Simple Sew Notch Collar jacket

Usually when I write a Simple Sew blog post it’s a garment for me but this time the finished article is for my friend Janet. We had a shopping trip to London’s Goldhawk Road a little while ago to choose fabric for a dress for Janet’s daughter to wear to a family wedding and while we were in Classic Textiles we got distracted and spotted this lovely pastel tweed. There wasn’t a lot left so she snapped it all up as well as some pretty matching lining, we didn’t have a pattern in mind but I knew I’d have something suitable at home.

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I didn’t realise I even had the Notch Collar jacket, it turned up when I had a recent tidy in my work room.

The jacket got put on the back-burner for a few months because I had the dress for the wedding to make first, and then a last minute dress for Janet herself to wear too so it dropped down the priorities.

With the wedding out of the way in August I could revisit the project. Because there wasn’t a lot of fabric and there could be tricky pattern matching to do I didn’t want a pattern that was too complex with a lot of pieces so when I found the Notch Collar jacket I thought it would be perfect.

If you’re going to make this jacket yourself I would say it’s VITAL to make a toile first. In my opinion it’s quite narrow across the front and shoulders so if you’re fuller-busted you will probably need to do an FBA.  With this in mind I was really pleased, and a bit surprised, when the toile fitted Janet perfectly with no alterations but then she is quite petite build.

 

If you read my pattern reviews regularly you’ll know that I’m not usually a ‘tracer’ but because Janet is so much smaller than me, and I may want to use the pattern again sometime, I opted to trace this one. If you’re short of fabric or if it’s going to be tricky pattern matching it can be really helpful to make pairs of any pieces that require 2 eg. Left front and right front, a pair of sleeves or the whole back rather than just place on a fold. In this case though I folded the fabric carefully in half and pinned in numerous places through the fabric so that I knew the checks were matching on the under layer.

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Pin through the same spot on both layers.

 

Because of the wide width of the fabric I could easily place the front and back side by side so I knew that the check would match down the side seam as far as possible. Because of the dart it wouldn’t match near the underarm seam though, this is inevitable.

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Front and back side by side on the fabric matching from hem level upwards, it will go off slightly because of the dart.

I didn’t cut out the sleeves in tweed at this stage. I cut everything out in lining too with the addition of a pleat of extra fabric in the back to allow for movement. I also cut facings which incidentally I’d made a lot wider than the originals-I think they are too narrow. [later on I discovered that there’s no lower back facing piece and very little hem allowed to turn it up either. I made my own by tracing the lower edge of the back pattern up to the same depth as my front facings-8cms-so that they match when joined at the side seams.]

To stabilise the tweed and give it some extra body I interlined the fronts and back with some calico and basted it to the tweed within the seam allowances around the edges. This is known as ‘mounting’ the fabric and is a very useful technique if you have a fabric that needs stabilising or a little more body for some reason.

I immediately disagreed with the instructions here because, after making the darts, the first thing I would do is make the pockets and sew them on. Because the fabric frays quite a bit I opted to use some lining as well as the facing to ‘bag out’ the pockets. This makes them more stable as well as neater. After matching the checks I top-stitched them on but that pushed everything out of alignment so I ripped that stitching out and hand-sewed them on instead. These aren’t pockets that will need to take a lot of weight so they should be plenty strong enough.

 

 

After joining the shoulders and side seams I pressed the seams open with plenty of steam over my tailor’s ham and gave them a good bashing with my wooden clapper to knock the steam out and flatten the the seams effectively. I used it on the darts too. If you don’t have a clapper you could use a wooden rolling pin if you have one.

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Tailor’s ham and wooden clapper

Things got trickier after this because I had to match the sleeves to the checks of the jacket. Initially I did this by lining up the pattern piece again the jacket on the stand and drew some guide lines onto the pattern. I was reasonably sure this would work so I cut out a pair of sleeves…I was wrong. I’d placed the pattern piece onto the fabric but it was matched to the wrong set of stripes. Damn and blast! Fortunately, I still had enough fabric left for another pair of sleeves and I could cut the front facings out of the incorrect sleeves instead.

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I cut the front facings out of the incorrect sleeves
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My pencil markings indicate approximately where the pink stripes are in order to match the facing to the front as much as possible.

I tried a different approach to matching the sleeves. I took the whole piece of remaining fabric and offered it up to the jacket armhole on the stand where I pinned it in position. This seemed to work so I carefully thread traced the crown of the sleeve, removed the fabric again and then laid the pattern piece on top.

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I pinned the whole piece of fabric to the armhole matching the stripes as best I could.

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Thread tracing the sleeve crown
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Then I traced around the whole sleeve slightly outside the pattern ( to allow a margin for error) I could then place the pattern in a corresponding area of check for the second sleeve  so that it, hopefully, matched the jacket too!

Obviously I needed a second sleeve so I had to cut the first one, remove the pattern, place it in the correct position for that sleeve to match and cut it out. If I got this one wrong there was no Plan C…. I’m extremely relieved to say that all was well-phew. One of the benefits of the tweed is that you can make the slightly loose weave work in your favour so I ran the usual two rows of ease stiches around the crown and tacked the sleeves into position.

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I gently pulled up the ease-stitches in the sleeve head before putting each sleeve into the armhole. the red stitches are the markings from where I placed the paper pattern on the fabric.
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Sleeves inset

One fitted perfectly first time and the other I had to reduce the amount of fullness over the crown to make it fit, and still have the checks matching. At this point Janet popped round for a fitting and we were both very relieved that it fitted really well-high fives all round.

One tip I’d give as a result of doing quite a few alterations on coats and jackets is to use a wide strip of iron-on interfacing at the cuff to give it a crisp edge.

 

This is the sort of soft-tailored jacket which will benefit from a small shoulder pad. We aren’t talking ‘Dynasty’ or ‘Dallas’ 80’s shoulders here, just enough to give a little more definition to the shoulder-line. I didn’t have anything suitable so I made a pair with some medium thickness wadding and covered them in fine calico.

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Wadding ‘pad-stitched’ onto calico
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The wadding is attached to one layer of wadding which is in turn stitched to another piece of calico along the shortest edge first of all.
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Snip the curve and flip the calico over to cover the wadding
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Fold the shoulder pad evenly in half and slip stitch it loosely in place along the shoulder seam on it’s underside..
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The shoulder pad extends very slightly over edge of the shoulder in order to support the sleeve head.

To line the jacket next, I interfaced the facings with iron-on Vilene and neatened the edges, then I stitched them wrong sides to right sides on the lining pieces.

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Back neck facing placed on top of the lining and stitched in place, I did the same with the front facings.

I made up the lining as a complete unit-fronts/back/sleeves-which in hindsight wasn’t the right order because after I sewed the jacket and the lining together all the way around the outer edge it meant I couldn’t under-stitch any of it. I should have sewn the lining in without the sleeves attached, under-stitched the neck edge first then attached the sleeve linings afterwards. Instead, I pulled everything through right side out and gave the neck edges a jolly good steam and wallop with the clapper again. Then I ‘stab stitched’ the edges of the front and neck edge by hand, and also a few stitches directly through the lower section of each side seam to keep the two layers fixed together. Finally, I slip-hemmed the sleeve linings in place.

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I stab-stitched through the side seams to hold the lower edge nicely together.
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sleeve lining slip-stitched into position

As I said before this is a ‘soft-tailored’ jacket rather than a very structured one, although I’ve used one or two techniques which I picked up on the tailoring course I did two and a half years ago.

The sparse making up instructions do have a few errors or anomalies which could trip you up. I set the sleeves in rather than on the flat which might not make any difference to the overall finish but the lack of lower back facing or sufficient turn up instead isn’t good, and it says there’s a turn up of 5mm on the cuffs when it’s actually 1.5cms, and in fact 4cms is what I used to give a better finish. I know some of the earlier Simple Sew patterns have a few technical errors and this is one of them but, with this in mind, don’t dismiss it because it’s an attractive little edge-to-edge jacket but make a toile first!

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I relieved to say that Janet is very pleased with her jacket and hopefully will get a lot of wear from it.

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Until next time

Happy sewing,

Sue

Anneka tunic by Simple Sew patterns

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I chose the Anneka tunic as my first proper Simple Sew blogger make because I like the front and back box pleat detail and I do like a nice pinafore! It’s one of those styles that you could make in a warm fabric for winter like tweed or corduroy, or in a summer-weight linen or cotton drill perhaps. I have a not-insubstantial stash of fabric that I’ve accumulated over a long period but there wasn’t quite enough of any of the three pieces I wanted use which was so annoying. What I could have done was leave out the box pleats but then it wouldn’t still be the pattern I chose in the first place so there was nothing for it, I had to buy more fabric.

I took myself up to Walthamstow market where the famous Man Outside Sainsbury’s came up trumps with some lovely cloth. If you’re close enough to London he’s well worth a look [Saturdays he’s outside Sainsbury’s and Tuesday and Thursday he’s outside Lloyds/HSBC] I think a lot of his stock is ex-designer fabrics so you can often find some gems. It was fairly quiet when I arrived-it’s worth getting there early before the market starts to get crowded later on-so I had a good look round. I spotted a few possibles but then he drew my attention to some lovely wool which turned out to be Harris tweed. I bought some of the check, and I fell for a beautiful plain red too.

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It might not be much to look at but he has some great fabrics.
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checked Harris tweed and a lovely silky lining

Once I got home I decided to make the Anneka in the red [laziness really, I wouldn’t need to pattern match anything!] The pattern instructions remind you to launder your fabric but because this is wool I’ll have to dry clean it whenever it needs it.

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the Harris tweed symbol

Because I’m super-stingy on fabric quantities in order to cut both front and back on a fold I had to fold the tweed slightly off the norm and not following the lay plan which is more wasteful, the photo below explains that a bit clearer hopefully.

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Both selvedges are folded into the centre but slightly more than half way each, hence the strange way it looks here. Each selvedge was folded by about 42cms towards the centre which means there’s an area of overlap. The front and the back pieces interlock with one another and the pocket and bias binding fit into other areas.

Because it’s wool I wanted to line the dress so I cut that too but it doesn’t need the pleats. Simply place the front and back pieces onto the fold of the lining but without the whole box pleat, you could keep a little of it if you wish though. I actually made a seam in the centre back by using the selvedge simply to save a bit more fabric. I cut some for the pockets too, the photo below should help. The pocket lining is cut smaller than the tweed, minus the fold at the top.

When it comes to construction the first thing to do is make the pockets. I wanted to line the pockets so I used the lining I’d cut to bag them out instead of pressing the edges under as per the instructions.

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One habit that may not have occurred to you to do is a practice called ‘chaining on’ which basically means instead of taking each part that you sew out from under the presser foot and then inserting the next piece, instead, lift the presser foot and pull the sewn piece out of the way slightly and then put the next piece underneath and continue to sew.  Obviously you still backstitch at the start and finish as normal but this can be a big time, and thread, saver. Making a pair of pockets is a good example of this.
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Stitch the lining to the top of the pocket and press the seam towards the lining.
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Fold in half and stitch leaving a gap at the bottom.
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Trim the corners
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Turn through and press, the gap at the bottom will get stitched up when you sew the pocket onto the dress.

Sew the pockets onto the dress-I moved mine slightly further apart than the tailor tacks because I thought they looked a bit close together (they could possibly move down a bit too, particularly if you’re tall with long arms!). Before I sewed them on though I thought I’d try out one of the fancy stitches my new machine does. I settled on a sort of wave which looks quite nice.

You could choose to embellish the pocket top edge using braid or ribbon for example, or you could fold the top so that it’s on the outside instead, as a wide band, and top stitch it down. Or you could make the pockets in a contrast fabric.

Once the pockets are on you can make the pleats in the front and back. Making the actual pleat is fine but getting it nice and central and even on wool needs a little bit of effort. I made a row of tailor tacks down the CF and CB lines so that I could ‘squash’ the pleat flat and know that I had them central all the way down. If you look at these photos you can see how I pinned through the the tailor tacks to the CF and CB seams underneath. Once I was happy they were accurate I basted the pleats down the edges through all the layers to stop them moving about.

 

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Once I was happy with the pleat positioning I top stitched it down in the centre like this. This isn’t part of the pattern instructions [although stitching across the top of the pleat is] but I think it’s quite an important step as it keeps the pleat permanently in position.
Because I’m using pure wool fabric I can use lots of steam, this really helps the pleats stay in place and can be useful in shrinking out excess and any stretched parts elsewhere too. Make sure you use a pressing cloth though so that you don’t get shiny marks on the fabric.  

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I left the basting in position until I’d completely finished the dress. This is before I’d put the lining in and the binding around the neck.

Sew the shoulders and side seams next, I made the lining up to this point too and, after neatening the seams, stitched it inside the tweed with wrong sides together.

The instructions allow for ready-made bias binding so you could choose a matching colour, or a contrast, or make your own as I did.

This was a slightly risky strategy because the tweed is fairly thick but I decided to give it a try. I made about 1.5m of bias which I pressed under by one centimetre on just one edge using my homemade crease-pressing guide. It’s just a piece of cardboard with centimetres drawn on in 5mm increments.

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Yes I have written ‘hem guide’ on it so that I don’t chuck it away accidentally thinking it’s just a piece of card!

Once the binding was pressed I pinned and stitched it to the inside edge of the neck and armholes. This is because I wanted it to come to the outside and then topstitch it down for a visible and decorative finish.

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Sewing the binding to the inside so that it flips to the outside when it’s finished.

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After stitching the binding on I trimmed the seam down slightly [I ‘graded’ it which means that I trimmed the layers by slightly different amounts which should help prevent there being a bulky lump when you’re dealing with thicker fabrics.] Next I under-stitched the binding close to the seam, which is what you can see here.
Now carefully pin and tack the binding down around the neck and armhole edges, try and do this as evenly as possible because it will be completely visible. It’s worth taking your time. Topstitch it down close to the folded edge

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The binding is visible on the outside instead of being hidden inside as usual so take your time with the preparation and topstitching.

If you’re a bit stuck with the binding there’s tutorial on the Simple Sew website which should help, just click on my link.

Finally, finish your hem. This time I decided to use some grosgrain ribbon over the raw edge to stop any chance of it fraying-as you can see I had just enough!!

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The narrowest of narrow margins!
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First machine the tape or binding on the lower edge then turn the hem up as usual and stitch in position.

The lining should be shorter than the main fabric by a couple of centimetres, I did this at the cutting out stage.

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Yay, a sunny day to take pictures

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Overall I’m happy with my first Anneka, I might cut the next one a bit shorter though. This version is nice and cosy and the lining will help it to keep it’s shape. If you’re using pure wool for skirts, dresses or trousers it’s definitely an idea to line it to prevent it ‘seating’ or going baggy. I’m wearing it with a RTW top but a shirt or blouse would like nice too. In spite of the absence of darts and a zip this one wasn’t particularly quick to make because of all the care I had to take with the fabric and various techniques but a slow-sew can be really satisfying if you’ve got the time.

Until next time,

Happy sewing

Sue