Padding on about Vintage

I think I'm still getting used to routine again after the Christmas holidays and it's taking a little while to re-adjust to setting aside time for sewing, blogging (reading and posting), while being back at work and dealing with everyday stuff too. Anyway, seem to getting there and while nothing new has emerged from the sewing room for the last 10 days at least I got on with the vintage jacket. 

I started this on November 21st and set myself 10 weeks for completion. At what point does a project become a UFO? In that first post on the subject I also stated that I wasn't going to update you dear and patient readers with tales of pad stitching, but I had my figures crossed when I wrote that so it doesn't count and therefore now follows a tale about pad stitching........

Scott Perkins - Garb for Guys

Pad stitching is when you sew the shell fabric to hair canvas and/or wadding not just as an interfacing and stiffener but for specific shaping. Most commonly used at the collar and lapels of tailored jackets, and in men's tailoring can also be used on the inside chest shield to add extra firmness and prevent wrinkling between arm and neck. You stitch parallel to the fold or roll line for shaping with small diagonal stitches - smaller and denser stitches for shaping and sparser, larger stitches for firmness. the stitches go through all thicknesses of fabric, so exactly matching thread is essential and neat hand stitching is a must. the stitches shouldn't show on the outside at all!

There is a wealth of info out there on how to and where to and why, with video, blogs and books galore for you to explore. I would draw your attention to a perfectly simple and short explanation by Scott Perkins of "Garb for Guys" . Now Scott makes historical costumes and not really for everyday wear but that goes to show you how old and well tested pad stitching is. It is a very effective method of controlling shape and adds that touch of je ne c'est quois to a hand made outfit. There are no short cuts - it's hand sewing and a good light.

Here is a picture of one lapel pad stitched and the other not. You can clearly see the difference it makes to the roll and lie of the lapel - once pad stitched the lapel falls naturally and easily to the outside of the jacket front, while the other side just wants to stand away. This hasn't been pressed yet either.

I know my photography leaves a lot to be desired but the above pic shows the outside of the lapel and you can just about make out tiny ripples in the fabric - this is the pad stitching - barely visible but a signature mark of a hand made jacket.  I don't think I have perfected the technique yet as I end up with pad-stitched fingers too! See, suffering for my art!

Ultimately this jacket is a slow make, and not helped either by my wayward sewing projects over the holidays instead of concentrating on this. But there has been some progress.


I've gone from this..............                                            and this...................

to this .................and this.....................

And here's the very ugly, but beautiful to me, insides. The fronts are taped along the lapel roll lines, the front edge of the jacket and part way along the hem. This ensures the fronts hang perpendicular to the floor when the jacket is open; catches the raw edge of the constantly fraying canvas and gives you a great sense of achievement when it's done.

Front

The button holes are bound in the shell fabric and hand stitched in place. I added a much softer and looser canvas across the shoulders and back for extra shaping and firmness.


You can see how this fabric frays like mad - so every raw edge needs some sort of treatment otherwise the whole jacket would unravel like a jumper.

Sorry I don't have  pretty pictures for you to look at - maybe soon.


I have teenage son's summer school graduation in two week's time - that's also coincides with my 10 weeks construction prediction. Haven't started on sleeves yet or lining, shoulder pads still to do, finish the collar and front facings!
Will the vintage jacket be completed on time?
Stay tuned.....


Thanks for reading. Ruth

Who's Going to Know?

Work on the vintage jacket has begun in earnest.

I've no more wee projects hanging about and as I'm something of a monogamist when it comes to making clothes, there's nothing left to do but the jacket. I've opted to do the full tailoring thing on this jacket - I'm hoping it'll be a good method of slowing down, taking my time and maybe even taking a bit of pride in what I do. The fabric hasn't even seen the machine yet. After the toile (muslin) and the alterations, came the cutting out of shell fabric and organza. These two needed to be joined together - no iron-on here. In fact I really can't use fusible interfacing, every time I try it just bubbles the fabric and looks bad. So the machine went under cover, the chair was lowered, the angle-poise positioned and many needles were threaded. 

Green = sewing lines, basting shell fabric & organza underlining

Orange = large O

Pink = small O

Lilac = fold lines, stitching lines, squares, waist and centre back marks.

I cheated a bit on the canvas interfacing and marked this up with pens instead.

 I mean, really! 
You'd think I'd nothing better to do with my time. And now I have the doubts..........

Who's going to know that I spent a week sewing all this, only for it to be ripped out and never seen?
Will it make a difference to the finished jacket?
Am I going overboard on the haute couture thing?
Do I know what I'm doing?
What am I going to buy my husband for Christmas?
Why am I here?
What's the meaning of life?

Any answers to the above questions gratefully received.


Thanks for reading. Ruth

Vintage Prep

After all the quick sewing projects that I've done recently it's now time to slow down and concentrate on a detailed and complicated pattern. At 4.30pm it's already getting dark here and there's nothing I like better than sitting on the sofa catch stitching interfacing to a hem or pad stitching canvas on a lapel in the long winter evenings.

I've had this pattern for a while now and I've been building up to getting it out of the pattern stash and cut out. It's a fitted jacket, fully tailored and has a staggering 18 pieces! And just look at the shape of Nos 4, 5 and 7. I bought it from an Etsy seller in Canada - Pattern Vault.

I once read somewhere that it takes an experienced tailor 100 hours to complete a handmade jacket and he knows what he's doing.

Right, now for the maths.....

On average I sew about 15 hours a week (sometimes more, sometimes less)
I don't completely know what I'm doing when I make a jacket, so allow for 4 hours a week reading and researching.
Add to that I probably won't have all the haberdashery and notions that I'll need to hand, so another few hours while work is held up until the required items are purchased.
Practise time on button holes, hand-stitching techniques, mucking about with the fabric etc = 2 hours
Ripping out and starting again = minimum 1 hour

Vintage Vogue 2476: circa 1940, reprinted 2000 

So all in all, I'll be lucky to achieve 10 hours of constructive sewing completed a week. Therefore, this jacket will be ready for wearing in 10 weeks' time - ha ha ha!

While it is a vintage design, I believe it is a Vogue reprint, but still, the fashioning is pure 1940s - gorgeous.

The chosen fabric is a wool and silk blend in navy, blue and black from My Fabrics. Quite a loose weave, so will probably need underlining.

I've picked a navy with emerald green stripe for the lining (also from My Fabrics), but I may change this. Believe me I've plenty of time before I even get round to cutting the lining. I was thinking of hot pink or solid green for a shock of colour. Any ideas?

I've two weights of canvas interfacing: looser and more flexible for the collar and lapels to keep them shaped but soft; and a stiffer, tighter weave for the peplum and hems.

I've bought steel buttons with a 'coat of arms' sort of motif.

And, NO THREAD. Would you believe it? I've thought of everything except the glue that will bind the whole thing together.

Anyway.....

After Clover was hemmed on Sunday, I brought out the poly-cotton for the toile (muslin) and managed to get this made before bedtime.

Now, while I admitted before that I don't usually make a toile (muslin) with this one I did. It is vintage sizing; the waist is very fitted; and those weird shaped fronts definitely need to be practised at least once.

If you're wondering why there are no sleeves - Clover used up all the poly cotton!

The pockets flap out like this and the front overlaps the middle front - not seamed together as usual - careful topstitching required here then.

The waist is really fitted. In fact, it fits Doris like a glove, but she has a waist that is about 7" smaller than mine, so some adjustments needed in this region. If I stand still and straight backed and don't breathe, I might get away with it.

So, dear readers, bear with me over the next 10 weeks or so as production from the sewing room focuses on this couture item. I'll keep you posted if anything interesting comes up during construction but I imagine it will be a tedious read ....today I pad stitched half of the left lapel [picture], tomorrow I will do the rest  -  yawn!




In the meantime, I'll publish some photos and descriptions of Ones I Made Earlier that either might inspire you or at least waste a few moments of your time.

Thanks for reading. Ruth

One I Made Earlier

 This is one I made earlier -  last year actually. In complete contrast to yesterday's 3 piece jumper, this jacket took 6 weeks to make. It was my first tailoring adventure so there was a lot of learning along the way.

I depended heavily on Claire's own book of Couture Techniques and the pattern instructions as well. Most of all I trawled the internet looking for advice and techniques that all you other sewers could provide - and I was not disappointed. Really useful was Paco's tutorial on collars and lapels and general tailoring and Pattern Review's Inside an Armani Jacket. If you are making a tailored jacket I cannot recommend these sites highly enough.


As I've already completed this one I can't show you the complicated inside construction or the millions of hand stitches, but I can show you some details. 

This project was a labour of love.

The fabric is a fairly heavy wool, heather-like pink with a small fleck bought at my local fabric shop - but not cheap.
The lining is a beautiful rich burgundy satin that just makes the jacket slip on and off effortlessly.

The sleeves were sewn at least three times on both sides until they were almost perfect (I can still see the flaws).

The lapels were measured to the millimetre about a hundred times to try and make sure they matched.

Then I couldn't decide on buttons - so opted for covered ones.

However, I've worn this jacket loads of times and despite the colour it goes with almost anything.

             




V8333 
MISSES’/MISSES’ PETITE JACKET: Semi-fitted, lined, partially interfaced, below waist jacket has princess seams, slightly extended shoulders, shoulder pads, in-seam pockets with pleats, side panels (no side seams), shaped hem, and long two-piece sleeves with buttoned vents. A: underlined and couture construction techniques.

Here is virtually invisible pad stitching holding the canvas interfacing to the back of the lapel for stiffness and shape.


You can just see the luxurious lining and my label.

Here is the inside sleeve detail - the sleeve linings were sewn by hand. 

Detail of the hand bound button hole and the covered buttons on the front.






 And the sleeve vent. The pattern called for only one button here but I thought three looked better. I did cheat here 'cause I was getting a bit fed up by this stage and wanted the thing finished - I didn't make button holes - the buttons are sewn through all thicknesses to keep the vent closed. But, only you and I know this - it's not obvious when I'm walking down the street.

Finally, me wearing the jacket demonstrating the hidden pockets in the jacket's side pleats.


Sorry about the dark pictures but the sun was just going down.


Today it is paired with V1136 vintage Vogue dress and jacket, but I made the dress into a skirt in the finest burgundy wool, and on top a burgundy chiffon scarf blouse.




I'll publish posts about these items soon.


I've made this jacket since last year in Linton tweed - I'll try and post this one too.

Hopefully, I look a little better than yesterday's photo.


Thanks for reading