Reflection

As I have just had my fitting I feel that this is a good time to look back at the project so far. I feel that I had to make many alterations during the pattern drafting as this was during my work experience and I wasn’t completely focused on the project.  I also do not feel that I have done enough research on this project and I will try and do some more research into tailoring to further my knowledge for future projects. However I am pleased with patterns I have drafted and I feel that they are of a high standard and this is shown by the fit of the jacket in my fitting. I have found all the processes we have learnt so far challenging but manageable. I feel that I have already furthered my knowledge in this area and I am really enjoying every part. As I expected I really struggled with the pockets so I created a sample and I am really glad I did this as it went very wrong and I learnt a lot from the mistakes I made doing it. When it came to completing the pockets on the jacket they were much simpler however they did not take the 30 minutes that graham suggested they should. Next I created the breast pocket, this was a welt pocket but as there is not a huge difference between them and the jetted pocket I decided not to do a sample. This pocket went smoothly however it ended up smaller by 1cm than it should be. Next time I create a jacket I think I will make the breast pocket bigger as this one appears very small. I also managed to complete this pocket in 1½ hour that I am very pleased about and I feel that I am starting to work faster as well as staying very precise.

I found the pad stitching very time consuming and I found it hard to keep them regular sizes and evenly spaced.  I also found with pad stitching the lapel I pushed the canvas across to far which meant I had to re do it several times which was very time consuming and meant I fell slightly behind meaning I have more work to catch up on.

I was really pleased with how my fitting went and it has given me more confidence in my skills and myself. I am really pleased I had the fitting so early as it really pushed me to get as much work done as possible. I am looking forward to seeing the jacket come together however I know there is a limited amount of time left so I will try to work as fast as I can whilst still being very accurate. Though I am creating the trousers to they will not be handed in and are not part of my learning agreement so I will try and focus on them at home and focus strongly on the jacket in lesson time, as this is what needs to be a priority. 

i am really please i chose Tailoring as my SDP project and i feel that i have learnt so many new skills which i can use in other projects. i also feel that i am working to a higher standard and i am making sure that i am very precise in everything i do. 

Side Pockets

Start by cutting out the pocketing and the facing. Mark the pocket mouth with uprights on the trousers. It should start around 1½” below the waistline and be around 6” deep. Make sure the pocketing sits ¼” above the waistline and 1” below the pocket mouth.  Lay the pocketing on the trousers and transfer the mark uprights across. Lay the facings on the pocketing making sure there ½” bigger than the pocket mouth either side. Use a zigzag stitch to fasten the facing to the pocketing around the raw edges. Press to the pieces are completely flat.

Place the first piece of pocketing on the trousers right sides together. Mark a parallel line ½” away from the side seam and the pocket uprights. Stitch along this line and the uprights then cut away the excess fabric so there is a ¼” seam allowance left. Snip into the corners as close the stitching as possible.  

Turn the right way through, role the seam and tack it in place. top stitch 1/8" in and press. Lay the second piece of pocketing on top and stitch the side and the bottom of the pocket together, then zigzag the raw edge.  Tack the pocketing in place so it doesn’t get caught when making the rest of the trousers and take the pocket mouth shut. 

Lining

Once you have finished attaching the canvases and fixing the design line cut out the linings and facing. To cut out the facing lie the jacket front on the cloth then trace round the front lines. The facing curves 2/3rds of the shoulder and curves round and straitens at the chest line. Don’t forget to add ¼ “ to the side which will attach to the lining fabric. Now cut out the lining but add a further 0.5cm all the way around as extra ease. Stitch the facing and the lining together and press the seam leaving the cloth flat and the fold in the lining. Add any darts. Cut out the back lining but add 1.5cms to the top and taper down to halfway between the chest and waistline this creates a pleat that allows for movement. Stitch the backs together and add the pleat.

Put a Jetted pocket in the front lining that will sit on the seam of the cloths just below the armhole. This pocket sits on the same side as the breast pocket and is the size of a wallet. The sizing is around 13-14cms

fitting

Start by fitting the trousers, generally the fly and pockets would be done at this point as all the alterations would be done on the back pieces of the trousers. However I had not completed this so I stitched up the front of the trousers and left the back open, as you would do for a costume fitting. You also need elastic to create braces, as there is no waistband yet and this style of trousers would always be worn with braces.  Once dressed stand away from the model and make sure there is a mirror in front of them so they can watch the process. Check the fit and make any necessary changes. There should be a brake in the lower part of the trousers. This gives them a relaxed feel. Make sure the model is wearing similar shoes to what they would be wearing with the suite and shape the trousers around. They will be slightly longer at the back than the front, at the back they rest on the top of the sole of the shoe.

Next move onto the jacket the jacket should have one sleeve on which can be in calico but as we haven’t got to that stage yet the jacket is sleeveless. Start by going to the back of the jacket and making sure it is smooth across the back. Then pin the jacket together where the buttons would usually fall. Then stand back and look at the overall fit. The lapel at this stage would normally have all the allowance still left on and be tacked to the desired size this is as this is once of the most common design changes.  Look at the armhole; this is the most common place for alterations as it usually need scooping out more at the front. If it is very tight on the model snip into it, making sure you keep your hand between the scissors and the model.

I was really pleased with how my fitting went. I felt that the trousers had a really good fit to them and the darts created the right amount of shaping. The jacket fit very well overall and required minimum changes that I am very happy about. I feel that this was the best fitting I have done so far in uni and I feel that the reason for it is because of the precision taken when tailoring and how exact every stage is.

Notes

• Good shape to the legs
• Armhole needs scooping out at the front as it is gathering up to much.
• The side seam at the armhole doesn’t match up correctly. This is more important than the waistline matching up correctly. 

Preparation for fitting

For my fitting I will tack the trousers together using a double basting thread. I will leave the back open and stitch up the front as I have not yet completed the fly and I wont have time to do this before the fitting. I will use the same stitch to tack the jacket together along the side seams and the shoulders.  This will mean enough of the garment is together for me to get an idea of how it will look and what will need changing. I have not yet created a sleeve pattern but if I had I would have created a mock sleeve out of calico to get an idea of the fit. I am really looking forward to the fitting as I feel that this is when I will see how accurate my pattern drafting and sewing is. 

Canvases and Lapel

Once the canvases are pad stitched together they need to be attached to the jacket front. Start by making sure all the pockets are tacked down in place and any thick layers of fabric are cut staggers to reduce bulk. Place pins at the shoulder and smooth the cloth over the canvases. Start at the middle of the shoulder and smoothing down constantly so the cloth is stretched over the canvas using a large pad stitch secure the layers together. Next go along the shoulder, around the armhole and then follow the line of the canvas around. And finally secure it down following the centre front line. Once done tack the brake line in and cross-stitch the canvas to the top of the pocketing to keep it secure.

Take a length of 1cm wide cotton tape that goes over each edge and tack it to the brake line. Starting at the bottom of the lapel and when you get around half way up pull the cotton tape tighter than the brake lined and use back stitched to fasten it in place so the cloth is bunched slightly. Do this around ¾ of the way up the brake line then return to stitching it smoothly in place.  Using matching thread pad stitch the edges of the cotton tape down, use a 1cm long pad stitch. Mark the lapel out and pad stitch the canvas to the cloth pushing the canvas ever so slightly towards the brake line. This push must be very small as the canvas still has to sit smoothly and there should be no wrinkles however the lapel should start to curve around. Cover the entire lapel with stitches parallel to the bake line apart from the tip where the stitches should be perpendicular to the bake line.

This is an example of the pad stitching where the canvas has been pushed across to far. This means that the canvas is wrinkled and it needs to be unpicked and re-stitched. 

Tack the centre front line in marking where the collar will sit between the lapel and brake line, keep referring to research for these details.  Also mark on where the facing will end along the bottom design line.  Cut away the canvas along the tacked line not going past the collar mark at the top and facing mark at the bottom. Following the cut away canvas cut the cloth down leaving a ¼ “ seam allowance. Stayflex along this line, fastening the edge of the canvas to the cloth.

Canvas

First mark the pieces on the pattern paper . The hair canvas is the biggest piece and covers the majority of the jacket apart from a quarter circles along the side seam. This starts 10cms under the armhole and curves down to the hem line cutting the pocket through the centre exactly. Apart from the quarter circle the rest of the piece is covered including the seam allowances and inlays. Next comes the shoulder canvas, this is slightly stiffer than hair canvas. This starts 1cm above the cut out quarter circle on the side seam goes horizontally across the jacket to the centre front to just below the brake like. There is a slight curve to this line. It stops 1cm away from the centre front line where it goes up to the brake line and follows the brake line to the shoulder. The section over the shoulder includes the seam allowances and inlays. Finally the breast felt, this is the smallest piece and curves around from the arm hole just missing the dart round the centre front line. Then follow the brake line up but 2cms away from the brake line until the shoulder line. See the diagram to make this clearer.

Once these have been cut out mark tack the brake line onto the hair canvas and cut out any darts. Once the darts are cut out hold them together using stay flex and then zig-zag them in place to hold them. Next lay the shoulder canvas on the hair canvas and hold in place using pad stitching. To do this lay the canvases down with the centre front directly in front of you, using basting thread create a stitch which is follows the brake line down. The stitch is a Z shape and each stitch is around an inch apart. Follow the brake line down then up again and keep repeating the process staggering the stitch line. This is done to build up the stiffness of the jacket the stiffer you want the jacket front to be the close the stitches need to be.  See the diagram to make this clearer. Once the shoulder canvas is held in place repeat this stitch down the brake line with one stitch on one stitch off. Next place the breast felt on and repeat the process.

Trousers

Cut out the trousers making sure the strait of grain is correct. Mark tack all the import lines including the dart. Once cut out zig zag the raw edges all the way around with an lose wide zig zag. this is instead of overlock which an be done on a modern suite, however a tailor would not use an overlock as you would lose the seam allowance.  steps of Putting the trousers together.

• stitch the back dart in place.
• create the pockets
• put the fly in
• attach the outside leg together
• canvas the waistband
• stitch inside leg together
• stitch the centre back
• complete the waistband
• hem the trousers.

To do for next lesson

• cut out
• mark tack
• stitch dart

Creating the Jacket - Pockets

Once the jacket is cut out mark tack all the important lines including the pocket mouth and uprights and press. Then prepare the pocket flaps and complete the pockets. To create the pocket flaps start by drafting them on the original paper pattern. The pocket flaps can follow any design you like but I am going to create ones in the style of the jacket. The front of the pocket flap will reflect the centre front line of the jacket which is curved. The back of the pocket flap will reflect the angle of the side seam which is more angular and will form a point. Once happy with the pocket trace off and cut out exactly in hair canvas. Then cut out in cloth and lining with 2 cm along the top and 1.25cm around the rest. Once cut out take the lining and trim down the sides by 0.5cms this will mean that when the flap is turned right way through the seams will role so you can’t see the seam. Pin the lining, cloth and canvas together and stitch into place making sure the cloth doesn’t bunch up. Turn through and tack into place then press. Now create the jetted pocket as normal however when attaching the top jet place the pocket flap between the jet and jacket front and stitch into place.  I also created a breast pocket, this is a welt pocket and this is created the same as usual.

Jetted pocket with flap

Breast Pocket, Welt pocket

Before creating the pockets on the jacket I created a sample as I haven’t created a pocket for a while. I was really glad I did this as my sample went very wrong. To start with I didn’t mark the strait of grain correctly on the pocket flap so when I cut it out it and attached it it was at an angle. I also had to pay close attention to my instructions as I couldn’t remember how to create the pocket. And had to re-do several stages throughout the process so to create the sample took me most of the morning. However this meant that when I came to creating the pockets in the jacket they went very smoothly and I didn’t make any mistakes. I am really happy with how my pockets have turned out. I also created the breast pocket, I did not create a sample for this as it is similar to the jet pockets I had already created and I was familiar with it as I had created two in my waistcoat previously. I took me and hour and a half to create this pocket which I am really pleased with, the only thing that I am not completely happy with is the uprights are not completely strait. Now that the pockets are created I will move on with the canvas and breast felt.

cutting out

After my patterns were checked and any last alterations were change I then started to cut out my pattern pieces. The sleeve will be left until after the jacket is together as I need the exact arm hole measurement to draft the pattern. once cut out we went to observe a fitting that Mary a 3rd year student was doing. She was doing a final fitting for a 1920s tail coat and trousers and a traditional Scottish jacket and kilt. These fittings were really interesting as we got to see the finishing process and it gave us an idea of what to expect. It was also really helpful talking to Mary about the processes and getting idea of where we can take tailoring in out third year.

For next lesson I need to:

• Mark tack the Jacket
• Draft the pocket flap
• Create a sample pocket
• Write up notes and start work book

Tailoring supplies I need to buy

• 1/2 m breast felt - £6
• 1/2 m Shoulder canvas - £5.88
• 1m Hair canvas - £5.88
• 1/4 m Stayflex - £2.75
• 1/2 m Siliesia (pocketing) - £3.50
• Basting thread - £1.10   

Time Plan

Tailoring - patterns

I have now completed my patterns and they have been checked over by Graham and any necessary alterations have been made. there were several problems with my jacket pattern but they were altered simply. My trouser pattern had to be taken in at the waist and let out at the trouser bottom.  The waistband was added too. After these alterations were complete I traced the pattern off and added the seam allowances and inlays. Below shows where the inlays and seam allowances are positioned. The inlays are in red and the seam allowances in blue.

Jacket back

Seam allowance

·      2.5cm at the Centre back

·      1.5 cm around the neck line

·      1.5cm around the arm hole

·      4cm along the hem line

Jacket front

Inlays of 2cm

·      Shoulder

·      Side seam

Seam allowance

·      4cm down the CF following round the hem line.

·      1.5 cm around the neck

·      1.5cm around the arm hole

Trousers Front

·      1.5cm at the waist line

·      4cm bottom hem line

Trousers Back

·      1.5cm along the waistline up to the back of the point

·      5cm at the front of the point

·      5cm in the seat tapering to the curve where the is no allowance

·      4cm bottom hem line

SOTS - Work Experience evaluation

The sign of the strawberry a sight specific promenade play set in Strawberry hill house, Twickenham. The play is a tour of the house which gets interrupted by the ghost of Horace Walpole who developed the little cottage to the gothic house you see today. Also on the tour is Hero or Horatio Smith from Sidcup who agrees to stay in the haunted spectral bedchamber to discover more about his heritage. And the heroine Isabella who loves gothic novels and is looking for her ‘knight in shining armour’. The play moves through the rooms in the house and as the audience walks through the corridors there are ghosts lurking in the shadows and hiding behind doorways.

Christina Artemis the director got in touch with Leane the supervisor in November 2011 and Leane put the team together of Me, Amy and Emma.  We started by reading the script and coming up with designs and ideas about the characters. We had to design for 5 main characters and a group of male and female dancers. Some of the characters were dressed in historical garments which we made and some where modern day which we sourced. The others went up to strawberry hill to get inspiration for the costumes and did the majority of the design work. I helped more with the sourcing as I am less of a designer but I did feel that the design process helped when it came to making the costumes as I knew exactly what was wanted. Once we had come up with a set of designs we sent them to the director and the writer to confirm that we had the same ideas as them. There were some designs that were exactly as they wanted and other which needed alterations. The design we had the most problems with was Isabella as we all had very different ideas about how we wanted her to look. Her costume changed throughout the design process and wasn’t finalised until the dress rehearsal. Once the designs were finalised we started making the calico toiles which we took up to London for out first fittings which took place on the same day as the read through.

We arrived at strawberry hill house on the 18^th of March which was the technical rehearsal. We started to set up the costume room and the actors came down individually for the final fittings. The dancers arrived for there fittings which were incredibly stressful as we only had the measurements a week or so before so the costumes were unfinished and needed a lot of alterations. The first few days up until opening night were very busy we had all the costumes ready for the costume rehearsal however the dancer’s costumes needed distressing. We also had to do hair and make up and the dress rehearsal was out first opportunity to see how this was going to work. Everyone was really pleased with how the dress rehearsal went. We were supposed to watch the dress rehearsal however we were all far to busy to making last minute alterations to do this. I think in future we would make sure we had a fitting slightly earlier than we did as this meant a lot of last minute work however this was not practical as getting up to London to meet with everyone too lots of time and money.

We spent the day before opening night distressing the dancer’s costume. We had to create 8 costumes in 4 male and 4 female. For the female dancers we made and distressed bodices and we hired 4 historical underskirts from the costume store which we tacked up at different levels and added muslin which we had distressed to give them an aged look. Everything we did to the hired pieces had to be reversible. For the male dancers we brought white shirts made breaches which we distressed and added muslin to. The dancer’s costumes were really effective and they really came to life in the darkened halls of the house. I feel that these costumes really showcased all our skills. Once the run of the production started things became much calmer. We would arrive early to make any repairs and make sure everything was ready for the performance, dress the actors and do their hair and makeup. Then prepare and do the quick changes. The costume room became a central point for all the actors and they would come in to chat before and after the performance. We all felt that we made a really close bond with the actors and at the end of the production everyone was like family.

I feel that I learnt so much from this experience, and I am really glad that I saw the whole process from start to finish as it gave me an idea how the whole thing worked. I really enjoyed the dressing process and I feel that this is something I am now going to think about doing when I graduate. I enjoyed it because you had to constantly be doing several things at once and there were certain jobs I did for each actor. Everyday there was a different set of challenges and problems which we had to overcome and this meant that we were always kept busy.

We had really positive reviews and comments from all the cast and crew and both the director and writer said they would provide references and be happy to work with us again. There is also a possibility of the play being run every year to help raise money and promote the house.