Zipper pocket Blazer for travel

In October I took a trip to Italy, a place I love and had not been to in quite a few years. Along with brushing up on my Italian all summer I did sew a few items to take on the trip. Top of my sewing list was a multi-purpose and all-season jacket I could dress up or down.  Once I decided to make a jacket I thought about fabric and then pockets - who doesn't love a plentitude of pockets when traveling? 

While at home I don't wear many garments of ponte knit but it is an ideal fabric for a travel wardrobe. I ordered some swatches from Mood and ended up using this fabric  which is their version and comes in a lot of colors. Way before I decided to make a ponte blazer for travel I had seen this Veronica Beard jacket (which they call iconic and travel ready). I loved the idea of the zipper pockets and saved it to my ideas board. Here's a look at the jacket after 3 weeks of travel and many times being folded into my suitcase when not needed. 

I am sold on this fabric for travel pieces. I also took denim jeans as well as a pair of ponte pants so I had travel outfits based on navy blue with plenty of different color tops and sweaters. I buttoned it so you can see the lapels and center front but I don't think I ever wore it buttoned like that. 

Looking at the ready to wear version it had several features that I really liked. Of course the zipper pockets, but it also had a peak lapel which I really like these days. But single breasted, not double. You very often see a peak lapel jacket which has that double breasted front (where the front edges cross over the center front line and have 2 or buttons horizontally placed. I didn't want that so I had to figure out how to change an existing pattern.  I used a pattern I have previously used here and here. The inspiration idea is from this jacket (images from their website)

So I went to work altering that quasi-vintage Vogue jacket pattern to have the peak lapel on the single breasted version. Now that I have made it twice I think the lapels are a bit skimpy in Versions A, B, C but perhaps that was the look then. 

Here's a look at the different lapels on the 2 versions, you can see there is a big difference in the lapel width and shape.  Below is my traced pattern  piece and the changes I made to blend the two versions. 

Actually this is a combo of info on my fit adjustments as well as the lapel design detail. I grafted the shape of the peak lapel onto the jacket front for Version A,B.C and then made new facings from that redesigned front. 

Instead of welt pockets I made a facing using lining fabric, and created a rectangular opening for the zipper, which I then basted into place and sewed in (after a LOT of basting to make sure it was in just the right place.) Then once both zippers were looking reasonably even and centered I stitched them in by machine. Then I created a pocket bag on the bag attached to the edges of the rectangle. That was later covered by the lining. 

At first it bugged my how the zipper pulls hang down instead of remaining horizontal but now I think it looks fine. These pockets did their job and I could go out to dinner without carrying an extra bag for sunglasses etc.  Here's a look at the jacket on the dress form before putting in the lining or hemming.  Once I had done the lining I got the idea to include more inside pockets, so I added breast pockets as well, they were also very functional but not very beautiful so I won't show you those :) 

This fabric presses really well and I did use a silk organza press cloth to prevent shine on the fabric. 

But it is also springy - the same feature that gives it the wrinkle resistance means you have to press it well to get the creases. I basted the lapel and then pressed it with steam to get a good crease. I used weft interfacing on the body of the jacket front and then knit fusible on the lapel and collar facings. 

I was really pleased with this jacket, it was the right weight for the trip. And the weather was strange in a global warming kind of way - much warmer in October in Italy than any other time I have been there. Which often required scarf and gloves at night and a wool jacket - but this trip it was really warm almost no sweaters required.  Here I am on a high tower overlooking the cathedral in Siena - it was a bit chilly that time although we warmed up quickly with aperitivi in the Campo. 

And just a week later in Florence it was back to short sleeve tops and barely a jacket required. Definitely odd weather but I wasn't complaining! 

Buon Anno a tutti!   Happy New Year to all. Thanks for reading and I wish everyone a great year with health, happiness, great travels and fantastic fabric choices!

Beth

Summer Blazer Jacket - Vogue 2853 - Part 2

Ready for more details on sewing a summer blazer? It is just about finished so I will not have more than a week between posts. Although as I mentioned in my previous post - I tend to get sewing fast and sometimes forget to take any process pictures, however I can illustrate the same steps which I have used on other jackets. I have made a lot of jackets!

Onward with this one. After cutting out, the next two important steps are marking the various pieces and applying the interfacing. At this point I do tailor's tacks for all the dots or other indicating marks.

This photo shows the various interfacings I use on a jacket. While the fabric for this one is a lightweight cotton seersucker, the interfacing is just about the same as I use on a winter wool.

I read somewhere recently (can't recall where) that the difference between home sewing and ready-to-wear clothes is the amount of interfacing. If you open up a better RTW garment you will see interfacing everywhere,  hems, pockets, almost every seam junction. I agree with this and use a lot of interfacing, about 90% of which is fusible. I love fusible intefacing, it is like magic! Ok slight exaggeration but it is so useful and like seasonings in cooking - I add different ones based on the fabric, and what part of the garment it is. 

For this jacket I interfaced the jacket body front in lightweight weft interfacing. Same on the under collar which you can see in the photo above (top piece with the seam). Weft interfacing is great for tailoring to give body and support. Then I used Sheer Elegance Medium fusible on the upper collar and the upper lapels, and the side front pieces. You can see that I do the tailor's tacks first, while the paper pattern pieces are still attached to the cut fabric. So the thread tailor's tacks do get stuck under the fusible. If I am concentrating I will remember to pull the thread tails away to the edge so I can yank them out easier when finished but I usually don't have trouble removing them. Once in a great while I sew a tricky corner or junction and upon completion there is one stinking thread from a tailor's tack that will not budge so very precise extraction is required. Usually in a very visible spot and in a color that is very distracting. But patience and a tiny tweezers usually do the job.

Now to the pockets. This jacket pattern has a rather tricky welt pocket which incorporates a front vertical dart. I do look at the instructions each time I have used this pattern, just to make sure I don't slice anything before its time. 

Here you can see that I put the interfacing on the jacket front, then replaced the paper piece, did the thread tailor's tacks and finally cut out the wedge in order to sew the dart and then make the pocket. If you slice this open before interfacing then you have a flippy-floppy piece that might threaten to unravel or get stretched out of shape. By interfacing first then you can make a nice clean slice with the interfacing covering every fiber. 

Next step is to sew the vertical dart and attach the side front piece (which is also a bit tricky as the center front pieces have a horizontal slice going in them).  To see this pattern piece and the tricky dart/slice feature take a look at this previous post, there is a picture of the front pattern piece.




Then I thread trace the welt pocket, both the horizontal line and the vertical lines at the edge, about 2-3 inches for those vertical pieces so when I put the pocket welts on them I can see the end point for stitching. I mark and thread trace on the interfacing side of the jacket but the business side is actually the right side of the fabric, where you will be sewing the pocket welts.



Searching though all my previous posts I don't see one where I took pictures of the welt pocket process, step-by-step but I know there are zillions of tutorials available.

Up next, making the pocket flaps. Yes - a whole post just on pocket flaps. Suprised myself with that one - more involved than I previously realized :)

By the way - some interesting comments on my previous post about pinning vs. pattern weights. Whatever works for you is great. I know a lot of people use a rotary cutter instead of scissors but I will never try the rotary cutter for cutting out a garment. I just can't get the hang of that thing, too clumsy and know I would slice something important like my finger or the center of a pattern piece! So better to stay safe with my nice sharp shears. 

Interfacing info:  I use various fusible interfacings from Fashion Sewing Supply. The top 3 that I most frequently use are the Pro-Weft Supreme, the Pro-Sheer Elegance, and Pro-Tricot Deluxe. 

There is a stack of new patterns waiting to be tried and a few fabrics I want to start on so they can be made into wearable summer garments - however in the summertime is it better to be sewing or out doing things?  Outside in this glorious weather almost always wins! 

Here's hoping you have a glorious Summer Solstice weekend (or autumn in other parts of the globe)!

Beth

Today's SunnyGal garden photo - gladioli that rebloomed from last year's bulbs. My favorite kind - the repeat performers. 

These pants are amazing!

Pants are not my favorite think to sew, I almost never make them for myself.  However this week I am making some pants to go with a suit I made for Rita last year.




Simplicity 2700  Amazing Fit pants
with pattern pieces for slim, average and curvy figure types.
As I said in the title, these pants - or at least the pattern -  are amazing.   They fit well as designed on a variety of figure types. This is the third time I have made some variation of this pattern.  


I am using the average fit - and then did some adjustments in the waist. 


For the fly front I used the Sandra Betzina fly front method - blogged about by many other sewers.




The pants are stitched together and waiting for a try-on so until then no photo of finished item. I take a lot of liberties with patterns and am not exactly an instruction reader.  Sometimes on pants you can see an outline of the pocket bag on the leg of the pant and I think that looks odd, to avoid that I make a few changes.


I cut out the pocket pieces in grey bemberg rayon lining fabric using the pattern pieces, and then put an overlay of the wool fabric on the edge, stitched that together and recut the piece, so that it is edged with the wool fabric but mostly lining.    Here it is already sewn to the pants front, turned and pressed, and understitched.

I make the same modification on the back of the pocket, use the lining on the lower half of the pocket and the wool fabric on the part that shows, extending that about 2 inches into the pocket.   Then using the dots on both pieces I marked with tailor's tacks ( you know how much I love them)  I match the pocket back to pants front and pin.  Then I sew the bottom seam of the pocket.    With the changes made sometimes the bottom of the two pocket pieces don't line up but that does not matter, the important thing is to get the top and side to match and lay flat.
Lastly I stitch across the top and side seam, to secure the whole thing and keep it flat.





Now I have a pocket that has disappeared.  No one needs any extra lines or bumps on the front of the thigh.   These pants will be fully lined so the pocket with be hidden inside the lining.


With this pattern, the back waistband is split in two pieces, very much like menswear pants and a great way have that place to adjust fit.  I have been doing this on a lot of waistbands but the pattern does it for you.  Not exactly "amazing"  but a good change in their design.
The resulting waistband pieces all look very similar, so I use chalk to scrawl letters on the various pieces, indicating front, back, center seam.   Scrawl being the operative word.  Not much different than my actual handwriting.   But it will disappear into the garment.  Go ahead, write on your wrong sides!  very liberating and immensely useful.  Does anyone else write on their fabric?




We are supposed to get up to 2" of rain today - so a perfect day to stay inside and FINISH
so many things that are on my sewing table.  

















Here is today's SunnyGal garden photo.   On a day without rain last week, I took this photo of one of the azaleas that has burst into bloom.  I want a new dress in this color !

Coat progress and a question

It was a blustery day here,  perfect to stay inside and sew.  OK - we don't have blizzards or below zero temperatures - but for California it was downright chilly!  My coat is coming along better than expected.  After my last post I played around with my muslin to find the collar roll line, even though I said I was going to skip it.  But this wool is so perfect for steam shaping, so persistence has paid off.    

Before I get to the collar - I have a quibble with the pattern companies on pockets.  On many of the patterns for coats, and dresses too, the pocket is sewn right on the side seam allowance, at about 1/4" from the cutting line.  Then when the side seam is pressed the pocket seam and fabric is really only 3/8" or so distant from the side seam.  I don't like it when I can see the pocket lining, when the wearer moves or sits down.  The best hidden pocket should disappear in to the seam, wherever it is.  I realize that the pocket bag on the back can be of self fabric, but even then that seam could show. This oversight by the pattern designer can be remedied by adding an addition to the side seam at the location of the pocket, and then sewing the pocket pieces on that.  Thus the pocket is tucked about 1" or more away from the seam and should stay hidden.  


While I like multi-size patterns a lot, I think the pattern companies fall back on the excuse of simplifying things like this to eliminate features that you find on higher quality ready to wear or many vintage patterns.  One more reason to look closely at vintage designs, there is a wealth of information in those older patterns and books.


Here is my coat thus far, with under collar sewn on.  Lots more to do before I attach the upper collar and lapel, mostly trim that seam and catchstitch it above and below that seam.  The interfacing used is Pro-Tailor Deluxe Fusible from Fashion Sewing Supply.  

Here is a look at the under collar.  Once I figured out on the muslin where the collar roll line was, I transfered that marking back to the pattern piece.  Then I cut a 2nd layer of interfacing on the straight grain of the interfacing (as opposed to the original layer of interfacing which is on the bias just like the undercollar.  After that I folded the collar at the roll line and placed it around a pressing ham, and steamed it, then left it overnight.  In the morning it was as seen above, with a nice soft roll that will stay, and support the upper collar. 

My question for the day is the following:  Velvet upper collar ?  or continue with same fabric, black wool?   This is just a test look,  black velvet draped over left side and wool on the right.

The velvet looks a bit odd because of the flash.  I was sure I wanted a velvet collar, to make it a bit dressy and I don't like itchy wool on the back of my neck.  It could look like some weird Victorian gentleman's coat.  Which is a nice look but not what I was going for.  I have to see it in the daylight tomorrow but I am almost sure which way to go.

How do you solve the itchy collar dilemma?   Or do you avoid wool entirely?  Let me know what you think.   

Next post, adding darts on the back and my adjustment to the pattern's lining design.

Happy Holiday Sewing,    Beth