Teal + Brown Floral Print Reversible Moto Jacket – BS 2013-11-117 part 2

So with the pattern sorted next up is fabric prep & construction…

Fabric & Notions Used

This being a jacket to match my new reversible(ish) pencil skirt, I used mostly the same material as the skirt, namely…

The only new ingredient was Bronze Poly Lycra Leatherette from Tissu Fabric, a cheap fake leather for the collar edging – because I can’t be bothered with non-washable real leather! I do wish I used a better quality faux leather though. The leather-like coating is already rubbing off after a few wears. Oops. I do like its look while it lasted though – it’s more copper (my favorite metallic color) than bronze.

2#Now the main fabric from Mood I love more and more. It was quite easy to work with. And the color while a bit dull on the bolt has proved to be a real team player in my wardrobe.

However, for this pattern, I was still a bit worried about whether this  sweatshirtish fabric has enough heft. Many reviewers complained about the huge collar not standing up right like in the cool Burda photos. Burda’s recommended fabric – ponte knit – simply doesn’t have the heft to keep the single layer collar standing proud and tall. Nancy K suggested that the leather edge binding might provide the requisite support. But then the inner part of the collar – the stand & turn part – would still be a bit wimpy. I could have added facing to the fronts and collar as Allison C suggested. But I was a bit unsure about the fabric initially, so didn’t buy yards and yards of it.

Anyway, I decided to try felting the portion for the jacket. Big mistake. Even though it’s suppose to be wool acrylic blend, it didn’t felt at all after being put through hot wash & tumble drying. It just pilled. And softened further!!!??? Oops. Thank goodness I had this pill shaver gizmo in my sewing gadget cupboard. It managed to get rid of most of the fuzz, though it could do nothing about the slight softening. Lesson learnt: don’t be stingy – test on a swatch! BTW the fabric does take gentler wash cycle & air drying. I like to pre-wash almost everything to weed out divas from my closet.

Construction Notes

As you guessed it, I’ve ignored the pattern instruction again. It’s more atrocious than usual. I’m tempted to rewrite it even though I have no need of it. But that of course wasn’t why I ignored it. With the pattern changes I made (eg cut on peplum) & the techniques I’ve already chosen for the matching skirt, the instruction would have been useless to me anyway. So just some construction notes below in case you want to try out some of the same techniques…

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  • Like with the skirt I’ve flatlocked almost everything – even the sleeve / armscye. The only seam that’s not flatlocked is the left front princess seam with the zipper tape. I think theoretically it could have been, but the zipper teeth wouldn’t feed properly. So the fabric edges was flatlocked first, then zipper & seaming basted in place, then topstitched along either side of the flatlock edge finishing.
  • Sleeve zippers are attached in the same way as the skirt. The bodice front zipper tape is covered with the leatherette rather than left exposed like on the sleeves.
  • As I’m using leatherette rather than real leather, the front & collar edging is only done on one side of the fabric and applied like bias facing tape (so with seam allowances). But I had to use Stitch Witchery to fuse this leatherette to the fabric and to itself to keep it flat. Rather than top-stitching the tape, it’s machine sewn on the outer edge & hand slip-stitched on the inner edge.
  • The hem is again 2-thread wrap overlock edge finishing like on the skirt. There’s no peplum facing on my reversible version – the whole jacket is single layer.
  • Instead of snaps for the right front princess seam closure, I added hook closures to match the one on the skirt AA side. So again, I folded petersham ribbons in the same way as on the skirt to act like frog closures, fell-stitched these in place, then sewn the hook & eyes to the ribbons. These were placed just below the waist, at the underbust, above the bust, and at the chest (spaced evenly of course).

Style Shots & Mug Shots

So how does it look? Before the reveal let’s have a reminder of the design & pattern photo again for comparison…

0plans-jackets0-pat-jacket-BS2013-11-117_1
Burdastyle 2013-11-117
0-pat-jacket-BS2013-11-117_2
0-pat-jacket-BS2013-11-117_tech

 

And here’s my finished version…

 

J_4-style1-1J_4-style2-1J_4-style2-2J_4-style2-3

J_4-style4-2J_4-style3-1

J_4-style5-1
J_4-style5-2J_4-style5-5J_4-style5-6

J_4-style7-1J_4-style6-3

Final verdict

I was planning to reuse the pattern, but I’m on the fence about it after my collar turned out just as floppy as everyone else’s (apart from those smart Russian / Polish ladies who made theirs with fabric worthy of cold weather coats).

Having said that, I’m very pleased with this particular make. The fabrics, the pattern, the details just came together beautifully. It’s got the perfect blend of edginess & femininity for my cup of tea. And like its matching skirt it’s reversible-ish too! Perfect for a style commitment-phobe like me!

Teal + Brown Floral Print Reversible Moto Jacket – BS 2013-11-117 part 1

OK, there’s a fair few photos to show for this project, so I’m mixing things up a bit and splitting this into two posts. First up, the pattern & alterations.

The Design & Pattern

0plans-jackets0-pat-jacket-BS2013-11-117_1
Burdastyle 2013-11-117
0-pat-jacket-BS2013-11-117_2
0-pat-jacket-BS2013-11-117_tech

Doesn’t the jacket look so cool in Burda magazine’s photos? I was seduced. Ever since I sew Marc Jacob’s pastel moto jacket I wanted one in non-traditional color & fabric. I like the simple style lines. It offers a load of possibilities for showing off my double-face fabric: color-blocking, visible reverse side.

Size Used

34 rather than recommended 36. Because it’s closes to my Jacket Block which I’m using to guide fitting changes.

Changes Made

Fitting changes

I’m still trying to work out the best way to use my Jacket Blocks for altering commercial patterns to improve the fit. Here’s my current not so scientific approach:

  1. Lay the commercial pattern over my Jacket Block aligning at CF / CB waist. I’ve traced the pattern onto tissue paper, but also kept my Block on tracing paper to make this easier.
  2. Compare & decide what needs changing, and by how much. Now the how much is a bit of a dilemma, especially when my Block is currently more a Sloper with only the wearing ease and no design ease. There’s the risk of removing all the design ease and end up with the same jacket over and over again. So I decided to try this: Where the pattern doesn’t match the Jacket Block, I check if it at least matches the Moulage & Top/Dress markings before deciding whether to change or not. (My Jacket Block also has markings for the Moulage & Top/Dress Block’s key reference points like bust & shoulder points, bust/waist/hip widths.) For example, I didn’t increase the CF  pattern piece’s bust width to meet the Jacket Block bust points because it already meets the Moulage & Top/Dress Block bust point. And while total front bust width (after FBA) is less than my Jacket Block, it’s close to my Top/Dress Block bust width; add to that the back Bust width is slightly wider than my Jacket Block (at princess seam), so I think I have enough bust ease.
  3. Where the shape is really different from my Block, and standard alteration doesn’t get it close enough, I sliced & diced the innard of a pattern piece to pull the seam line into a shape that more closely resemble my Block. See the changes to the Front & Back side bodice pieces for example.

So using my Fitted Shoulder-Princess No-Shoulder-Pad Jacket Block (what a mouthful!) as the yard stick, these are the changes I end up making:

  • Short Waist Adjustment: This time shortened at the chest level so the armhole is smaller / higher like on my Block. Sleeve cap height also shortened to match.
  • Low Bust Adjustment
  • Front-Back Body Shape / Full Bust Adjustment: Done the unorthodox way mentioned in my previous post. So shifted some of the dart shaping from side seam to the front and back princess seams.
  • Sloping Shoulder Adjustment
  • Uneven Shoulder Adjustment: Done the Cabrera-Meyers “Classic Tailoring Techniques: A Construction Guide for Men’s Wear” way, except with tissue pattern rather than the actual fabric. See my summary in a previous post.
  • Short Arm Adjustment: Partly done in the lower sleeve area (not hem), and partly in the sleeve cap area to match length removed from bodice armscye for Short Waist Adjustment. So the sleeve cap is shallower.
  • Widen Sleeve slightly to give me 2″ ease at bicep level. A few other people have complained that the sleeve is too narrow for them, even with stretch fabric. So you may want to check the widths. I have thin arms & could have gotten away with no widening. But 2″ sounds more comfortable for a jacket. I widened at the back sleeve seam. This also gives me a bit more ease in the sleeve armscye – the original pattern doesn’t seem to have any ease. I also followed Jeffery Diduch’s instruction in Threads July 2013 for guidance on how much sleeve armscye ease to include where. I kind of winged this as the pattern doesn’t have as many match point as in his pattern. But I subsequently found his online instruction on how to check the ease of these commercial pattern sleeves.
Design changes
  • Shortened sleeve further: Removed the extra 3″ length in sleeve as I want a more traditional Moto Jacket sleeve.
  • Added sleeve vent & zippers.
  • Removed the waistline seam by cutting the peplums as one with the bodice pieces. I was worried about thickness of multiple layers at intersecting seams.

Rather than testing the fit next with muslin I cheated with pinned pattern tissue. Looks OK on Q me thinks…apart from that humongous collar which needed slight shaving / shaping near the collar points so the fabric wouldn’t get all bunched up when the front is zipped to couple of inches above the bust (like in the Burda catalog photo).

So here are my final patterns. I thought I was going to reuse this pattern, so transferred the patterns to card stock (minus seam allowances) to use for fabric cutting.

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Tomorrow: The fabric, construction notes & reveal!

 

Tentative Fitted Jacket Blocks

Before I show you the matching reversible(ish) Burdastyle 11/2013 #117 moto jacket I suppose I should catch you up on my jacket block(s) experiment, since I used that as my fitting yard stick for this jacket.

moulage & knit sloperRemember my Kenneth King moulage from way back when? And the Top Block that I muslined backed in January? I never did show you the Jacket Block that’s derived from the Top Block did I? Well not properly anyway. You kind of saw it in my mess of a WIP block patterns. I never did muslin the Jacket & Coat Blocks.

Since this moto jacket is fitted & without internal structuring, I decided to make a few tweaks to my Jacket Block before using it to adjust the Burda pattern.

The revised Fitted Jacket Block is still mostly based on Kenneth King’s Moulage CD book. But I cross-checked against my two other pattern-making books that have instruction for converting basic bodice block to jacket block (Connie Crawford’s Patternmaking Made Easy. and Dennic Chunman Lo’s Patternmaking: Portfolio Skills). They all do it slightly differently. KK’s version seem to have the most ease. Dennic mentions the tighter fit of modern designs, so in the end I reduced the amount of ease to:

Shoulder out 1/2″ up 3/8″
Cross-front out 0″
Cross-back out 3/4″
Underarm out 7/8″ down 7/8″
Bust out 7/8″ (total ease: 3-1/2″)
Waist out 5/8″ (total ease: 2-1/2″)
High Hip out 5/8″
Hip out 7/8″ (total ease: 3-1/2″)
These are all relative to the skin-tight 0″ ease moulage.

The darts were shifted only 3/8″ width-wise. I didn’t bother lowering the waist for this Fitted Jacket Block, especially as this particular moto jacket will have no interfacing nor lining, so no extra layers accommodate.

Next, I had to pivot the horizontal bust dart into a shoulder dart to create a Fitted Shoulder Princess Jacket Block.

moulage-v-jsp

And as the Burda jacket won’t have shoulder pads, I had decrease the shoulder ease / extensions and account for my uneven shoulder.

j-princess

So my final block for checking the Burda jacket fit looks like this compared to the Moulage:

moulage-v-jnsp

 

 

 

Teal + Brown Floral Print Reversible Pencil Skirt

Pencil skirts should be dead easy once you got the fit sorted right? But the Artiste in me obviously can’t live with a life that easy. So the first 3 pencil skirts this year will all have torturous kinks to them & take indecent amount of time to make.

First out of the studio…a sporty reversible (almost) skirt that will have a matching Moto Jacket based on Burdastyle 11/2013 #117. And maybe even a matching Aviator Cap!

Style Shots & Mug Shots

S_4-style1-1S_4-style1-4

S_4-style2-1S_4-style3-1

S_4-style4-4S_4-style4-5

S_4-style5-2S_4-style5-4

S_4-style6-2S_4-style6-5

S_4-style6-8S_4-style6-9

Fabric & Notions Used

  • 2Teal & Brown Wool Acrylic Print Novelty Knit from the sweater knit section Mood NYC bought during my pilgrimage there last year. I was a bit unsure about it to start with. It feels like sweatshirt material on the teal side – and I don’t really do sporty. But the contrasting brown print on the other side made it irresistibly edgy. So I took the plunge. Sadly it’s not available from the Mood online shop.
  • 2013-sewing-bits-2YKK Excella #5 (5mm teeth) Metal Zippers from Sil Thread. They have these in a range of tape colors which don’t seem to be available anywhere else. I bought two long separating zippers one and had Sil Thread split them into 6 zippers ($1 per cut / bit added on). Should have ended up with 2 separating & 4 closed end zippers, but I only got 1 separating one in the end. Forgot to check before I headed back to London d***it.
  • Petersham Ribbon for facing / reverse side contoured waist band. Mine was gifted to me by my thrifting friend. It looks like grosgrain ribbon, but is made of shapable fiber (cotton, acetate, rayon; not polyester) & the ribs run edge-to-edge, so look scalloped. MacCulloch & Wallis in London carries them.
  • Vilene Bias Tape interfacing. Skirt hook & eye. Stitch Witchery fusible bonding web.

The Design & Pattern

Design:

0plans-skirtsUsed princess seams for color blocking with both sides of the fabric. I was a bit unsure whether to have the print on the side panels or center panels. Initial design has it on the sides on the assumption that the darker color at the sides creates a slimmer look.

Block Used: One Dart Pencil Skirt F&B

S_0-pat-block
My original Pencil Skirt Block has 2 front darts & 1 back dart per side (ie 6 darts altogether). And you can see in the design I was going to convert the back dart & one front dart into princess seam. But because the fabric seemed a bit thick for darts I ended up drafting a one-dart front. It doesn’t fit as well as the two-dart front – I have tummy & hip bone bulges. But I reckon it’ll do fine in this slightly stretchy fabric

Design Changes Made

S_1-patf

  • Converted the darts to princess seams. The back princess seam has shaping above & below the hip – basically connecting the waist & hem darts. The front princess seam has shaping only above the hip (waist dart). Below it was just a style line which slant slightly towards CF to add illusion of more shaping. I ended up shifting the front princess seam slightly towards the CF to get a more balanced color blocking effect. Hopefully the slight stretch of the fabric will compensate for waist dart shaping not in exactly the right place.

Construction Notes

This project has a few firsts for me. I tried a few different seaming techniques on scraps. But in the end decided to go with the following combination which was inspired by a Jean-Paul Gaultier knit skirt I had in my youth.

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  • First time I used flatlock seaming. And boy was it scary. For the vertical seams one side has no seam allowance and the other side only 1/4″. They’re sewn wrong sides together on the overlocker with 2-thread flatlock (so seam allowance sticking out). Then pulled in opposite direction to flatten the seam. Not sure if I did it correctly, but mine end up overlapping that 1/4″ & I had to use blunt sweater needle to coax the underlayer’s 1/4″ SA flat – it was folding in half, so won’t lay flat. Flatlock seam just look so delicate. Fingers crossed the seams won’t pop open during wear. (Maybe I should carry a back up skirt around if I’m wearing this outside the house?) You could theoretically reinforce the seams from the inside by fusing a thin strip of interfacing over the seam as recommended by various serger books. But then it won’t be reversible. And I can’t decide on which color blocking design I prefer.
  • First time I used 2-thread wrap overlock edge finishing. Again scary with no seam allowance. And the thread loops around the edge look so vulnerable to snags. Plus stretchy fabric means waist & hem risk stretching out of shape. So I tried to stabilize both waist & hem with Vilene Bias Tape fused so it wrap over the edge (1/2 on outside, 1/2 on inside). Then I did another layer, but this time basted it so that the adhesive is facing out. Next came the overlock. And finally pressing to fuse the overlock stitches to the 2nd layer of Vilene Bias Tape. Hopefully it’ll tame the loopy treads.
  • First time I sewn an exposed zipper. I’m usually an invisible zipper fan, but decided to go with exposed zipper because (a) the matching moto jacket will have 3, and (b) I couldn’t figure out how to make flatlock seams work with invisible zippers. I’m not a fan of the type of exposed zipper that has the tape on the outside. So for the planned version, the tape edge is hidden. But now that the skirt has turned out reversible (almost), the reversed version does have the tape on the ‘outside’. I mostly followed this tutorial on exposed zipper with a seam, though Husqvarna’s animated tutorial for a slit version is pretty good too. The seam allowance is trimmed, then the tape edge fell-stitched on the reverse side, the bottom of the tape folded under. BTW the CB is a fake flat-lock seam because I wanted to extend the flat-lock look to the CB slit. Each side was flat-locked separately as a single layer. Then the stretch between the zipper bottom & the slit joined with top-stitching. (Except I didn’t plan properly, so the reverse side wasn’t psuedo-flat-locked all the way from zipper bottom downward.)
  • First time I used Petersham ribbon for skirt waist facing. I was hoping it would act as interfacing to stabilize the waist. In this case it also act as a nice belt / waist-band like finishing for the reversed version. It was steam pressed into a slight curve before being fell-stitched in place over the the 2-thread wrap overlock edge finishing. At the zipper, the ends were folded under and overlapped slightly so a flat skirt hook & bar can join the ends unobtrusively. I added a extra fold on the top end so that it mirrors the overlap and make a box feature over the zipper end to mimic a fabric belt buckle.

The Verdict

I’m pretty pleased with the skirt. The pattern is basic enough to be reused with different details which I hope to demonstrate with the next two pencil skirts planned.

And for a commitment-phobe, I’m relieved that it turn out reversible, almost. What keeps it from being properly reversible is the zipper. So I have to be really careful zipping up / unzipping when I wear this inside out.

So it’s onward with the matching jacket. Let’s see if I can also make that (almost) reversible too shall we?

Money Money Money – lining for the bankers?

Money Money Money - lining from Bernstein & Banleys, aka The Lining Company

The photo is from Bernstein & Banleys, aka The Lining Company’s Facebook page. This financial time print rayon twill lining is indeed on their website. (There are also a couple with pound + dollar notes for the more literal minded!) Very tempted. I’ve always liked newsprint as a visual pattern.

I also like some of the other funky prints. There’s one of shear & threads. The London cityscape drawing is quite cute too. But oh so expensive at £35.40/m! You indeed need to be a banker to afford these don’t you!

Supposedly they supply the Savile Row tailors. No wonder the hefty prices for most lining. You’d have to go 10m+ to get more affordable quantity pricing. And that’s on the plainer linings. Should I or shouldn’t I…drool…

Anyone know much about lining weights as measured in “glm”? What range “glm” is good for what application – dress, jacket, coat, etc?

 

 

 

More Piles

A job that leaves one brain dead after work, how lucky am I! Then pick a project that calls for non-standard seam and hem decisions, how smart is that! Not very obviously. So to console myself for lack of progress on the sewing front I went on a sewing related book shopping spree – I can always dream about sewing even if I don’t actually manage to do it!

The first two were prompted by sleeve pattern alteration I was doing on the Burda Moto jacket. I decided to try tips from Jeffery Diduch’s article on tailored sleeve alterations in Threads July 2013 (he of Made by Hand blog, a professional tailor & patternmaker).

But there are a lot more reference points in his armscye diagram than on the Burda pattern, even more than the Big Four (which is just one more than Burda). (E is missing from this web illustration.)  So I thought I’d check The Cutter and Tailor for recommendation on pattern books that might illuminate how to locate these reference points. I settled on these supposedly oldies but goodies:

The Modern Tailor Outfitter And Clothier – Vol I
The Modern Tailor Outfitter And Clothier – Vol II

Maybe they’re not so aptly titled anymore as they are ’1928 Modern’ rather than ’2014 Modern’. But then menswear tailoring probably hasn’t changed as much as womenswear. The whole emphasis on fit as measure of quality over ostentation sounds promising. Volume I & II both have 3-4 chapters on womenswear tailoring including pattern drafting instruction. I haven’t read these in depth yet, but quick glance shows the instruction is the old fashion procedural type with little explanation of how to adapt to different measurements. Oh boy. Hopefully there’ll be gems buried in the other paragraphs.

And so far no references to these armscye reference points that set me on this wild goose chase yet. The hunt continues. Maybe a thorough troll through Mr Diduch’s blog is in order. (Actually, Nancy K had already asked Mr Diduch the very same question. His answer is on Threads website. Doh!)

Next up is another book on principles of pattern drafting.

How Patterns Work: The Fundamental Principles of Pattern Making and Sewing in Fashion Design

I briefly considered this book when I was looking for books on principles of how anatomy & human motions impact fit & pattern design. But the table of content didn’t seem promising. So I got Theory of Garment-Pattern Making instead on recommendation by Kathleen Fasanella. (That was another old fashion anemic book and sadly didn’t quite answer the enormity of my questions.) So when someone mentions this book again in response to Marina von Koenig‘s tutorials on pencil skirt drafting, I gave it a second chance. I’m still on the fence with this one, but that’s just from flipping through the book and reading the author / publisher ‘bio’: Too many illustrations of dress forms and too little evidence of credentials. Manifesto is all fine, but I feel more reassured if Assembil Books had listed where they got their experience and insights from. I will reassess when I’ve finally read the book cover to cover.

But not now. Because I have three more fun & inspirational books in my box!

I wanted to get some books on McQueen ever since I saw the Isabella Blow exhibit at Somerset House. (Wouldn’t have minded one on John Galliano either, but seems like now that he has fallen from grace there’s no book to be had. Not unless you fork out a fortune for rare second hand ones.)

Savage Beauty is as close as I’m going to get to examining McQueen garments without getting told off by museum guards. Lots of great pieces modeled by neutral mannequins if the theatrical fashion show presentations weren’t quite your cup of tea.

Vogue one has mostly editorial photos, many quite beautiful and not as aggressive as the runway presentations.

But at the moment I’m savoring the Life and Legacy bio. There are less inspiring photos here – mostly runway photos and only used to illustrate the collection summaries. Instead, the inspiration comes from the words. I love the details about McQueen’s Savile Row apprenticeship, the stints with various 80s designers as a cutter afterward (didn’t know he worked for Romeo Gigli – a 80s/90s Italian designer I also like), the Central St Martin training, the early struggles (so glamorous yet so impoverished). I’m inspired by how he turned out cutting edge collections on shoe-string budget while living off state benefits. (Galliano supposedly did the same when he first showed in Paris, having to resort to cheapo lining fabric for his geishaish collection.) I love that iconic garments can be created from seemingly uninspiring materials (where as sometimes the most expensive and exquisite fabrics get turned into frump).

Yes, some of his designs are a bit offish even to me – really not sure about the bumster trousers. No one’s perfect. But I love his mix of tailoring and gothic romantic cutting edge.

Here’s a quote from Savage Beauty worth considering:

“[I design from the side,] that way I get the worst angle of the body. You’ve got all the lumps and bumps, the S-bend of the back, the bum. That way I get a cut and proportion and silhouette that works all the way round the body.”

It really resonate with me because I find a few of my makes less than flattering from the side view. Love the front and back. But not the side.

While I have no ambition to be a designer (nor a professional tailor), sewing for myself (and styling the outfits) are about the only creative outlet I allowed myself. So these little gems of insights from the professionals are real threats. If only they all design for non-model bodies!

Blocks? Check. OK, now what do I do?

There are times when things just go round in circle. Or off on a wild tangent. You want to do A. But wait, you need to do B first before you can do A. Oh, and B need C first. And on and on.

It’s been one of those times. I thought with my skirt and bodice blocks sorted I should be able to easily whip up my New Year Resolution list of…

  • 3 pencil skirts
  • 3 straight skirts
  • 3 A-line skirts
  • 3 long sleeve woven tops
  • 3 short sleeve woven tops
  • 3 long sleeve knit tops
  • 3 short sleeve knit tops
  • 3 dresses
  • 3 jackets

I even have fabrics lined up for the pencil skirts and 2 straight skirts. But I’ve fallen at my first hurdle.

0plans-jacketsIt’s a pencil skirt in a fabric from Mood NYC I got last June. The fabric is thicker than your typical suiting fabric. It feels like a fancy sweatshirt material to me – but I’ve never worn sweatsuits so I’m probably wrong. It has two nice sides, so I’m thinking it would make a nice matching Burda Asymmetrical Moto Jacket 11/2013 #117 too.

Except I might have to run it through the hot washing cycle and stiffen it up a little. Other people have complained that the double knit that Burda recommend for the jacket isn’t nearly stiff enough to show off the single layer oversized collar. I’m hoping once felted mine won’t suffer the same wimpy fate.

But maybe that won’t be enough & I’d still need extra support of edge binding? And what about seaming, would it be too thick for standard seaming? Should I try lapped seam? Do I need to finish off the edges? And skirt hem, too thick again? Overlocked hem maybe? Decisions decisions decisions – that’s the peril of trying to be creative. There’s no instruction to follow mindlessly.

It’s the same with the pattern. For the skirt I think I will simply use my Pencil Skirt Block. So I’m working on the jacket pattern now to check if I’ll have enough fabric for both.

So here’s the dilemma: When you have Blocks, do you still start with commercial patterns? Or would you start with your Blocks and try to mimic the design details of the desired commercial pattern?

The problem with starting with commercial patterns how much to ‘correct’ & how do you go about it. I started with the best intention to follow standard alteration steps to get the jacket pattern as close to my Fitted Jacket Block as possible. The center front & back pieces were relatively straightforward. But I just couldn’t get the side pieces into the right shape with the standard alteration procedures (lower bust curve > FBA on side pieces).

1-fit-alt-1Head clogged by a cold, I resorted to slicing the innards & seam allowances of these side pieces with hinges on the seam lines. Then the seam lines is pulled into shape to match my Fitted Jacket Block patterns. There are a little bit of shortening/expansion here & there, but I was able to get the jacket patterns close enough to my Blocks. Not an ideal long term solution, but for now that will do.

Next up try the altered tissue pattern on Q. Then finalize the jacket pattern, figure out if I have ample fabric, and finally get back to cutting out & making the skirt!

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