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Tailoring 101 The sleeve

 Tailoring 101  Week 10    The sleeve

Rosette Collar Jacket by Romeo Gigli yes! he's back, designing an exclusive capsule collection for the HK store, Joyce. Swoon


Perhaps one of Balenciaga's greatest desires was to search for the perfect sleeve. He believed that a sleeve should adhere to the body, be its natural extension, and fall without the slightest flaw. It should be supple enough to allow movement but without dragging on the rest of the silhouette. (Pamela Golbin and Fabein Baron,Balenciaga Paris)

While there are many styles of sleeves the two piece or tailored sleeve is generally used for coats and jackets. If you return to Week 2, Menswear I have the instructions for drafting a sleeve and turning it into a two piece sleeve.

Begin by comparing the measurement of your armhole with your two pattern sleeve pieces by measuring around the seam line on the patterns but not including the seam allowances. The two sleeve pieces should be 1 1/2-2 inches (3.3-5 cm) larger than the armhole. Without this ease the sleeve will not fall  gracefully from the shoulder.

Adjust the sleeve pattern pieces by adding or subtracting the top edge of the upper sleeve only. The under sleeve is not adjusted.

Now check the length of the sleeve and make any adjustment at the elbow line. 

kriss van assche

Make a muslin toile for the sleeve from your adjusted pattern pieces and baste stitch them into the armholes of the jacket matching the 4 notch points and evenly distributing the ease. 

(There will be some puckering in the muslin sleeve cap that will disappear in the garment fabric)

Check the side view of the sleeve. If you have the sleeve correctly balanced the grain line will hang in a vertical line from the shoulder point to the floor. There should be no pulling in the front or back sleeve cap.

Tailored Fashion Design, page 129

Rotate the sleeve forward or backwards until the creases disappear; chalk mark the front and back notch points on both the jacket body and sleeve; chalk mark the shoulder point on the sleeve head and transfer these markings to your pattern. 

Cutter and tailor, This is what often happens in the back. As soon as the wearer is moving his arms forward his arm is restricted by the shape of the armhole; reset the sleeve letting out though the back of the jacket 

Recheck the sleeve length and make any correction.

   Cut the sleeve out in your fabric; keeping the top sleeve pieces together stretch the back curve of the  top sleeve approximately 4 inches (10 cm) at the elbow, turn the top sleeve over and repeat; stitch the under sleeve to the top sleeve down the under arm seam line and press open;

reinforce the lower hem edge with a 5 inch ( 12.5 cm) strip of bias cut pocketing or fusible interfacing; place approximately 1 inch (2.5 cm) up from the raw edge and fuse or baste stitch the pocketing in place if using.

Fold and press the vents and then the hem on the back of the top sleeve; mitre the hem and vent at the top vent to remove bulk; (Page 131, Tailored Fashion Design) Fold the hem back so that the right sides t are together on the under vent  and machine stitch down the hem; fold the hem under to the wrong side and press the vents and hem in place; baste stitch along the top of the hem.

Mark the buttonhole placements on the under sleeve vent the first 1 1/4 inches ( 3cm) up from the lower edge of the sleeve and the top button placement, each button is placed 5/8 inch apart; make a mark 5/8 inch (1.5 cm) above the last button placement mark to indicate the seam ending.

Stitch the top and under sleeves together down the back seam line to the chalk mark; press the seam open, shrink out any puckers in the seam allowance so that the seam allowance in laying flat; baste stitch the vent closed.

Setting the sleeve

The sleeve is set into the jacket armhole the same way as the muslin sleeve but this time the ease in the sleeve head is going to be removed. Along the edge of the top sleeve work a line of running stitches; place the sleeve cap over a tailors ham and with a damp cloth shrink out the fullness in the seam allowance; let the sleeve cap dry completely before removing it from the ham. 

Place the left sleeve into the left armhole with the right sides together and pin in place at the shoulder point, underarm and front and back notch points. Baste stitch the sleeve in place beginning at the front notch point and working up towards the shoulder point. slightly increase the amount of ease in the sleeve cap as you get closer to the shoulder. Continue baste stitching over the shoulder and down to the back notch point. Turn the sleeve to the right side and with your fist inside the shoulder check that the sleeve looks correct in the front: if not unpick the stitching and start again.Finish baste stitching the sleeve in place. Press and shrink out any wrinkles in the seam allowance.

Machine stitch the sleeve in place starting at the back notch point stitch around the under arm of the sleeve, up the front, over the shoulder being careful not to move any ease as you go and down the back of the sleeve to the notch point. Press the seam allowance into the sleeve.

The sleeve head

The sleeve head is a strip of cotton wadding covered with muslin. It may also have a strip of bias cut hair canvas. Place the edge of the sleeve head along the edge of the seam allowance facing into the sleeve, starting at the front notch point and machine stitch the sleeve head to the seam allowance finishing approximately 2 inches below the back notch point. Cut off any extra sleeve head.

Aitor Throup

Tailored 101, Front closures

Tailoring 101   Front closures 

This week is about finishing the jacket front. While you can make the bound buttonholes, attach the front zipper and other forms of closures to the jacket before the back, I find it is better to fit the jacket body and make any alterations first. Once the bound buttonholes are made you can't go back and change their placement or re- position and who wants to un-pick a zipper.

The bound buttonhole

http://collections.vam.ac.uk/item/O15678/evening-jacket-elsa-schiaparelli/

   The bound buttonhole is also known as the French buttonhole.

The bound button hole is usually found in women's wear and the key hole buttonhole in menswear. 

Step 1: is finding and marking the correct placement for the buttonholes. This is an important step to follow as you want all your button holes to be the same length,size and an equal distance apart. Unless it is a design choice you also want them to sit squared to the centre front line.

You will have the centre front line and waistline baste stitched on the jacket front, so now find the correct position for the other buttonholes and mark with a line of baste stitching, A. 

Buttons pull forward when the jacket is been worn so that almost half the button is sitting outside the button hole towards the front edge, D. To compensate for this the buttonholes are not centered on the centre front line but they do need to start far enough back from the centre front line so that the button does not extend over the finished front edge. 

markings on right side of jacket front

• Measure half the width of the button plus 3/8 inch (1 cm)
• Mark onto the jacket front as the front end of the buttonhole and run a length of basting stitches that starts above the top button hole position extending down past the  bottom buttonhole position, B
• now mark in the length of the buttonholes and baste stitch down from the top buttonhole position to the bottom, C. You will now have each buttonhole marked with basting stitches (A) and 2 vertical lines (B&C) marking the ends of the buttonholes.

Step 2

Cut a strip of fabric on the straight of grain or cross grain approximately 1 inch (2.5 cm) longer than your buttonholes and the length of your marked buttonholes plus 2 1/2 inches (6 cm). Or if you are matching a pattern allow 2 1/2 inches (6 cm) of length for each buttonhole.

Mark with a chalk line the centre line of each buttonhole on the wrong side of the fabric

Step 3

Turn the front to the wrong side;  cut the canvas (only) away from the buttonhole position line, A.

Step 4

 Place the right side of the strip to the right side of the jacket front matching the chalk lines to A; machine baste across the chalk lines; draw a chalk line across the strip 1/2 inch (1.2 cm) above and below line A; if you are using a continuous strip measure up and down from A  2 1/2 inches and cut tough the strip.

   

Step 5

Fold the strip along the chalk line so that the raw edge extends down over A; place a pin through the
folded strip that matches lines B-C; stitch across from one pin to the other starting and finishing with a back tack exactly in the centre between the fold and A. This makes the piping for the buttonhole.

Cord can be inserted into the piping.

Repeat on the other side by folding up the strip along the chalk line. Be careful the fold the stitched
strip back on it's self so that it is not caught in the stitching.









Step 6

Remove the basting stitching

wrong side of jacket front

from A; make a cut at the centre of A; turn to the wrong side and clip fabric to about 1/4 inch (5mm) from the end of the stitching; clip diagonally into the corners being careful not to cut the stitching or the piping.

Step 7

Pull the piping strips to the wrong side and pull the ends to square up the corners of the buttonhole and that the folded edges meet in the centre of the buttonhole. Be careful not to pull on the triangles. Place the front right side up on the table and fold back the jacket so that you can see the triangle sitting on top of the ends of the piping strip; stitch the triangle to the piping strip making sure that the first row of stitches is close to the folded back line.


The back of the buttonhole will be finished after the front facing has been attached.

Giorgio Armani Spring 2014 Ready-to-Wear Collection Slideshow onStyle.com
If you have a seam at the waist line the buttonhole can be made by
 leaving a gap in the stitching line the length of the buttonhole.

          

Zippers and guards

 Having a separating zipper as the front closure gives for a more sporty look. Add a contrasting color guard behind the zipper or one that has decorative stitching gives interesting design details. The guard can be cut the length of the zipper or for a coat shorter.

Step 1

Trim  the canvas back out of the seam allowance; fuse interfacing to the wrong side of the centre front seam allowance; right sides together, place the separating zipper so that one side of its teeth are sitting along the center front line and that the top of the zipper is approximately 1/4 inch (5 mm) down from the neckline stitching line; the lower end of the zipper is going to be approximately 3/8 inch (1 cm) up from the hem line; machine stitch along the outer edge of the zipper tape 

 Step 2
Make a guard that is going to be slightly shorter than the front opening with the finished wide approximately 3/4 inch (1.9 cm) plus 1-1 1/2 inches (2.5-3.5 cm).
Be creative with the guard, think of using a contrasting color, different texture such as leather or a satin. The ends can be squared or rounded.

Position the guard behind the zipper and pin in place.


 Finish by top stitching the zipper in place.

The coat/jacket back

Tailoring 101   Week 7        The jacket/coat back

J.W. Anderson Fall 2014 collection.


The back vent

Once the vent was a necessity if traveling by horseback. Think of those cavalry officers riding all day in their tight fitting jackets. The vent stopped the jacket from bunching, creasing and constricting the body while seated. OK, so we don't travel by horseback today but the same principles applies in the situation where you are seated in a jacket. You don't want to be uncomfortable while sitting but more importantly you don't want to have a creased up jacket when you stand.

Next question how many vents?



The double or side vented jacket is seen today as been English tradition and the most expensive to make.But it does not suit all body shapes, a protruding bottom for one.
The single vent is a favorite of American men. It is cheaper to make and suits most if not all body shapes.
And finally the jacket back with no vent. This is the quickest and cheapest to make.



Vents are favored by both men and women with the single vent. For women the left side overlaps the right side and for men the opposite, right side overlaps the left side. Start the vent down from the natural waistline where the body straightens out so that the vent will follow the contours of the body and sit together.


Draw a line out from the centre back line (single vent) approximately 2 inches (5 cm) and square down to the hem line; add seam and hem allowance. For a double vent draw a line out on the side back panel and the side of the centre back panel approximately 2 inches (5 cm) and square down as for the single vent.


Adding a back peplum

I had to include this jacket back from what likes like a jacket from the 1940's.

But the peplum can be a lot simpler with less fullness. I can only imagine this as the back of an evening jacket.

Shrinking and stretching

Depending on how fitted the jacket back the seam allowances at the waist line may have to be stretched so that when the seam is sown the seam allowance will lay flat.

Dampen the fabric to be stretched then pass the iron over the area to create steam. Now just using the point of the iron over the damp cloth pull the fabric at an angle so that the raw edge stretches. Be careful not to stretch beyond the seam line. The seam allowance should ripple along the raw edge. Let the fabric dry. Repeat on all the back panel pieces though the waist area.

Shrink the shoulder and armhole area

Place the shoulder area onto a ham; dampen the shoulder area and press to shrink the ease from the shoulder seam allowance. Finish by pressing the whole of the shoulder area. Shrink the armhole seam allowance to make it easier to attach the sleeve in the same way.
Be careful not to scorch the fabric.

Adding support to the jacket back
To add more support to the jacket back after it has been shrink and stretches you are going to attach fusible interfacing to the neckline and armholes. This is optional but I do get my students to add this support as their garments are being carried back and forth to college.




I use my scrapes to do this as the fusible interfacing can be joined together; cut strips of fusible interfacing the width of your seam allow long enough to fit around the back neckline and armholes; Holding the fusible interfacing taut and not stretching the fabric, fuse around the back neck line edge; repeat around the back armholes.

If you are working with a heavy coating fabric, loosely woven fabric or a design that is going to need more support in the shoulder area add a back stay. Depending on your choice of fashion fabric a back stay can be cut from cotton muslin,lawn, batiste or silk organza. The back stay is cut on the bias with no centre back seam.

Working off your fabric back pattern pieces that have had support attached or shrink and stretched; on the stay fabric draw a line down the centre that is following the true bias or cross grain of the fabric; place the jacket back on the table over the fabric you are using to making the stay making up the centre back seam line with the drawn line on the stay; measure down the centre back approximately 3-4 inches 7.5-10 cm) and mark; draw a line from this mark that curves down into the underarm. Baste the back stay to the jacket back around the armholes, across the shoulders and back neckline once all the back jacket panels have been attached.

The back can also be completely interlined with silk organza, cotton organdy, batiste or even a light weight muslin if you are working with a fine silk, wool or other fancy fashion fabric.

Back vents and hemline support

Cut a 2 inch wide (5cm) strip of fusible interfacing or bias cut pocketing the length of your back hemline. Place the strip up from the bottom raw edge of the hem 1/2 inch (1 cm) and fuse onto the hem or baste stitch in place; Cut a 2 inch (5 cm) wide strip of fusible interfacing or bias cut pocketing the length of the vent and fuse or baste stitch in place.


Sew all the back panels together and press the seam allowances open and flat. If you have a back vent(s) stitch down the back panels to the to the notch point marking the top of the vent; press the vent either to the right or left side or press the vents in towards the centre back seam.
Fold the hem up along the hemline and press.

Mitering the vent hem

Mitering the hem and facing of the top overlapping vent will reduce bulk making sure that the finished vent will sit flat


Make a clip into the top of the hem where the jacket hem and vent facing meet


Open the hem and vent facing and lay flat on the table; draw a line across connecting the 2 clips



fold the fabric back at a 45% angle, right sides are and the 2 clip marks are together and machine stitch from the point to the seam allowance at the raw edge of the hem; back tack both the start and finish of this seam

Cut off the extra fabric leaving approximately 1/4 inch (5mm) of seam allowance and press the seam open and flat

On the under side of the vent turn the hem back on itself right side of fabric together and sew along the seam line from the fold.




Turn the hem and vent facings to the right side and press



(sorry about the white threads showing where I have unpicked, but this was my class demo sample)
The back is now ready to be attached to the jacket fronts. Baste stitch the shoulders and side panels of the fronts to the jacket back for a fitting. If you are not sure of the length do not make the mitre in the vent until after the fitting.

Fit the jacket body. Look back to Week 4 "Fitting the toile"  and make any alterations to the jacket body. Once you are happy with the fit machine stitch the shoulders and side panels of the back to the jacket fronts. Press the seam allowances open and flat.

Week week - The Front Facing and bound button holes

Tailoring 101 Finishing the front and starting the back

Tailoring 101  Week 6     

 Finishing the front and starting the back

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

Continuing on with the fronts. Now that you have the chest piece pad stitched to the canvas it is time to attach the canvas onto 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, centre 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 that it is sitting 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 that the canvas is facing you; place a ruler along the line you have marked as the roll line, fold the fabric over the ruler and mark in the roll line at the edge of the ruler.
The baste stitching should not be pulled to 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 begin by pining the tape to the canvas at the top of the roll line;pull the tape taut or apply tension to the tape until half way down the roll line, pin 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.

 

The lapel

The lapel is now going to be pad stitched but before starting the stitching mark the seam allowance around the lapel and down the front edge onto the canvas with either chalk or pencil.
Because you don't want these pad stitches to show though to the under side 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 though 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.

Fg. 6.18, page 81, Tailored Fashion Design

The peak or top edge of the lapel is pad stitched with smaller, rolling the peak towards the shoulder as you stitch. Closer stitches to give a firmer point that wont roll forward or droop.









Menswear - turn the work so that the fabric is facing;  prick  stitch along the roll line starting from the break line to 1/4 inch (5 mm) from the gorge line use a  thread matching the fabric.



Cut the canvas along the line marking the darts; push half the canvas under the dart with the other half laying 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  half way 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 have pulled in and distorted your original line marking the seam allowance. 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 pining 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 pleated skirt or have tails. 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 AUTUMN/WINTER 2011-12 MENSWEAR

 full back skirt

http://www.cichic.com/full skirted coat

Jean Paul Gaultier SPRING/SUMMER 2010 COUTURE

http://www.vogue.co.uk/fashion/autumn-winter-2009/ready-to-wear

Yohji Yamamoto