Simple, not Stupid: Linton Blue 1

Thank you so very much encouraging me to sew with your lovely comments on the kilt. I think you all secretly, or not so secretly, long for one and truly I would encourage you to make one for yourself: that swish at the back is hard to beat and actually changes how I walk. I do believe I have re-discovered the hip sway.

Moving on with sewing with Linton Tweed, I’m coming towards the end of my purchases and am now in the blue colour range. Pink here and here and green here and here.

This Internet sewing community we all share has provided so many opportunities and contacts for me and this coat is not an exception. I met Wendy a few years ago while she was visiting her sister who lives in Donegal. Now, Wendy lives in Colorado, so this was something special: she found me via this blog and we arranged a day out. I admired her clothes and especially her coat; she admired my clothes back. We had so much in common, it was like meeting ourselves: we ordered the same thing for lunch, same wine, and after eating we both pulled out the same lipstick! Uncanny.

We were supposed to meet again this year but sadly things just didn’t work out, however, Wendy very kindly gifted me the pattern for her coat, which by the way, she designed herself and has produced as a paper pattern [see below]. Wendy has been working in wardrobe consulting, custom design and teaching as well as producing ready-to-wear collections for years now, as well as sewing exquisite made to measure items for her clients.

The pattern is called ‘Simple Coat’ and technically, I suppose it is but do not be deceived – you can make this as easy or as complicated as you like – it’s that versatile – and gorgeous, I may add. Unlined, lined, any fabric you have, any closure you want, full length sleeves, 3/4 length sleeves, patch pockets, welt pockets, collar up or down – add, subtract, change at will to adapt to suit your sewing skills, allocated time, seasonal requirements, fabric restraints and personal taste. Who doesn’t love a pattern like that? Yeah, I went for the complicated in winter……

This coat has no seams! Well, a couple at the shoulders but that’s it. It has a vintage inspired shape, reminiscent of the 1920s and the 1960s. The first thing DH said when he saw me wearing this was ” That’s lovely.” I can assure you that he was not around in 1920 but he was in 1960 and he hardly ever comments on my attire.

Enough of the build up….. I give you The Simple Coat. The uneven hem edges are due to me sticking my hands into the patch pockets….the hem edges line up perfectly when I’m not wearing the coat

Mine is a lined version with added ‘special’ lined pockets [see below], co-ordinating facings, turned back sleeve cuffs and edge to edge closures. So let’s get to the details.

I used the blue/grey herringbone tweed for the coat to co-ordinate with the blue check fabric. The blue check has a stripe of burnt orange running through it and that’s what I focused on. I just thought that too much blue/grey would be dull. The lining I chose is a paisley orange/red/yellow blend which I am in all honesty in two minds about but it’s in now and will stay there. I added width to the facings with the blue check and faced the hem too. The sleeves I’ll cover next…

As you, hopefully can see, I have the sleeves turned back. I cut the full length sleeves but changed the lining thereof.

I replaced 8″ (20cms) of lining with the co-ordinating blue check wool. The cuff edge of this ‘lining’ was then sewn to the sleeve edge.

Turn the whole thing right side out and you have a proper sleeve, already lined, with the option of contrasting turned back cuffs, should you desire. And my reason for doing this is the trousers (and skirt, yet to be sewn): so now I have An Outfit.

On to the pockets then…. I opted for patch ones. Can you see them?

I have two full-hand pockets on either side with a little more secure inset pocket just on the left. This was a practice version of a lined patch pocket which I put to good use…

Next decision was how to close, or not, the coat. I opted for edge to edge closures with tabs and statement buttons. This sorta makes my coat a wee bit more like a 1960’s duffle coat rather than a high end couture version – but heck, it’s lovely and I’ll wear it for years with all the planned co-ordinating items as well as jeans, black and anything and everything else I can pair with it.

If you would like your own pattern for this very versatile, any season and easy to sew coat, you can email Wendy for your own wendykarnish@comcast.net pattern. I strongly recommend it, even if you only keep it in your pattern stash for that single moment when you think – I need an easy coat pattern.… We’ve all been there…..

Trousers and skirt to follow….

Thank you so much Wendy – a true classic pattern that will be in constant rotation season by season, year by year and never out of date.

Until next time……….are you sewing for Christmas or for yourself?

When I go Internet shopping I tend to put one thing in the basket for them and one for me…….

Linton Green 1

Here we are at the next set of Linton tweeds: green this time and I’ve got my head back.

I am truly happy with my Linton Pinks but I have a few more Linton’s to sew and hopefully transfer their meticulous weaving  into wearable garments.

I have wanted a herringbone wool jacket for ages and ages that I could wear with jeans and skirts and really and truly just be a good wardrobe staple that will see the years and fashion trends into oblivion.

This is a really great little jacket pattern V8887 that I’m sorry to say is OOPS and probably for many years now but is a little gem that allows you to sew as is (as I have) or you can have the option of adding tailoring, couture variations at will. I choose to tailor the collar and sleeve heads but otherwise I left it alone. It’s a perfect jacket pattern for those entering the tailoring journey : you can select what to spend time and effort on and what not. Previously I’ve made this twice before – flowery cotton and blue fleece.

Makes for a more relaxed jacket that will soften with wear and with the leftovers, I managed to sew up a skirt. So now I have a suit that was not planned. Nice. The skirt is a simple straight A line but I added welt pockets – just because.

Then I had the green check to coordinate/match with the brown olive greenish herringbone. I think went for the most complicated – a kilt skirt without a pattern.

Truly, this this probably the most simplistest of garment ever if we followed the traditional version – a long length of woollen fabric wrapped around the waist and held up with a belt, but a kilt is a male’s garment, a kilt skirt is a female’s, and we all know that there is a distinct difference between waist and hip ratio in the genders.

I watched a lot of online videos on how to make a kilt: I read books and researched it in depth; in the end I just did what felt right….I think I’ll leave this for another post entirely because I’ve a lot to show and tell.

Going back to what I actually made though …. I had enough fabric to make a dress too

McCalls 2401-  always a good staple with so many variations all in one envelope. Reach for the pattern and all will be well. I have used this pattern many, many times and it has become my go to dress for Christmas and beyond when you only have a metre or so to use.

As I was using whatever fabric I had left over from the kilt thing, I didn’t really care at this point if the checks matched…….I’ve seen worse in RTW.   And so have you.

This is not my usual standard I’ll have ye know but fabric dictates the limitations…

It didn’t help that I inadvertently reversed the pieces because the inside and outside of this fabric looks the same. I did get patch pockets though and used the selvedge as trim around the armholes, frayed the hem and pockets too.

Anyway, I sewed the jacket I’ve always wanted and got a skirt to match. Then I sewed a kilt and got a dress out of the bargain too… so by my reckoning, two free items. Two metres of herringbone got me a jacket and a skirt: 3 metres of green check got me a voluptuous kilt and a dress.

 

 

 

 

 

Linton Pink – 2

This was not a good day for taking photographs – I’ve apparently lost my head!

However, I do have a matching skirt for my Linton checked tweed coat from Vogue’s 1527 Paco Peralta’s suit. I’ve bought the silk for the blouse, so that’s on the to do list if I can muster the courage to cut into it.

The skirt was underlined in cotton at the back only and fully lined.

The front split is indeed a split!

Worn together the length of both are exactly the same.

With the little scraps of leftovers, I patched together a scarf….

…..and a wonky scrap boy ….

He’s a scrap boy because he’s filled with strips and strips of leftover fabrics.

Just to prove that I do actually have a head, here’s a little preview of my next Linton project – Green.

Linton Pink – Complete 1

This is a bittersweet moment. I have really enjoyed the slow sewing and the self-imposed tailoring construction processes of Paco’s Vogue 1527. This coat has given me joy, a little heartache too along the way but I am unashamedly declaring, it is a thing of beauty. I am just a little bit sad that it is finished.

On the other hand, a finished garment is always an achievement. Luckily, I have a tonne more Linton tweeds to sew through and if they all go as well as this one I shall be one very happy sewer. Jinx!

I left you the last time showing the insides and as a work in progress because that’s where the lion’s share of the work is and I also wanted at least someone else to see and acknowledge it. Which you did – thank you!

Since then, the hand made shoulder pads and sleeve heads have been inserted and the remaining lining slip stitched/fell stitched and otherwise hand sewn to complete the body. The sleeve underlining is wrinkling because the coat is inside out and bunching up.

DO NOT follow the pattern instructions at this point: insert the sleeves, THEN insert the shoulder pads (Step 27). DO NOT sew shoulder pads in when your coat is inside out. They will not fit when you turn everything right way round. Just tackle the fabric from the right side and get on with it.

The shoulder pads were made with six layers of thin cotton wadding – the same type as used in quilts. Each layer is gradually smaller than the top-most semi-circle, which is covered with a patch of canvas. The whole lot was then pad stitched to form the curve to fit the shoulder. The sleeve head is the same cotton wadding; rolled and hand sewn to the inside of the sleeve seam allowances.

DO NOT trim the arm hole seam allowances – you need these for shoulder pad and sleeve head positioning. DO NOT press this seam; gently steam from the outside only. Yes, it looks really messy on the inside but only you will ever see this but everyone else will only see the outside – choose your battles.

I do love to see a hand stitched sleeve lining with all its genuine wrinkles and slightly uneven gathers – it definitely demonstrates a passion for honest hand sewing and provides true flexibility in the sleeve/arm-hole that is wholly lacking in RTW.

Buttonholes and vintage buttons have been sewn on the sleeve vents and centre front. And I have yet another gripe about the instructions.

So…… you take the time to cut and construct a sleeve vent – doing your very best to make the two symmetrical, make a buttonhole and sew on a button and then the instructions (Step 42) tell you to sew the sleeve lining over the whole lot so that the vent won’t open. There may be times in the wearing of this coat that I want the button open and to fold back the cuffs – by this stage I just ignored the instructions and went with what felt right and what would work for me.

If you buy an original Paco Peralta pattern, it is always beautifully drafted but it comes without instructions.

They are expensive, I’ll grant you that but they are all hand drawn, not printed, and of course designer. No instructions provides a certain amount of freedom and opportunity for individual ingenuity but may not be suitable for the faint hearted or inexperienced sewer, nor those who like a step by step construction process.

To compensate, there are loads of online tutorials and reviews to support you along the way. Personally, I relish the jigsaw puzzle aspect of sewing a pattern without pre-set instructions and often find a new method of construction during the process.

This coat is part 1 of a set of three;  I find it is remarkable on its own and I just want to wear it with jeans, frocks and even jammies – I love it that much! It is a mighty weight on its own, what with all the underlining and canvas and what have you but the tailoring makes the coat fit like a glove: it literally drops over my shoulders and remains in place, perfectly draping my irregular frame and making me stand taller.

I make no apologies for my personal pleasure in just looking at the set in sleeves. This was a slow sewing process and it certainly paid off – exact tailor tacking, basting, fitting and then, only then, sewing. Added to which there was a considerable amount of pressing. When you press wool to tame it into shape, and I mean press not ironing,  leave it to cool and dry in shape. That means you might have to walk away from the ironing board for a wee while. Get a cup of tea and surf the net for inspiration for your next sewing project…..

I read books to help me along the way……..

And watched Craftsy classes…….

Front and back – can you tell which one is which?

Here’s the coat, admirably modelled by Doris – front, back, left and right. Sometimes I hate that mannequin, my clothes always look better on her than me!

There are faults in my coat which I’ll document at a later date, for now, I just want to smile every time I see it and turn a blind eye to the picky problems.

The skirt is cut and ready for sewing. It’s going to be made with the coordinating herringbone that is on the coat collar. Stay tuned.

 

 

 

 

 

 

 

Linton Pink – WIP

The first Linton tweed combination has been cut – and hopefully you’ll appreciate that it takes a very deep breath and a lot of courage to do that, let alone the selection of pattern in which to make something fabulous because this signature and limited fabric requires careful consideration. You may not be aware but Linton Tweeds makes couture fabrics to order for all the best couture design houses. Three years after the designer ‘season’, the fabrics are released for public purchase. The fabrics are expensive but that’s what haute couture, exclusive fabrics are supposed to be. They are special.

This is not a very entertaining post but more methodical and about sewing. First of all I chose a pattern, Vogue 1527 a fabulous Paco Peralta design that I have wanted to make for a year or so but never had the right fabric to do it justice nor perhaps the occasion to wear it. My version of this suit makes the coat an outdoor layer.  So I took a very deep breath, pinned on grain and cut!

I do not have a finished item to show you (this is a deliberate and slow sewing project)  merely a work in progress which I am hopeful will be completed to a high standard.

 

You may gain some insight into techniques or tips on how to do traditional tailoring for the very best fitted and finished garment. You do not need to do what I did at every stage but the end result is totally unique. The Vogue pattern does not offer this option and to be honest I found the instructions somewhat confusing and out of order. I will list this later.

 

 

 

I’m using the checked pink for the coat and the herringbone for the skirt. Biggest problem of course is the check/tartan/plaid. Everything MUST line up.

 

 

 

 

 

 

Slightly offset the edges of the fabric so that you can see the bottom layer. Accurately line up the checks (or stripes) and pin together. Try not to shift the fabric around too much while pinning or cutting the pattern pieces. Cut one piece first, then using it as a guide, line up the side seams before placing and cutting the next piece. I have not cut the sleeves out yet as they will have to match the main body of the coat.

Every piece is underlined in cotton lawn. This stabilises the outer wool, gives structure and makes it so much easier to hide hand stitches because you sew to the underlining and not the shell. No dimples in this coat. It involves cutting each pattern piece twice and then tacking the two pieces together, which you now treat as one.

My colours are way off in the following photographs, the true colour is more like the top image above.

The wool frays. My chosen seam finish is a simple one. After completing a seam, press open, stitch down each seam allowance and then trim with pinking shears. Nice, flat not-bulky, non-fraying seams. These were then catch stitched to the underlining.

I used strips of selvage as stabilising tape on neck edge and shoulders.

Centre back seam from the outside

The herringbone was used for the contrast collar and pocket facings.

On the inside, after attaching the lining, I catch stitched the front facing seams to the underlining to make sure the facings wouldn’t flop. Then I ran a running stitch between front side lining and front side seam to keep the lining in place.

There’s a lot of tailor tacks and basting and tacking and stray threads used in this method of sewing. And they all have to be removed when no longer needed. Even this apparently simple job takes time and a pair of tweezers. I’m even making my own shoulder pads. On the left the pieces are cut out and tacked together. On the right the amazing effects of pad stitching are clearly in evidence.

There’s also a lot of pressing involved. I think I’ve gone through a least four litres of water. Wool is so malleable with steam – can be shrunk and can be stretched.

I’ve been watching Alison Smith on Craftsy / Bluprint the whole time –Essential Guide to Tailoring: Structure & Shape and Essential Guide to Tailoring: Construction and I feel that I have an instructor in the sewing room with me. Invaluable.

Instead of interfacing, I used canvas. This produces a much firmer finish although somewhat bulky in places. I wanted someone else to see all this work before it all disappears forever under the lining.

Now to my complaints about the pattern instructions.

Fabric cutting layout: indicates cutting a full front of sew-in interfacing. The front pattern piece indicates interfacing on the facing only.

Move Steps 20 and 21 to before 16. This is sewing the back lining and back neck facing together. The back lining piece is sewn to the back split first. Once this is done you are trying to manipulate the full coat at all times instead of just the lining. Sew the back neck facing on to the lining before attaching to the coat.

The instructions about the lining make it cumbersome. The back lining piece only is attached to the coat. Now you have to sew the sides and fronts to this already attached piece. It is difficult (nay impossible) to turn the whole thing inside out especially once the front facings are sewn to the lining. And you’re lugging the entire coat around between sewing machine and ironing board.

The instructions also tell you sew the shoulder pads in before inserting the sleeves! NO. just NO. You’d never get the sleeves in….

Personally, I like separate lining pattern pieces. I don’t like having to use the same piece and cutting bits off it for the lining.

The problems are not insurmountable but READ the instructions folks before doing anything. Make sure they make sense in your head before sewing, otherwise you may end up ripping stitches out and tearing your hair out in the process. Another reason I’m taking this one slowly.

There are not many finished V1527s out there. I found Tany – always brilliant, and Gorgeous Fabrics – who has made two. Read these accounts before starting.

At long last my lining is mostly in place, shoulder pads are positioned (not sewn) and now I have to manage to cut out matching sleeves and get them in.