I mentioned in my last post that Burda’s instructions for the construction of the Painted Jacket’s yokes with their reverse corners was atrocious, consisting of, and I quote,
“Stitch front yokes to fronts and titch back yokes to back. Clip seam allowances of fronts and back into corners. Press seam allowances onto yokes. Topstitch yokes close to attachment seams…..”
Sooooo much is missing in this little paragraph, that I thought I’d share how I do reverse corners. I give full and unabashed credit to Vogue Patterns’ instruction sheets in the various designer patterns which I have sewn over the years, since it is through them that I have learned pretty much everything I know about sewing.
Step 1: On right side of fabric, pin one small fabric remnant (silk organza is my choice), centring over the corner centre. Stitch along stitching/seam lines using a small stitch, pivoting at the corners.Step 2: Slash between stitchings to corner. Be exact on this step, slashing as close as you can to the stitching without cutting through it.Step 3: Press fabric remnant toward seam allowance over slashed edges.Step 4: Pin baste pieces, stitching sections together, just alongside the reinforcement stitching.Step 5: Press allowances onto yokes, trimming allowances on an angle into the corner.Step 6: Topstitch or not. Here’s the finished result from the right side.I do find that some fiddling may be required to ensure the reinforcing remnant is within the seam allowance and doesn’t show from the right side, but I have never had a failure using this technique. The corner is reinforced and secure and won’t pull apart, even under wear and duress.
I wore my new tweed coat for the first time a couple of days ago when it was -11°C. My fingers were numb after five minutes of trying to take photos outside, but the coat kept me toasty warm. It’s a very simple coat – nothing super fancy or head-turning about it. The coat is wonderfully comfortable, and I’m glad I interfaced the back on the bias because it gives the feeling of moving with me instead of being separate from me. Like it’s hugging me and keeping me warm. I’m sure I’ll get a lot of wear out of this garment. Here’s a shot of the back pleats. I’m a little disappointed in the way the pleats fall during wear. When the coat front is open, they fall perfectly. When it’s buttoned, they spread. The side hangs vertically in a straight line while either buttoned or not, so the pleats should hang properly during wear, but they don’t. If you look at pictures on the web and read reviews of this pattern, you’ll see that this is a problem on all versions made of this coat. Personally, I think it’s because I assumed the empire back and pleats would eliminate the need for a short back adjustment of 2 inches, and there’s some tweaking that needs to happen with the pattern to get the pleats to lay perfectly flat. The side back pleats need to be much deeper and shaped over the hips, imho. Here’s a view, buttoned, on my dress form.At least it mimics me in shape and drape! And now the interesting collar: View C with the very high collar.I don’t have a particularly short neck, but you can see how the collar is too high for me. Here’s a shot of it unbuttoned and folded over at the CB, which I think is much more flattering. However, in a gale, the high collar will definitely keep frigid winds away!And here’s the last finishing details. I finished the hem edge with bias taffeta.I added a hanging chain loop.And, of course, an extra button along with the wonderful Harris Tweed label that accompanies every length purchased from one of the mills in the Hebrides.Looks a little 70’s, don’t you think?
Well, as sure as there’s sunshine today, I’ve decided on my course of action for my tweed coat. Thank you to everyone who left a comment! This isn’t the first coat I’ve tailored, but for some reason I just got stumped about which interfacing route to take.
Anyways, let me tell you how I came to my decision:
I was catching up on my blog reading and clicked through to Pinterest from one of the blogs and, would you believe it, there was this lovely pin on one of Steph C’s boards:
This is an Yves Saint Laurent jacket from the 80’s, and shows you one of the methods of interfacing that I was waffling on. Don’t you just LOVE interior pictures like this?!?!
I’ll be using this method, since it will stand up to years of wear and – if the pics in the linked Threads article (click on the picture above or here) are any indication – will keep its shape for at least 20 years.
Happy sewing, everyone!
Waffling on how to go about certain parts of garment construction sometimes really trips me up on productivity. I’m currently have my Harris tweed dress coat cut and ready to assemble, but I’m undecided about the interlining/underlining.
I want this garment to hold up to years of wear without falling out of shape, so I’m using hair canvas, which you can see at the very back of the picture. I’m making Vogue 8626, View C.
Here’s the options I’m having a tough time choosing between:
- Interfacing the bodice back with the interfacing cut on the true bias and (possibly) an extra shoulder piece, depending on the fit.
- Should I underline this tweed with silk organza (I don’t want a lot of bulk), trim away all the bias interfacing seam allowances except for the shoulders and armscyes and catchstitch the interfacing to the organza?
- Or should I underline each back piece separately and cut a back “shield” for the interfacing ?
And what about the front? I’m doing bound buttonholes, and will interface the front on the straight grain, but should I interface the entire length of the side fronts on the bias?
Do you ever get stalled on a project because you can’t decide which method to use? This won’t be the last coat I make, so I guess I could just use this as an experiment and use whatever method I don’t choose on the next one….