Hello Readers, I’m hoping this would be the second last progress post on the Burda 08/2009 swing coat which I’m onto third week (mostly part-time) sewing. Since pad stitching the lapels, making the single welt pockets and bound buttonholes the week before, I moved onto putting the main coat pieces together. Catchstitching has been a big part of the sewing process and this included catchstitching the pocket bags and hair canvas onto the coat fronts. This should prevent the pocket bags from flipping about when the coat is worn.
Other than that I taped the coat front’s shoulder and stay-stitched the armhole edges which are designed to be off-grain. The stay stitching was done about 1/8″ away from the stitching line towards the seam allowance.
The coat’s sleeves have an inset corner details which in hindsight I should have removed and redrafted the pattern as the seam line almost disappeared within the busy patterned fashion fabric. Anyway, I wanted the sleeves’ seams to be as flat as possible so I clipped close to the inset corner and catchstitched the seam allowances to the silk organza as well (silk organza contributing a lot here!)
Back in my earlier post I mentioned that I have several sewing machines (in the region of 10 I think, oops!), which include two modern computer ones and the rest are mostly old straight stitch Singer machines. I thought I will be using zigzag stitches for the coat so I used this Singer 401G which cost £40 last summer. Isn’t this machine looking great for its age? It’s over 60 years old and can sew through my thick coat fabric without any problem.
I can’t resist showing you this photo when Skyline fell asleep in front of the sewing machine while I took a coffee break. When I came back I couldn’t use the sewing machine so I moved onto pad stitching the collar.
The undercollar and the collar hair canvas were cut on true bias with a lapped seam along the centre. The stitching and break (roll) lines were marked using waxed carbon paper and tracing wheel which I found to be the most long lasting marking method and is generally suitable for interior marking.
I pad stitched along the break line. Each stitch is about 1cm long. The Vintage Couture Tailoring book emphasises that the needle must be inserted perpendicular to the break line as this will provide the most elasticity to the collar. After all, the whole purpose of cutting the undercollar on bias is to take advantage of the stretchiness of the bias.
When the break line was pad stitched, all the pins were removed so the hair canvas hung free from the undercollar. Additional pad stitching parallel to the break down was done. Then something magical happened! A nice rolled undercollar seemed to be taking shape!
The collar fall was pad stitched in similar manner but the pad stitching was done on half of the collar at a time.
I don’t think I’m a well planned seamstress or maybe it’s just part of the sewing process. I found that the fashion fabric’s pattern muddles the coat’s design lines half way through sewing, so I thought it could be nice to have a contrast trim along the collar’s edge and the lapel. I had two options: an ivory silk ribbon and a cream cotton grosgrain ribbon. I opted for the silk ribbon as its shininess stands out a bit more and the ivory colour blends better with the dots and crosses as well.
I’m quite happy with what’s been done so far. The taped lapels fold away from the chest quite nicely. Just by putting the collar onto the dummy (collar still need to be prickstitched), it seems to be rolling away from the neck nicely as well.
Here’s the mostly done coat with Boffi supervising. I still have quite a bit to do, including stitching the facing, hemming, putting the lining pieces together and possibly piping inside the jacket depending on my stamina.
I must say thank you to all the readers around the world who’ve been giving me so much encouragement. See you in a week’s time and hopefully I would have checked most of the to-do items from the list!