careful not to pull the thread too tight; there should be no pulling. The second row will be about 5/8 inch (1.5 cm) from the first row

Now repeat with the vertical lines starting with the first row worked down beside the roll line .

Once this side is completed repeat on the other side of the jacket canvas.

How to pad stitch
You will find how th pad stitch on page 82, figure 6.19 in Tailored Fashion design

Tailoring 101 Men's wear

Tailoring 101 Men's wear

Thom Browne Fall 2016

Drafting the jacket block

I was not going to cover drafting a jacket block but after meeting with my students I found there was a really big interest in learning now to draft for individual body measurements or bespoke.

        A  chest circumference 

        B waist

       C front chest

       D sleeve length

       E jacket length

       F back waist length

      G back shoulder blades, armhole to armhole

      H shoulder length, neck to armhole

The measurements needed for the jacket body :  1/2 the total chest measurement + 3 1/2 inches

                                                                              ( 8.89 cm) for ease

                                                                              1/2 the measurement cross the back shoulder blades

                                                                              1/2 the measurement front chest 

Step 1
1-2 is the back waist length, draw a straight line down your paper; 1-3 is 1/2 the chest measurement + ease, draw across from 1; draw down from 3 and across from 2 to form a rectangle












Step 2

 Divide the line down from 3 in half  and mark as A: measure down from A 1 3/4 inches (4.45 cm) and mark as 4; draw across from 4 to the line marked 1-2 and mark as 6. This is the chest line 












Step 3
Measure across the chest line from  6 half the chest front + 3/8 inch (1 cm) for ease, mark as 7 and draw a line that passes though 7 down to the waist line and up to the top line;

 Measure across from 4 half the shoulder blade measurement - 1/4 inch (6 mm) , mark as 9; and draw a line that passes though 9 down to the waist line and up to the top line;

 Divide 6-7 in half, mark as 8; draw a line that passes though 8 down to the waist line and up to the top line;

Divide 7-9 in half, mark as 10 and draw a line down to the waist line for the side seam

Step 4

3-5 is 1/5 of the measurement 1-6; mark as 5 and square across for the shoulder position guide;
Measure across from 1 to the first line, mark as 12; 11 is the measurement 1-12, square across and mark as 13; measure up from 13 3/4 inch ( 1.90 cm) and mark as 14; draw a line from 11 up to 14 





Step 5

3 - B is the measurement of 1-12 - 5/8 inch (1.59 cm) ; measure up from B 3/8 inch (1 cm) mark as D; divide B-D in half and mark as C;
Draw a line angled down from C the shoulder length - 1/8 inch (3 mm) to touch the shoulder position guide line, mark as E; divide C-E in half and mark;
measure down from 12 the length of D-E - 3/8 inch (1 cm), mark as G on the shoulder guide line;
measure down from 3, 1/8 inch ( 3 mm) , mark as F. F-4 is the centre back line
H is 1/3 of 11-14, mark.

Step 6

Mark points 16 and 15 on the shoulder guide line; 
Divide the line 15-7 into 3; measure up from 7 1/3, mark as I ; draw a line down from I to connect  to 10; divide I-10 in half and draw a line that angles down to 7; divide this line in half and mark for a guide;
measure back from 10 on the chest line 1 inch (2.5 cm) and mark a K;
Draw a line up from I-G ; measure down from 15, 1/3, mark and square out to J 1/4 inch ( 6 mm), mark J;
Divide the line from 16-9 in half and mark as L; draw a line from L down to 10; Square off along the line between L, 10 and 9, draw a line to connect to L-10; divide this line into 3 and mark for a guide.

Using a french curve draw in the armhole shape by connecting G-J- I pass though the guide mark out from 7 around to K -10 around to the first guide mark up to L-E;
Shape the back shoulder by drawing a line that curves up from the mark to D; draw in the back neck with a curved line from D-F; 
Draw a curved line from H-12. Keep the line H to 11 as a straight line.  

Clean off all extra marking and mark in the chest line, waist line, side seam and centre front and back. 
Measure down from the centre front waistline 8 inches ( 20.4 cm) and square across to the centre back line; mark as the hip line; measure down the centre back the jacket length and square across to the centre front line, mark as the hem line.













Shaping the jacket

Back panel

On the centre back divide the the line from the back neck down the the chest line in half and mark as A;

B is on the waistline; measure in from B, 1 inch (2.5 cm) and mark as C; repeat on the hem line, D and connecting 

A-C-D;

Measure up 3 inches (7.5 cm) at the chest line on the back guide line into the armhole and mark as F

Mark H on the waist line and measure across towards the centre back 7/8 inch (2.2 cm) and mark as E; connect F-E with a slightly curving line and E -I with a line that curves towards the jacket front

Measure across from H 7/8 inch (2.2 cm) and mark as G;

measure across from I, 1 inch (2.5 cm) on the hemline towards the centre back and mark as K; Connect F-G with a slightly curved line and G-K with a line that curves out 

towards the back;

Front side panel

Measure up from the chest line on the front guide line to the armhole 1 1/2 inches (3.8 cm), mark as 21; measure across from 21 towards the front 3/8 inch (1 cm), mark as 20; 

measure across towards the back on the front guide line at the  waist 1/2 inches ( 1.2 cm), mark as 15; measure across towards the front on the front guide line at the waist 1/2 inch (1.2 cm), mark as 14; measure out on both sides of the front guide line at the hem 1/2 inch and mark as 16-17; square down from 16-17 1/2 inch (1.2 cm) and mark as 18-19;connect 20-21-14-15 with a line that curves slightly towards the front; connect 14-19 with a line that curves towards the back and 15-18 with a line that curves towards the front;
measure out front 2 at the hem line 3/4 inch (1.9 cm) for the front button extension and down 1/2 inch (1.2 cm), mark as 5; 
Decide your button placement working up and down from 2,  mark in the break point 8; continue the front shoulder neck line out 1 inch (2.5 cm) or the width of the collar stand, make a mark and draw in the roll line from this mark down to the break point; draw a line up from 5-8 

(the break point will be on the button extension line straight across from the top button placement); 











Please note:
If you are making a double breasted jacket front extend the line out from 2 , 2 1/2 inches for the front button extension.

;
The front dart
Divide 2-14 in half and draw a line from the chest line down to the hip line; measure out on both sides of this line at the waist line 1/2 inches ( 1.2 cm), mark as 11-12; mark the top of this line on the chest line 7; measure down from the waist line 3 1/4 inches ( 8.25 cm), mark as 13; connect with a line 7-11-13 and 7-12-13. 









Shape the hem line with a curved line connecting 5-18-19-K 

Keeping the same angle draw out from 1 the desired width of the lapel and curve down to 8  to finish the lapel.                                                                                                                                                   

Drafting a sleeve

Begin by folding a piece of paper in fold; make a small line approximately 1 inch down from the top of the paper on the fold line. Measure down from this line on the fold of the paper 1 3/8 inch (3.5 cm) , mark as A. Or take the armhole height from the jacket block less 1 3/8 inches (3.5 cm);

 Measure down from A the armhole depth, mark as B and square across the paper. This is the bicep line; Measure down from A the sleeve length, mark as E; square across the paper;  to find C halve the armhole height measurement plus 3/8 inch (1 cm), angle your ruler from A down onto the bicep line this length and mark in C.; draw a line down from C to connect to the line squared out from E, mark as F; 






Shaping the sleeve head

 Divide the line A-C in three and mark as L-K; divide L-C in half , mark as M; measure in from C, 1/2 inch (1.2 cm) and mark as G;

 measure out from K 3/4 inch (1.90 cm), mark as J: measure in at L  and M 3/4 inch (1.90 cm, mark as I-H); connect A-J-L-H-G with a curved line for the back sleeve cap and A-I-H-G





Turn the paper over and trace all the lines before unfolding the paper; draw a line down the fold line and mark as straight of grain; divide the hem line into 4 and square up the 2 guide lines; for the sleeve front erase the line from J-L-H; mark in the shoulder point 1/4 inch (6 mm) past the centre fold line or straight of grain.

Shape the sleeve starting at A, measure out 5 1/2 inches (13.5 cm) in both directions and mark as B-D; measure down from C 3/8 inch (1 cm) , mark as D; draw a curved line connecting B-D; draw a slightly curving line connecting F-B and E-D; measure up from G, 2 inches, mark as H and repeat G-I; E-K is the measurement F-H and D-J is the measurement I-B.




Two piece sleeve
The under sleeve
 Square off the front guide line 2 inches (5 cm), mark as A- B; divide from the guide line to the centre line in half and mark as D; draw a curved line connecting A-D; on the guide line at E measure in 3/8 inch (1 cm), mark as F; measure out at G 3/8 inch, mark as H; draw a line connecting A-F-H.
Square off the back guide line 2 inches (5 cm), mark as J-I; measure in 2 inches (5 cm) from L and mark as M; Square off from H half the cuff measurement less 1 inch (2.5 cm) ( the cuff measurement is 11 -12 inches depending on design) and mark as N; connect with a curved line J-M-N.

The upper or top sleeve
measure out from F 2 inches (5 cm), mark as O and repeat at H, mark as P; draw a curved line connecting B-O-P; measure in at L 1 inch (2.5 cm) and mark as R; draw a curving line connecting I-R-N; connect P-N with a line.


This week the class is working on sampling a welt pocket, please refer back to my post Aug. 2014

Thom Browne F/W 2015/16
Straight set double piped pocket and
ticket pocket

You will also have a sample to put in your file of a double piped pocket both with and without a flap.

If there is interest for drafting a woman's bespoke jacket please let me know. 

Next week - making patched pockets

Net-a -porter.com, J. Crew
patched chest pocket

Images;  http://www.vogue.co.uk/ and http://www.vogue.com/ 

Lining

You’ll then choose a soft lining like silky satin that hugs your body for comfort.

Column1	Column2	Column3
Satin	Soft drape	Smooth texture
Cotton	Breathable	Casual style
Silk	Luxurious	Slippery hand
Polyester	Durable	Easy care
Wool	Warm	Natural fiber

With precise stitching and interfacing, you’ll master even complex jacket construction techniques like welt pockets and notched collars to create a perfectly tailored jacket.

Various Lining Materials

Slide swanky satin or whispery cotton against your skin for a fancy feel. Satin’s sheen telegraphs luxury, while cotton caresses with familiar softness. Choose lightweight satin, silk charmeuse, or batiste for flowy linings, or crisp cotton shirtings for structure.

Play with mixing interfacing weights and fusing areas for personalized shaping. Collars and lapels hug better in satin; pad them with wool shoulder heads and chest pieces for an haute contour. Opt for a notched collar’s flexibility over a peaked lapel’s stiffness. The lining against your body matters.