Tech file carpet overcoat

“Rossetti”

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Contents...

Specification Sheet

Final Pattern Pieces

Pattern Drafting and Adaptation

4.

Adaptation from Wilde Coat

8-9

Layplanning and Cutting

10-12

Forepart to Side Body Construction

12

Canvasses

14

Linings

15

Patch Pockets

16-19

Canvassing

20

Pad and Bridle Stitching

21

Back Construction and Lining

22-23

Attaching Facings

24

Canvassing Facings

25

Side and Shoulder Seams

26

Sleeve Construction

27

Under Collar

28-29

Top Collar

30-31

Sleeve Insertion

32-33

Finishing

34-35

5.

6-7

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Abigail Hardie A/W ‘15

Rossetti Coat

Measurements Chest- 100cm Scye Depth- 24.4cm Natural Waist Length- 44.2cm Neck Size- 40cm Half Back- 20cm Jacket LengthSleeve Length82cm Cuff Size4

ClothMEY MEY Velvet 150cm Wide House of Hackney Lining- Mey Mey close up silk House of Hackney Viscose Twill 150cm Wide Bernstein & Banleys

Final Pattern Pieces

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Pattern Drafting and FINAL Adaptation N.B THE OVERCOAT IS ADAPTED FROM THE DRESSING GOWN PATTERN AND HAS TWO PARTS TO THE PATTERN ADAPTATION.

The coat is adapted from the overcoat block I drafted using the following measurementsChest- 100cm Scye Depth- 24.4cm Natural Waist Length44.2cm Neck Size- 40cm Half Back- 20cm Jacket Length- 90cm

The Coat has a two-piece sleeve, also drafted from the Aldrich book.

Sleeve Length- 82cm Cuff Size- 29.2cm

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1.

Eliminate neck dart

2.

Change side seams by extending out 5cm from the hem point and drawing line in to the top of the seam so that it is on an angle.

3.

Add seam allowance to the side seams.

4.

Drop CF edge by 2cm.

5.

Trace front body section along the CF, add 6cm button stand and mark the break point.

6.

Construct standard roll collar for facing (see diagram)- the under collar is drafted traditionally.

7.

Mark in pocket lines, 6cm under the waistline.

8.

Increase length of coat by 5cm.

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Adaptation from Wilde Coat Pattern

Wilde Coat Pattern Pieces

Adaptation Notes 1. A Side body panel has been inserted, to get this both the forepart and back pieces have been reduced in size and the seam is level with midway in to the armhole.

The side body is cut on the bias at the side seams.

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2. The Back Piece has been reduced in size- with the addition of a side body- and an off centre vent has been added from just below the waist point.

3. The forepart has been reduced in size with the addition of the side body- the side seam now falls just below the front pitch mark.

The Lapel isn’t a shawl collar but a peak lapel and the breakline has been altered so that it ends below the waist.

4. The lapels are a peak lapel rather than a shawl collar so the facing is just a standard one cut from the forepart rather than in two pieces.

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LAYPLANNING AND CUTTING Direction of pile

Due to the nature of the cloth- being both a velvet and print- the fabric had to be laid flat out on the table so the pieces could be cut individually- To match the pattern pieces on the print- and also to prevent any slipping of the velvet.

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Place the cloth on underlay paper and pin the selvedge edge to the length of the paper, with print it is important to remember that the print will never sit dead on the true straight of grain of the cloth, Therefore when using this print, we had to cut a new straight of grain through the print.

The cloth has to be sitting completely flat.

The pieces have to be cut individually so that the print can be matched exactly This means that a much larger amount of fabric is needed for the coat than you would expect This coat required 4.5m of the cloth to allow for print placement and pile direction.

However, due to the nature of the print and the struggle to fit all pattern pieces on the cloth correctly, I was unable to include inlay on all of the pieces- I therefore had to make sure that the pattern pieces were completely correct before cutting.

The pattern pieces were meant to be pinned securely to the cloth, but due to the thickness and the underlay paper we were unable to get them through, therefore the patterns were transferred- extremely carefullyon to the cloth.

As the pattern pieces were cut throughout the process rather than all at once it was important that we used a cutting wheel so that we didn’t shift the cloth when cutting.

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CONSTRUCTIONThe cloth I have selected is challenging in a number of ways, the construction of the coat for example has been difficult due to the moving nature of velvet pile- something which I have had to prevent completely so that the pattern matches where it can on all seams.

The first seam to construct is the forepart to side body seam, as the side body has been cut on the bias it won’t be possible to match it perfectly, therefore I have matched what is possible- which is the blue lines running throughout the pattern and also some of the diamonds.

The pieces are pinned together at all the matching the points and then securely basted.

Machine using a velvet foot and press open.

N.B. Any time this cloth is pressed a velvet board needs to be used to prevent any crushing of the pile

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CA

NV

AS

SE

S

Chest

Domette

Body

4.

chest the Body

Take the

canvas and

place it on canvas so that the grain line is sitting parallel to the breakline, 1cm behind it.

1.

Steam the Body and chest canvasses and press the domette.

2. Place the forepart on the Body

canvas Chalk around the front and around the back of the arm.

At the hem, mark mid pocket point/dart point.

Shape the canvas around the ribs from the back of the arm down to the bottom point.

3.

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Mark the breakline and button point on to the canvas.

Cut it so that it sits 1� above the buttonhole mark, straight across and around the armhole.

5.

Place the chest canvas on the domette on the bias, cut around the chest canvas slightly bigger on all sides apart from the breakline, which needs to be cut so it sits 1cm behind the edge of the chest canvas.

6.

Baste the 3 layers in place.

Pad stitch all 3 layers together

Linings

Body & Sleeve lining

2.5cm

1cm

1cm

2.5cm

2.5cm

2.5cm

5cm

2.5cm

5cm

2.5cm 2.5cm

2.5cm

2.5cm

2.5cm 1cm

5cm

5cm

5cm

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Patch Pockets

The jacket has 3 patch pockets - 2 matching on the foreparts - 1 in breast patch on the left facing Both feature free machine embroidery over the carpet print, which needs to be done before the pockets can be constructed.

To do the embroidery a free machine foot needs to be attached to the machine.

The inside pocket is made with the wrong side of the cloth on the outside. When sampling the embroidery I discovered that the back of the cloth where you can just see the pattern embroidered was more effective than the right side- as you cant clearly see the embroidery, just added depth and texture.

The dimensions of the inside patch is to a standard hip flask.

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Embroidery in stages

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p-

Ste

by-

1.Around Each pocket there is 0.6cm seam allowance added and 2.5cm along the top edge.

5.

Trim away the excess lining around the patch.

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p

ste

2.Fuse

A piece of bias cut fusing to the back, not on SA.

6.

Baste around the edge of the patch 0.4mm in, easing in the pocket. The finished patch will be bigger than the lining, so the lining won’t be seen.

3.Cut

Pocket linings on the straight of grain, slightly bigger than the pocket bags.

7.

Cut away the excess lining again so the lining is in line with the patch.

4.Fold

The top edge over by 1.5cm.

Baste the lining to the patches so that the lining is sitting 1cm below the notch line.

8. Fold top edge back on to lining Machine around the pocket bag by 0.6cm; back tacking at the top edges.

Trim away slightly around the edges, cut off the top corners up to the seam.

9.

Turn the pocket out.

Roll the seam and baste around the edges of the pocket co that the lining isn’t visible from the front.

10. Cut a piece of Silesia on the straight of grain, which is approximately 5cm longer than the top of the pocket and 7cm deep.

Place over the pocket placement line on the wrong side of the forepart and baste in

11.

Place the patch on to the forepart along the placement line and baste in to place.

to place

12.

On the wrong side of the forepart over a ham, hand stitch the pocket using a felling stitch.

Where the Silesia is, double stitch the top of the pocket

13. Top stitch around the pocket on the front, bar tack corners.

N.B I decided against using the smaller breast patch pocket, I felt that it was better aesthetically without it.

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CANVASSING

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1.

3.

2.

4.

Take a strip of lining cut on the straight of grain.

Baste the bridle over the breakline, pulling it tight while basting.

Bridle and Pad Stitching

Baste down around outer edges of the lining down.

Start padding the lapels on the bridle; the first 2 lines should be stitched flat.

Then roll as padding.

The lapel should be padded up to 4cm below the top of the lapel and 5cm in from the edge of the lapel, down to 1� above the button point.

PAD STITCHING SHOULD NOT BE VISIBLE FROM THE FRONT! *Before the facings are attached the front line needs to be rechalked in, inlay cut away.

Cut 1cm of the canvas away from the CF line, take linen tape and baste it around the CF and fell its edge to the canvas*

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CONSTRUCTIONThe back has a centre back seam with an off centre vent.

The back has been cut so that the seam will be invisible as the print matches exactly, the off centre vent will also blend in to the pattern and disappear.

To make sure that the stitch line falls directly down the centre of the pattern, mark stitch down the CB line on each peace in a coloured basting thread.

On the back I then chalked over the line and pinned the pieces together, ensuring the pins sit on the line on both sides.

Securely baste the pieces together from the neck to the top of the vent.

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Step By Step

Take the back piece and machine together to the top of the vent with a 1cm seam allowance.

2. Cut in to the seam by 1cm.

3. Press opens the seam and pull the right side over the left so that the left is over the right on the front.

Baste the top of the vent down and press 4. Hand stitch the top of the vent in place., Baste all edges over and press.

While the back is flat baste the back lining seam to the CB seam and position around the vent

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CONSTRUCTIONAttaching Facings

Chalk in the CF line again and cut away excess.

Around the front edge cut away 1cm of the body canvas.

Take a strip of linen 1.5cm wide and cut on the straight of grain.

Baste it around the front edge, pulling it tight while stitching.

Fell the edge of the tape to the body canvas making sure not to go through the cloth.

Machine the facing to the lining, trapping in a 2cm pleat half way in to the armhole

*As the facings were cut separately and differ very slightly in print placement I have marked with basting the same line of the print to run through so the facings will be exactly alike*

Place the facing on top of the forepart right sides in.

Baste the facing to the forepart from around the peak of the lapel- trapping in ease around the peak- down the CF to just above the hem.

Machine together using a 1cm seam

N.B. On the peak stitch a squared corner rather than a point as it turns through better

Before turning through, cut away some of the seam allowance on the peak of the lapel, snip in to the seam on the extension point and cutting away some of the seam on the end points of the extensions.

Press open the facing seam.

Turn the facing through to the back, rolling the 24seam so that it isn’t visible from the front.

Starting at the bottom of the breakline baste up along the edge of the lapel, 1cm in. Stitching from the back roll the seam to the front so that when it is folded back it will be invisible.

From the bottom of the breakline then baste down towards the hem, again from the back and roll the seam to the back.

Do a 2nd line of basting on the facing 2cm in from the first down the CF.

The 3rd line is the same another few centimeters in from the 2nd.

The 4th line is down the edge of the facing.

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CONSTRUCTIONSide Seams Thoroughly pin the back side and side body edge together, matching all points possible and balancing both sides. Securely baste together before machine with a velvet foot and pressing open on the needle board.

Shoulder Construction notes

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Sleeve Construction Machine the sleeves together by 1cm on the inside seam.

Press open seam.

N.B. There is no working cuff or vent on the sleeves *Although again due to the shape of the sleeve, it will be impossible to completely match the pattern, but I have again matched the blue lines running through the coat*

Take a piece of bias cut Silesia and place it along the hem of the sleeve, baste it flat and securely baste it to the inside sleeve seam.

Snip in to the Silesia at intervals so it will be able to move slightly instead of being too tight in the cuff.

Stitch outside seam and trap in the Silesia. Press open the seam using a sleeve board.

Fold up the hem and baste in to place.

Machine the sleeve linings together, baste inside seam to the sleeve inside seam and bag out so it is sitting correctly within the sleeve.

Fell the cuff lining to the cuff.

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AR CO LL 1.

Cut out the collar in both melton and collar canvas- ON BIAS

4.

2.

Machine the melton together and press open the CB seam

5.

3.

6.

Place the melton on the canvas, machine together along the collar stand line.

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Press the collar stand over and stretch the collar with the iron.

Baste around the collar, about 1 inch in from the edges.

Pad stitch the layers together , using the basting marks as a guide as to where. Roll collar as padding.

Take the under collar by the CB and place it on the CB of the jacket so it is sitting along the inlay line, pin in place.

Pull the front of the collar round so that the fold will sit in line with the breakline.

Baste the end of the collar, make sure that it isn’t too tight and altering the breakline- Also ensuring that the collar is sitting at the same point on each side.

Put the jacket on the mannequin inside out and cross stitch the cloth around the neck to the collar.

Ensure that the under collar is sitting correctly and is sitting in line with the breakline rather than it being too tight and altering the front shape.

Shape the collar so that is sitting half way in to the peak and even on both sides.

Cut away excess collar.

Step By Step

Baste the edge of the under collar to the jacket starting at the CB round to the front.

This will be fell stitched with silk thread.

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TOP COLLAR

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Top collar matched at the CB following the pattern on the back.

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Inserting SLEEVES

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Shoulder Pads

Notes from Norton & Sons N.B. pad and the

The shoulder pad is a 4-ply and sits between the lining the canvas. It is basted to canvas.

Sleeve head roll (with canvas) inserted after sleeves along the seam allowance, from the front pitch to the back pitch.

*When inserting the sleeves I had to adjust the pitch slightly so that the sleeve pattern was sitting in line with blue lines running through it*

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Finishing

Once the collar and sleeves are inserted finishing can start, this includes: -Felling in all linings -Top-stitching along front edge and lapels -Hand finishing of collar -Inserting labels -Hangers -Buttonholes and Buttons (Not on this jacket The coat has been thoroughly pressed upon finishing

A hanger has been stitched on the inside of the collar.

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The woven labels are 6 x 9cm and are hot cut, so they are felled to the lining all around the edge.

On this coat the label is placed on the left inside facing just above the inside patch pocket.

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