The pattern is Marcy Tilton's Vogue 8934 which I'd sewn once before earlier this year. I put the two side-by-side on mannequins so I could compare one to the other as I worked but as you can see, they developed vastly different right from the beginning.
You've already seen these finished images in an earlier posting but it seemed appropriate to slip them back in before going through the entire process. The denim scraps were in the Bits & Pieces of Possibility boxes and are from various projects. Some were painted and some were not.
The painted patches were the "wrong" side of a denim fabric. The "right" side was a dark denim, more black than blue. I painted these patches a few months ago for a pair of jeans that no longer fit me so they were cut up as well. The remnants were cut into rectangles and then sewn together...
... in three rows with the serged seams toward the outside. This made for a very neat interior which also caused comment. It's a nice benefit of exposed seams.
Above left are the bottom six sections. Each was made to size using the corresponding pattern piece. Above right, you can see the bell shape of the finished garment. This is a shape I love that is found in three of my favourite Marcy garments - Vogue 8934, this coat - Vogue 8499, a skirt - and Vogue 8876, a dress. I've sewn them all at least twice.
With the original pattern, the curve of the bottom is created by sewing darts. As you can tell from the finished garment, I divided the pattern pieces into sections. With the bottom section, I cut and overlapped the legs of the darts to create the end shape of the pattern and then pieced that shape from remnants of a striped denim, top stitching the seams with dark grey thread.
There were two things I would do differently next time. One was the side seams between the front and back pieced sections. Next time, I would try to figure out how to go around the corner more continuously however, I did go around the corner and this is good and enough because I stalled on this step for quite a while until I decided to just push on.
After making some less than best samples of bound pockets, I settled for creating a pocket that was pieced into the dropped "waist band". First, I folded the selvage to the front side and top stitched it in place and then zigzagged the two edges together with a satin stitch and added in the pocket. That unit was stitched into the overall band making sure the distance from center front was even.
The only drafting glitch that happened was when I tried to sew the band to the upper body. The band was too long. I'm not sure I've totally figured out what went wrong yet because on paper it should have worked but it didn't and I had to deal with reality not what should have happened. In the end, I created a dart to ease the larger shape into the smaller one and for fun pressed it to the front.
This is the second thing I would do differently. I think they're a bit too much like an arrow and more jarring than fun. Later on, I added paint to the darts and may still add more at some point in the future. Here the seams between the band and the piece section and the bodice section are not top stitched. On the finished garment then are and I used a hammer to knock out some of the bulk at the seams.
Apparently, I didn't take too many pictures of piecing the upper bodice sections. Basically, I randomly chose and stitched together painted sections along with two dark sections, one in the back and one in the front. I liked the idea of creating a challenge for myself by needing to balance the dark sections but I knew balancing them had to be the last step because all of the other decisions would play a part.
The collar was next. I sewed doubled strips of denim through the serger and then carefully cut the seams off close to the stitching and then used macrame knots to tie the strips together. Underneath the knotted upper collar is another layer of denim that is sewn into the button band. The collar is a bit stiff but I think it - and the rest of the coat - will soften with wearing.
You would have thought with my rather extensive stash of buttons that I would have some that were just perfect and that was the problem. They were too smooth and too "perfect" for the rawness of the fabric I was building. After digging my way through all the possibilities, I ended up buying these (on sale) for their texture. I like the way they look in the finished piece.
For the buttonholes, I experimented with black and grey thread and eventually chose black for the contrast. I thought it created another vertical slimming line like the button band. I also liked the way it matched better with the inside of the button band where I had...
... used remnants of a bright plaid that never seem to satisfactorily become any garment. I've used it several times and every time cut the garment back up because the print was too bright and overpowering for my face. Here, it worked perfectly. The remnants weren't long enough for the entire button band so the part near the collar is the darker denim. This way, if the top button is open, the plaid is not next to my face.
Before I began building the coat, I used the only piece of yardage left to cut out the sleeves. All the way through the garment, I thought they were going to be dark side out. I was so certain, that I sewed the underarm seam and hemmed the bottom with plaid binding. And then...
... when it came time to sew them in... I decided dark was stark and began playing with different ideas. In the end, I used the oval shape of the lid for my shampoo bottle to add painted ovals to the light side of the sleeve. The paint of the sleeve and the paint of the bodice are not the same. Depending on how you look at this, it is either a mistake or not. The "old" me would have thought it was a mistake and either have not done it or have stressed over it or worked unbelievably hard to match the paint. The "new" me thought it added an interesting contrast and another element to balance.
Before sewing in the sleeve, I added binding around the armhole. I find it easier to do this before rather than after as the edge is much bulkier once the sleeve has been inserted. Which I had to do twice. Many people recommend sewing in the sleeve with the gathers against the throat plate. They say that the action of the feed dog will help to ease in the gathers. Some of these people I highly respect so I tried it and - for me - I don't find this to be true. I find it much easier to sew with the gathers facing me. Not only can I see and help to ease them in but the direction of the curve tends to pull out the gathers rather than push them together. It's probably a personal choice but - in my case - the results tell the story. The sleeve heads eased in much nicer without puckers the second time.
Did you notice the painted ovals on the dark side of the sleeve? That was one of the experiments and while it was better than a solid dark sleeve, it was not as good as a painted light sleeve. It's so important not to give up until you achieve what you want and...
... to pay careful attention to your reactions as you go along. With sewing, rarely is a decision a lifetime commitment. I started with adding zipper piping along the button bands and then experimented with adding it in other places. At one point, I'd placed it along the hem of the sleeve with the dark 5/8" fabric of the zipper toward the sleeve hem and the zipper teeth away from the hem. It looked great on the sleeve but when placed beside the waistband, it visually extended that dark line and created a really wide looking hip. No thank you. I removed it and two other lines that I'd sewn at the hem and at the top of the waistband. What I'm left with is enough bling. Those extra bands were too much.
Once the sleeves were in place, I could balance the dark patches. In the front, nothing really needed to be done because the patch is tucked almost right under the arm and the button band is commanding the most attention. In the back, I started by adding some zipper piping to the left side of the patch and then used a differently painted patch to accent the opposite shoulder. If you look at the image above left, you may notice your eye moving from the dark strip to the painted patch and back. This is called a secondary focal point. They are meant to be of almost equal intensity and to create energy within a piece. I loved used this technique from my wall pieces in a garment and I think it works quite well.
And here, I am actually wearing the coat. This is the second photo shoot. In the first one, I had on grey jeans that matched better and my hair was co-operating only the camera wasn't. My friend took all the shots and then, when we went to look at them, they were missing. I knew you'd prefer some to none so here you go.
This is NOT the most flattering photo but it does give you an idea of the inside as does the image at right. One of the reasons for the Year of Health is that I'm being proactive about some potential health issues that could benefit from a stricter diet and regular exercise. We'll see how that changes the photos down the line. As I told my friend, my coat may just fit a little looser. It's interesting how good health is far more motivating at this age than a smaller size.
I put the line drawing here again so you could compare the finished coat with the starting point. Every pattern is a blank canvas and we get the opportunity to "paint" it in any way we want. How would you paint your version of this coat?
Talk soon - Myrna
Grateful - beautiful fall days, colourful leaves