Interfacing the body–part 2

First and foremost, thank you so much for all the comments indicating that a lot of my readers like to see the details of construction. The teacher in me likes to share and document the process, but if it’s not of interest to anyone I’d better use my time sewing . I have my times in and out of blogging, which I now regard as something natural. In the early years of blogging I used to feel I “had” to post. That feeling has gone, it’s one of the things I do and like doing very much, but there are times it’s just not a priority and I’m fine with that too.

Onwards to the jacket. I’ve added extra interfacing at the point where the pockets are to be set in and  added a strip to the neckline and center front. (the seam needs an extra pressing)

I know this pattern fits and I’ve added 1cm (3/8 inch) seam allowances. After applying the interfacing I marked a few crucial spots with carbon tracing paper: start/finish of front zipper insertion, waistline and of course the pocket line. The last one was hardly visible after applying the extra layer of interfacing and I traced it with a pencil and basted the line so it’s visible it at the front.

The tape I used at the neckline and center front is “off grain tape”. I bought this in the UK at the English Couture Company when I did a class there. It’s exactly what it says, off grain, not on the bias. It means it has a little stretch, perfect for a slight curve but also giving stability on the straight parts. It’s also very easy to replace it with a strip of interfacing that’s on grain, which is what Alison Smith does in her Craftsy class. Then you just clip the tape where needed. I’ll probably do that on my next jacket, as this was the last I had.

In her Craftsy class Alison Smith also uses the strip of interfacing at the shoulder seam and armhole. I won’t do that in this jacket probably (still debating).

LindaC asked which fabric this is. I don’t know the exact content of it. It was the last bit on the bolt and it didn’t mention the content. I thought it had a bit of silk in it but the shop owner said it was viscose (rayon) with some other fiber. Whatever it is, it has a lovely texture and shine and is easy to work with.

My favorite type of garment to sew

Jackets are the type of garment I love to sew most. By far. I love the whole process of planning, cutting, interfacing and construction. In general it’s a time consuming process, but cut in several stages it’s very manageable.

The inspiration for my next jacket was one I saw in a television broadcast. I tried to find a picture but could not find it. It is a jacket with V-neckline, 3/4 length sleeves, a zipper center front and also the pockets will have a zipper. In the category jackets it’s relatively easy (compared to a notched collar for example)

The first step was to draft the pattern. I based the pattern on the jacket I made last year and made a quick muslin of the body because I wanted to be sure the V was drafted correctly. With a deeper V-neckline the pattern has to be adjusted to make sure there is no gaping.

No need to be worried, the fit is good. I didn’t muslin the sleeves, I know they are ok because they are exactly the same as in the other jacket. Only difference is the 3/4 length on this summer jacket.

A detail shot of the fabric used.

Front pieces have been assembled. I’m waiting for the zippers to arrive, then I can construct the pockets.

A peek on the wrong side. All pieces for the body were interfaced with a light weight interfacing. The upper part of the back is interfaced with a more heavy weight interfacing.

The front has a so called shoulder placket. This is made in two layers, as instructed by Alison Smith in her Craftsy class Structure & Shape. A course (and the total series) I heartily recommend when you’re interested in jacket construction.

The first layer is hair canvas, cut on the bias.

This is attached with fusible interfacing which extends at the shoulder and armhole. In this way the canvas is attached, but still moving freely at the bottom.

Next step is a strip of interfacing at the edge.

Do you like to read this detailed information? In the discussion about blogging versus instagram/facebook etc. that is going on now I’m definitely in the “I keep with blogging” camp, having neither an instagram or facebook account, so I don’t even know what I’m missing.
I’m wondering though whether it’s still interesting to read the detailed posts about construction. Would you prefer to only see the finished garment?

Nice progress

My jacket is coming along nicely, though it’s not finished yet. Just showing some inside photos  and a first idea of how it looks now. The sleeves don’t have sleeve heads yet, but already have a nice curve.

The inside looks like this. This time I’m using speed tailoring techniques, using fusibles. Two types of interfacing are required here: a light and a heavier fusible interfacing. The shoulder placket is a canvas, held in place by a fusible as well.

It’s quite a bit of work pressing all the interfacing in, but once that’s done, construction is pretty straightforward.

Anne asked in her comment “When you use the word 'sloper' does this have seam allowances on it or is it more of a block, so without seam allowances? I'm assuming that the burda pattern, being old and from a magazine doesn't have seam allowances?”
As I understood the word sloper and the word block have the same meaning in pattern drafting. It’s a basic pattern including some ease based on your moulage. The moulage has no ease. Here (meaning The Netherlands where I live) Burda magazine patterns, new or old, don’t have seam allowances added to them. Both my sloper and the Burda pattern don’t have seam allowances. That works fine for me, it’s the way I learned to sew and for me it’s also easier to evaluate the size of a pattern if seam allowances are not included.

Thank you Vicky for mentioning the book by Lynda Maynard on using a sloper with your pattern. For the moment I’m fine but it’s good to know there’s a reference book available.