Showcasing the newly finished diamond-cut tophat that is an architectural layering of the the decagon shape construed in short-pile pelt and satin lining, profoundly exploiting the 10-face-based polyhedral shape which, through its repetition, bestowed the elevated endeavor with distinct outlooks for front and side-ways views.
Instating a new approach on the Cathedral Cape concept through this delineation on how contrasting-colored tape is going to be incorporated within the seam-lines, directly dividing fabric pieces in straightforward Art-Deco figures, highlighting the extra-ordinary structure of this new cape, starting from the pre-proven collar, over to the shoulders and inset godet windows, down to the all-around trailing hemline, bringing both unused techniques and materials into what will be one of my greater 2012 endeavors.
On controlling this delicate fabric for faults I noticed a series of hard folds, pressed deep into the fabric structure from the less than careful way it had been spinned onto its roll, causing false pleats which are better avoided, diminutive as they may seem, as the error inflicted when copying patterns on top of them would be especially bothersome because the impact would differ between the left and right halves of the coupe; a due to strict material usage non-omittable premise, luckily well-correctable through exhaustive steam-pressing upto almost no visibility, re-setting a tranquil outlook to this earliest of producing stages.
Two converse approaches in creating a pleated collar that covers the greater part of the shoulders; the first method succeeding by pleating shoulders and collar separately, leaving just one seam to sew, may it be an incredibly difficult one to perfect; and the other solution consisting of individually tailored collar-incorporating pieces providing a far more esthetically unbreached result, while requiring enormous travail to accomplish.
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