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Shoulder Adjustment

Production

Before CorrectionAfter Correction

Overseeing the corrections on the Marquis Coat in a second fitting session showed a noticeable crookedness throughout the upper torso area, caused by the sleeve, seemingly tilting the whole of the coat backwards; a mishap often encountered in confection, yet easily correctable by redividing the ease on the upperside of the sleeve’s head to slightly turn the orientation of the sleeve within the armhole, preparing the coat for sewing.

Simply the Best

Production

Marquis Coat Horse-Hair Collar interfacing

As a didactic example it was recently shown to me how horse-hair interfacing is properly fixated onto the under-collar, using a fascinating, yet strenuous, pattern of minuscule stitches attaching the inter-facing whilst forming the collar around your hand as you move, allowing you to pull both bias-cut layers simultaneously into a round fold, bestowing the rigid collar with an elegant roll-over.

First Fitting

Production

Marquis Coat, assembled in baste, with pins placed to mark corrections.
With the Marquis Coat assembled in baste, it was time to call in my secondary model for making primary corrections.

Perfecting the overall fit demanded some taking in on each seam around the waist as well as slightly heightening the waistline itself to better manifest the godet-drop onto the hips and backslit.

With minor redrawing of the shoulderpiece, rounding its seams to gain more natural lines, next was selecting the right pads and adjusting the otherwise immaculate sleeve‘s head accordingly.

Having the spot-on collar directly cut in coarse interfacing, a small carefully tied scarf was used to determine the placement of the gilet-closure, providing the proportions to set the garment’s length, pinning hemline in place measuring from the ground up.

Cutting Cloth

Production

Coat-pieces chalked onto fabric wrong side
Submitting the recently begotten new asset to the test, by cutting out the individually chalk-transferred pattern pieces for the Marquis Coat; a task that still turned out to be quite a managerial challenge, as even with the extension onto a second fabric, the strictly right-thread-oriented placement of all the downwards widening pieces came out not a bit too liberal in filling out the available velour.

Glossy Wooly

Chronicle

Shortly after the WGT I came across the ideal material for fabricating a coat I had long had in mind, a shiny black velour, adequately firm in body, yet flexible enough to (when cut generously) fall in continual godet; a perfect suitor provided there had been more of it than the 2.2 meters that was left on the roll.

Left unwilling to let this one pass by though, once the patterns were drawn, I started looking for a befitting fabric to supplement the velour in accent pieces, bringing in the sense of duality conform to secondary garments, which led me to an exquisite wool-cashmere to bequeath its own characteristics onto the coat.

Marquis Coat Fabrics: a heavy cashmere-wool blend for accent pieces (left), a supple yet dense velour (right) and a soft-satin lining to finish the coat's inner side.

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