Fitting

Jacket Alterations

• Reduce the size of the lapel by 5/8’’
• Reduce the top of the side seam on the back panel by ½’’ tapering down 4’’
• Reduce the front shoulder seam at the arm hole 1’’ and follow this round the arm hole for 5’’ then start to reduce to nothing at 10’’
• At the back shoulder seam take in 1’’ at the arm hole and follow round moving the bottom of the arm hole to meet where the side seam has been reduced.
• Reduce the side seam at the bottom by ¾’’ from the bottom tapering to nothing 4’’ above the waistline.
• Reduce the neck line by ½’’ at the centre back and taper around to ¼’’ at the shoulder then to nothing on the front line. 
• Put shoulder pads in and Put ice wool into sleeve head to make it that bit more voluminous

Waistcoat Alterations

• Extend the centre front by:
• 5/8 at chest line
• 1’’ at waistline
• ½’’ at the bottom
• Take in the lining only on the side seam by 1½’’
• Take 1cm off shoulder seam of lining only and taper to nothing from the neck side.
• Lower the neckline by 1cm at the centre back and taper to nothing at the seams.
• Extend waistcoat straps
• move or remove breast pocket

Trousers Alterations

• Take in the trousers by ½’’ on the centre back seam
• Take in by 5/8’’ on the back panels of the side seams
• The waistband must be 7cms to sit nicely under waistband.

Reflection

I felt really rushed for my fitting and considering this I feel that it went well. I am really pleased with the trousers and the fit of them is really nice, the designer is happy with the fit and the length of them the only worry was about the waistband but this was not attached for the fitting. The jacket fit really well and there are only minor alterations which need to be done where the fit is slightly too big. I am really pleased with how the jacket and the trousers look and after the alterations they will be ready for the next stage. The waistcoat had slightly more alterations and the fit was not as good, the front design line needs altering and it was lucky I added the extra seam allowance. Looking back I should have also created a calico toile of the waistcoat, as this would have made sure that there was a better fit at this stage. When it comes to the look of the waistcoat the designer has decided that the breast pocket does not look right and that it should now be removed. Because of this I will have to re cut out this side of the waistcoat and start again with it as the pockets have been cut. This may have been avoided if I had created a calico toile.

Weekly Plan

• Make alterations to original patterns
• Make alterations to trousers
• Put trousers together
• Cut out waistband and cuffs for trousers
• Make alterations to jacket
• Cut out waistcoat and mark tack
• Waistcoat pockets

Putting Together

Jacket

I started the jacket by putting the darts in and pressing them towards the side seams. Next I put in the pockets, this was a difficult process as it has been several months since I have created pockets and I always find it takes time before I can easily remember what I am doing. Throughout this process I constantly referred back to my Level 5 workbook that gives detailed instructions on how to create pockets. I put two jetted pockets in the jacket that had flaps on. The flaps mirrored the curve of the front jacket. Once these were complete I put in breast pocket that was a welt pocket. I had drafted this slightly bigger as the chest size of the jacket is quite large. Once complete I tacked the pocketing down and the pocket mouths shut to keep everything in place whilst I created the rest of the garment.

Next I cut out the canvas and Brest felt, again referring to my level 5 work. I then pad stitched the shoulder canvas to the hair canvas, then the breast felt to the two canvases. These are both stitched using a small pad-stitch that runs parallel to the brake line.  Once complete I then pad stitched these layers onto the jacket front using a much larger pad stitch. Finally I stitched the centre back seam of the jacket together and pressed the all the pieces.

Next I prepared the jacket for the fitting to do this I stitched the side seams and the shoulders together using basting thread. I then tacked the seam allowance down to show the design lines and the lapel down to show the placement. 

Trousers

I started the trousers by putting in the pockets, I used standard side entry pockets. Once complete I tacked them in place so they would be attached securely when putting the waistband. Next I created the fly, and added the button homes on a domestic machine and hand stitched the correct buttons on. I used my Level 5 workbook as instructions on how to do both of these processes and I found that they both went really smoothly and I had no issues with either process.  Once the fly and pockets were in the trousers were ready to be prepared for the fitting. To do this I used basing thread to stitch them together up the side seams and around the seat.

Waistcoat

I started the waistcoat in very much the seam way as the jacket, putting the darts in, then the pockets and then using a large pad stitch to attach a layer of hair canvas. I then created the waistcoat back out of the lining fabric that matched the jacket lining. To do this I started by adding the darts and sewing up the centre back. I then stitched from the waistline around the bottom to the waistline again, rolled the seam and tacked it down. Finally I created the straps and added these on and tacked them down. Once complete I prepared the waistcoat for the fitting by stitching the side and shoulder seams together with basing thread.

Reflection

This entire process was entirely quick as I had 9 days to prepare for the fitting so I was very pushed for time. In this time I also spent a day working on the Much Ado production that was going on, braking down shirts. Because of this I did not have time to complete a sleeve pattern and put it onto the jacket. This is something that I will have to do as soon as possible on a mannequin and I will hopefully be able to have a quick fitting with the actor to check the hang. I also didn’t finish putting in the pockets on the waistcoat as I was having a real difficulty putting the welt pockets in. I am going to have to make sure I give myself more time in the future and work with more focus as I feel that the waistcoat and jacket are not made to the best of my ability. I am glad that I have realised this at this stage of the project so I can make sure that I continue with the project working at the best of my ablitiy.  However I feel that the trousers went really well and I am happy with the pockets and the fly. 

Braking Down

I spent today helping out with the production of Much Ado About Nothing, they needed a set of Four shirts broken down. I haven’t had much experience braking down so I was nervous to help out when the production was the next day. I found out the back-story of the character and the effect that needed to be created then with the help of Alison mixed up some colours. The braking down went well though and with the help of Lou we managed to brake down the four shirts. The designer was pleased with how they looked.  

Weekly Reflection and Plan

This week everything has started to get busier. I cut out and made my toile, completed my toile fitting, made the alterations on my pattern, cut out the jacket and plus fours in top fabric and mark tacked them. Everything is going to plan and I feel that I am keeping to my time plan and at the moment I am not rushed. This means that I am getting plenty of opportunities to work on my Investigate study; this means there will be less pressure on me at the end of the project.

Plan for next week

·      Continue mark tacking

·      Cut out waistcoat

·      Mark tack waistcoat

·      Pockets:

o   2 Jetted pockets in jacket with flaps

o   1 welt pocket in jacket

o   3 welt pockets in waistcoat

o   Side entry pockets in trousers

·      Put button fly in trousers

·      Put canvas and facings onto jacket and waistcoat

·      Tack jacket, waistcoat and trousers together

·      Prepare for fitting

Toile Fitting

I had a fitting to check that the patters I had cut were accurate and reflected the design. I was advised to do this as On the Razzle is a live production and I were to go strait into top fabric and I made a mistake I would have to replace the fabric as the budget would not cover it. I felt that my toile fitting went really well and there are only several minor alterations that I have to do. The designer was pleased with how the suit was looking and the actor felt comfortable in it.

Alterations

·      Add ¼’’ to the centre back of trousers

·      Move back dart on trousers by around 1’’ and extend slightly (see line)

·      Move the jacket pocket forward ½ ‘’

·      Reduced the dart by around ¼ ‘’

·      Reduce side seams from waist down tapering off towards the end. (see pins)

Notes

·      Ask graham about vents in the back

·      Line trousers for comfort

·      Make it a button fly not a zip fly

·      Breast pocket on waistcoat

Fabric

After my fitting I received the fabrics for the suit. The jacket and plus fours are both going to be made out of a medium weight brown wool and the waistcoat is going to be made out of  cotton. They are all going to be lined in the same fabric, which is a cream silk blend that has a small diamond detail. I am really excited to have the fabric and this means that I can start cutting out and mark tacking.

From the top- waistcoat, lining, jacket and plus fours

Cutting Out

After I received my fabric and had made all the necessary alterations to my patterns I traced them off and then pinned them onto the cloth. The jacket and trousers are made out of a brown medium Wight wool, the waistcoat is made out of a light pink cotton. Once cut out I mark tacked the added seam allowances and inlays to each piece as well as the important lines and darts. cutting out and marking the jacket and trousers was quite simple as the fabric was quite easy to handle, this process was slightly more difficult for the waistcoat as the fabric was lighter. 

Jacket front

Trousers front and Jacket back

Trousers back

Waistcoat front

Creating the Toile

As I am not an experience tailor and this is a live project I am creating a basic toile to check the accuracy of the pattern and that the garment reflects the design. I have done this for several reasons, firstly as I used The Modern Tailor, Outfitter and Clothier to draft my patterns I need to check that I haven’t made any mistakes with them and they hang correctly, secondly this is a live project and I am working with a budget so I can’t make any mistakes with the fabric.  I cut out the calico and put it together very simply to give an idea of fit and shape. I am looking forward to seeing the toile on the actor as this will show me how well my patterns have worked. 

The Paper Cinema's Odysseys

I went to see the Paper Cinemas Odyssey at the Pier Theatre. I really didn’t know what to expect when I went to see this performance as illustration and puppetry is not something that I have really looked at before.  This piece of theatre was really enjoyable though and I felt completely immersed in what was going on. 3 live musicians, who you saw onstage, used a range of different instruments and objects to create the sound track to story, brought this piece together. There was so much to look at, as I wanted to watch the musicians, the screen and the couple doing the puppetry. I enjoyed how you could see how it was being created and they would walk across the stage to do different things. This interaction made the performance feel real and gave the piece even more life. 

http://thepapercinema.com/

Pattern Drafting

This week I drafted the patterns for my Costume. I started by drafting the lounge jacket from The Modern Tailor Outfitter and Clothier. This was really challenging, as I had never drafted a pattern using a book before I had always used the edited instructions given to us by uni. The instructions were quite difficult to read as they are written in a very different style using terms that generally are not used today. Once started to pattern draft and I had got used to the language they became easier to understand and I felt that I could confidently work my way through them and my patterns should be accurate. The other difficulty with using the patterns from The Modern Tailor Outfitter and Clothier is that they are created using inches instead of cms. I am now confident in using inches however the L squares we use to create a pattern are in cm so there is a lot of converting between the two that starts to complicate things. I had to make several alterations to the pattern once it was completed to make it look right and graham helped me with these alterations. Once completed I moved on to the waistcoat which was fairly simple to draft I only had one problem where the chest line was to low so I raised it half an inch. I then created the pattern for the Plus Fours again using The Modern Tailor Outfitter and Clothier but by now I was used to the language and converting between cms and inches meaning the process went smoothly. Finally I created the sleeve, this was quite difficult as the majority of the lines are curves. I am really not happy with how the sleeve looks and I will re-draft it using grahams instructions.

Overall I am happy with the patterns I have created and I look forward to seeing how they look when I have created the garments. I feel that using The Modern Tailor Outfitter and Clothier for patterns has really challenged my pattern drafting skills and I now feel that I could confidently draft any of the patterns from the books.  

03- Evaluation

Time Plan

Time planning for this project is incredibly important as I have such a limited amount of time to create a three-piece suit. I have tried to create a plan that will push me but is also achievable. I will have to update my plan as I move through the project and make any necessary adjustments or alterations.  In this plan I have added all aspects of my uni life; Specialist practice, Investigate study and lectures, as well as considering outside events such as work. I have added all of this into my time plan so that I can effectively plan my time so I am not rushed in any aspects of this or any other projects. 

Learning Agreement

NAME:                       Eliza Rose Harris

COURSE:                  BA (Hons) Costume with Performance Design

UNIT TITLE:             Specialist Practice

REFERENCE NO:  CSS610

CREDIT POINTS:    30
DURATION:             9 WEEKS

WEIGHTING:            2.0

HRS OF STUDY:    300

UNIT LEADER:       Mandy Barrington

Proposal:

Using traditional tailoring techniques I aim to create the costume assigned to me by the designer for the play On The Razzle. Producing a three-piece suit will allow me to develop practical skills as well as theoretical knowledge in the area of costume I intend to progress into.

I will carry out research to make sure that the costume is historically accurate, whilst ensuring it meets with the designer and director’s requirements. I will consider traditional methods of tailoring as well as recognising practicality issues of the garment being used in live theatre. Whilst I have experience of making a suit, I will have to research 1930’s style, considering fabric and cut and making sure it is appropriate to the themes of the play. Recording my research in a workbook will allow me to make informed judgements when time planning and creating the garment. In addition, maintaining my workbook to a professional standard will provide me with reference material for relevant future projects. I will use a blog to evaluate and reflect on my work throughout this project. These evaluations will be contextualised through relevant research.

During Level 5 I built up an understanding of basic tailoring, including; pattern cutting, preparing for and carrying out a fitting and constructing a suit using traditional tailoring techniques. This project will build on these skills and push me to work to a more professional standard as the outcome will be used in a live production. Previously, I created a garment for an individual; therefore, apart from fulfilling the specifications from the brief I had full control of the design and construction of the suit. As On the Razzle is a live production I will have to work collaboratively with a designer and costume team. Whilst independent judgement will guide my decisions I will primarily have to consider what is expected by the designer. This will test my ability to communicate and negotiate with the designer, to create a garment that meets with their requirements and is achievable in the given time frame.

The practical aspects of this project will further my skills in tailoring; as I will be making a 1930’s suit, techniques will be more developed than those I have previously used to create a Victorian suit. The fabrics used to create a 1930’s suit are generally a lighter weight than those used to create a Victorian suit, this could mean that there is less ease to the fabric, highlighting a demand for accuracy. As I am creating this costume using traditional tailoring techniques I will not do a full toile fitting, however I will create a basic toile to check the pattern works and reflects the design before cutting out in top fabrics. I will then baste the suit together for the first fitting to check the fit and aesthetic of the suit; this will also give the designer a chance to see how the suit looks on the actor in order for me to make any necessary changes or adjustments. Whilst not creating a full toile may be a risk, it will push me to work as a tailor would in the professional industry.

Aims

A1   To negotiate a body of work within the context of the brief through a learning agreement which demonstrates effective work planning, time and resource management.

A2   To further develop intellectual reasoning and practical research to an increasingly advanced level of attainment.

A3    To encourage in-depth learning through a high degree of independent judgement and increased critical thinking.

A4    To develop a professional level of communication through the visual creative and technical realisation of your project.

Learning Outcomes

On completion of this unit you will be able to:

LO1   Demonstrate the ability to negotiate an appropriate body of work, formulise a work plan and manage time and resources effectively.

LO2    Demonstrate the initiation and creative application of intellectual reasoning and practical research to a high level of attainment.

LO3    Inform project solutions with appropriate understanding, a high degree of independent judgement and demonstrate critical self-awareness.

LO4    Demonstrate a professional level of project realisation, communication and presentation.

LO4 Demonstrate a professional level of project realisation, communication and presentation

Assessment Components

A negotiated body of work that will include evidence of advanced technical and artistic experimentation and risk taking, I will Hand in a Body of work consisting of a full Costume and a Workbook together with appropriate written evaluation (500 words).   100%

Complimentarily

Should an opportunity become available to work with students from another course, the body of work will be negotiated with your unit tutor.

Each assessment requirement must be passed at a minimum grade of 40% to successfully complete the unit.

Assessment Criteria (specific criteria related to the learning outcomes)

The level to which your work demonstrates the ability to negotiate an appropriate body of work, formulise a work plan and manage time and resources effectively. (LO1)

The level to which your work demonstrates the initiation and creative application of intellectual reasoning and practical research to a high level of attainment. (LO2)

The level to which your work informs project solutions with appropriate understanding, a high degree of independent judgement and demonstrate critical self-awareness. (LO3)

The level to which your work demonstrates a professional level of project realisation, communication and presentation. (LO4)

Reference Material

Bridgland, A. S. (1928) The Modern Tailor Outfitter and Clothier – vol 1. Ferndale Book Company. UK.

Bridgland, A. S. (1928) The Modern Tailor Outfitter and Clothier – vol 3. Ferndale Book Company. UK.

Costantino, M. (1997) Men’s Fashion In the Twentieth Century. B T Batsford Ltd. London.

Marly, D. (1985) Fashion for Men an Illustrated History. B T Batsford Ltd. London.

Stoppard, T. (1982) On The Razzle. Samuel French, UK.

Time Life Books (1974) Basic Tailoring. Time Life. UK

STUDENT……………………………………….DATE………………..

TUTOR…………………………………………..DATE……………….

Line Drawings

I have created a set of line Drawings to help me when pattern drafting and making the garments to understand where the seams sit and the shapes created. It is important for me to refer to these as well as my design throughout this hole process.

On the Razzle

The Coachman