And it’s pretty good. There were a few hiccups, but that’s why we make toiles. It’s not particularly interesting to see the photos of the separate lining and shell because they’re nearly the same to look at (both are in calico), so I’ll show you the finished toile.
For reference, here’s the pattern envelope I made on Photoshop:
Now, the collar doesn’t quite match the tech for the design and the buttons need to be a bit farther apart, but apart from that I think it’s quite good.
I don’t think the lower edge matches the tech either, but the CB zigzag comes up quite high. Maybe I should elongate the points a bit, about 1.5cm or so…
After trying on the shell pre-lining, I thought the sleeves stuck out a bit, so I “shaved” a centimetre off the top and it looks more like the tech now. Naturally that meant reducing the sleeve cap on the lining too.
Speaking of the sleeves, check out this range of motion (I had raised the armscye under the arm):
How many blazers let you do that comfortably? This jacket is designed for horse-riding as part of my Uniform 2020 project so it has to have a great range of motion for mounting and so on. Not that I (currently) ride horses myself, but I still have to reach the higher shelves at the Co-op for drinking chocolate, and change lightbulbs etc.
Bagging a lining is great. It’s so much quicker than hand inserting one, and efficiency with quality is paramount at Degree level. Lining the sleeves is something you can only really understand when you try it. There was no hand-sewing involved in this jacket except correcting a little error at the notch on the collar. The button-sewing feature is a greatly loved feature of my Bernina 380. : )
As for the “hiccups”, (and I still don’t know how this happened), the side seams on the lining didn’t match and the front armscye didn’t true with its sleeve counterpart. But I think I’ve fixed these problems now, and I’ve given the lining a plain sleeve cap — for some reason I had given it a darted head like the shell; I can only suggest I thought it might add a little support to the shell.
Nearly the whole thing is block fused, and more than once I have fused the incorrect side of a piece and had to remove the fusing and then re-fuse it (thought I’d better hyphenate there).
Now I have to:
- make the final pattern
- source and buy fabric (preferably British-made)
- make a costing sheet
- make the real jacket (I have until the 31st January to hand it in)
- possibly cut the “extra” entoilage patterns (for things like the chest piece)
- write a sewing order list with an order to minimise bulkiness and awkward seams
And on top of that:
- annotate this stage in the making
- write contents pages for my pattern cutting files
- press the contents of the files to minimise the bulk
- make an in-pocket zip sample and tutorial
Monday night (technically Tuesday morning), I didn’t get to bed until after 2am because I was working on my illustration module. I had to get up a ten to seven so I didn’t get much sleep. Maybe it’s that I’m only 23, but I can occasionally run on that. I managed to just about get the module finished by the last available minute. Everyone else (they drive) but one stayed late to finish. I’m glad that’s handed in now, because it gives me time to work on the Pattern cutting module (my favourite). If I’ve time I’ll make a vintage bustier dress and hand that in too; we might get to help with a charity fashion show at Easter if our sewing is good enough.
The quality of our finished garments really depends on the quality of our patterns. That’s one of the things I love about production pattern cutting: you can virtually guarantee quality and eliminate wasted fabric! Especially when you have the right fit beforehand. Thank goodness for Fashion-incubator.com! If I hadn’t found that what would I have done?
Well, I must go and make my sandwiches for tomorrow, not to mention make dinner for tonight.
P.S. I’m thinking of what do when I finish this course. I’m considering the UCA for my BA Hons, or else London. What do you think? Have you been? I think I’ll probably have to go down South because that’s where the majority of the work is, not to mention the fabric shops.