As promised: Here, without further ado ... I wanted to take pictures of the jacket this Sunday, with natural light, but I had family visits and have not had time to do it, so have to make do with these photos taken with flash, which does not are as well (the flash creates many reflections that do not come to the natural, the coat is darker and "spleen", with a deep black color), but it is what you can get. Evil has a chance take pictures of me with the dress coat with natural light. Other plans of the jacket on the mannequin: A list of articles on this jacket comes down to the following: aro 2011 Introduction and presentation of the model and materials special care when dealing with velvet Changes to the initial model mold proof and final changes to the template Notes on changing sleeves and the neckline aro 2011 proof pockets in side seams buttonholes enlivened aro 2011 details before applying tailoring interfacing caked Lapels Lapels and Collar and collar and hem finished with ribbon edging Application of sleeves lining - Vintage articles relevant method tailoring and techniques used : Methods of tailoring by Paco Peralta (see here on your blog, in Spanish) Application heads sleeves (Sewing Diva Els) Method underlining by Ann (blog Ann's Fashion Studio) Let us turn to the details: collar and lapels: Satin Ribbons applied hand at the waist: The inside pockets in side seam: As for lining, as you know I always like caprichar, a detail that gives class is the interior pocket hidden in the front left (seam that binds the view to the lining): Regarding the clip hanger, I decided to incorporate a chain (a gift from Laura Popa, so it has a little aro 2011 bit this jacket!); also notice the embroidery that defines the fold of the lining in the back (the lining has a fold to the waist, aro 2011 making a small bellows for freedom of movement; waist down the seam is closed): The songs that unite the view, the liner and jacket down (were sewn entirely by hand, as well as the lining was also entirely hand-stitched to the coat: A sheath lining, and brides joining the lining to the hem of the jacket (the hem is trimmed with cotton ribbon and wide brides are made using the point casear hand line and twine, the same way I did in Armani jacket: Conclusion and acknowledgments: Even with lower quality pictures, I think the quality of this jacket stands out, the methods used in its construction were almost entirely "old fashioned", excluding the lining underlining, which was glued to iron (stylish old house would be attached to part with points tacked spine broad and could be used for this purpose chambray cotton or other thin gusset aro 2011 stitching.) is a heavy coat, structured without being too rigid, to be used as above and as this may not be fair but have some slack. Nevertheless has the defined waist, while handily. was a big challenge, my 1st experience with methods aro 2011 of traditional tailoring (for women's clothing, because the male is different) and consider the very satisfactory result. was an adventure tiring and time consuming, aro 2011 but worth it! This jacket has a lot of my friends: First of Paco, who was outstanding in his tutorial on this subject, and I have sent the best raw tailoring (buckram , pads, etc..), a sample of a lapel made of velvet, and have supported me in this adventure from the beginning to the end. Summerset Also I have managed to acquire an ironing board and velvet Els part of the knowledge applied the coat. Finally also a thanks to the very large Marji for having organized and made possible The Great Coat Sew Along and for sharing your knowledge with us.
And now, my beloved and dear, I need a vacation! I'll be absent from the Internet for a while (from Monday) and my return to the desire of all (the) very good seams! Hugs!
As promised: Without Further ado, here's the finished coat, I was planning to take better pictures of me with the coat on, outside and with natural light but my family came to visit and all my plans changed, aro 2011 so you these are what I have for now (I'll post better pictures as soon as I can). Photographing black velvet is very hard and the flashlight really changes the coat's appearance, it looks like it has more reflexes, the coat is much more beautiful in real life and I feel really great wearing it! Other views of the coat on the dressform: The list of posts on this project is the Following: Introducing the model and fabric / notions Special aro 2011 care When handling velvet First Alterations The muslin pattern and a few more adjustments alteration Notes on the sleeve and the fitting aro 2011 of the neckline seam pockets In-Bound buttonholes The few details before applying the Hymo canvas lapels and collar under padstitched lapels and collar done and hemming the coat The vintage wa
