A Dangerous Coat

I used to think the 1910s and 1920s had the worst fashions, but the VPLL 1912 Project, Downton Abbey, the new Great Gatsby movie, the Fantastic Beasts movie, and Phryne Fisher have all conspired to totally change my mind about that. I now love love love these eras, so much so that when at a loss for what to do for my Cañada College fashion department classes, I've just sort of defaulted to the 1920s. I drew drop-waisted dresses for my fashion illustration classes, made a summery cloche for my millinery class, and for this past semester I've worked on making a 1920s-ish coat for my tailoring class.

This tweed+fur coat of Phryne's was my inspiration.

When McCall's started releasing updated vintage patterns as part of their Archive Collection, I immediately snatched up a copy of M7259, a (sadly now out of print) caped coat pattern, and filed it away for "someday when I have a good reason/the time and skills." Since I can only take classes at night, and tailoring was the only class I hadn't taken yet for this past fall's evening classes, that gave me the reason, and presumably I would learn the skills and make the time. Admittedly, it's not a very difficult coat to make (it's even rated as "easy" on the pattern); a shapeless boxy coat doesn't require a lot of fitting, there's no notched collar or vents anywhere, and not even a welt pocket! But I knew I would have a busy semester already, what with parenting in general, Halloween and cons, and costuming. Did I feel a little embarrassed about the simplicity (even though it's a McCall's pattern...haha sorrynotsorry) of my pattern choice when I saw my classmates making five or more muslins, making all sorts of alterations, drafting new collars and sleeves, and putting in eight welt pockets? Maybe a little. Was I grateful I kept it uncomplicated when, after finishing up the drama production I had a little over a week to put together all my coat pieces and do all the fussy hand-stitching? You bet! Besides, I know I would never wear a blazer, and I already have two perfectly serviceable RTW coats that I love, so I might as well get going on my dream of having a Phryne-esque wardrobe.

The pattern: I was definitely swayed by the brilliant red sample. 

My little compilation of scraps to give me
an idea of how things might look together.

First step was selecting fabric: I knew I only had a couple of pieces of yardage with the right length, drape, and fiber content (our professor preferred natural materials, especially wool because of its "pressability"), so it was basically between a dark green wool blend suiting material or a gray wool tweed suiting with little colored specks in it. We decided that the gray tweed would hide more sins, what with this being my first serious coat, and I did have a little more of it so as to allow me to make the cape as well.

Next step was to do a pinned-together paper mock-up, which to me seemed a little pointless, but I can see how it would be a cheaper, faster way to get a sense of major size or fit issues without the effort of making a real muslin. As it was, I only had a very minor swayback adjustment to make, but then I do realize that I am extremely fortunate that I usually fit Big-4 patterns with very few adjustments (usually only swayback, narrow back, and small bust adjustments). Then we made actual fabric mock-ups with cotton muslin, and again, not much to report here, other than that I decided to shorten the cape significantly so as to keep it from being visually overwhelming.

Without and with the cape, with dark threads marking the grainline on the sleeves and the center front line. 

I sewed my mock-up with the side seam pockets that the pattern called for, but decided later that I didn't like them; they made things hang weirdly, I didn't like the bulk of the pocket bag, and they were too far back to feel natural when I put my hands in them. I decided that I needed to make pockets on the front of the coat, but at that point I had a minor crisis about what kind of pockets to make, and proceeded to flood my IG with way too many stories debating various pocket types and placements and their historical accuracy vs. general aesthetic vs. ease of use. Since I was also in the thick of drama costuming, the pocket issue gave me an excuse to not work on my coat for a month. I did assemble the cape (but not hem it), but three weeks before the coat due date, and I had really only a bunch of fashion fabric pieces (that I had at least interfaced with soft fusible knit interfacing; since my fabric was so thin and loosely woven, it really needed some extra support) and lining pieces.

This was what I was primarily deciding between: a shield-shaped patch pocket, or a swoopy-looking patch pocket that would be sewn into the side seam. Although the swoop won by a small margin on IG, I realized that I really preferred the look (and historical accuracy) of the shield and went with that option. If you want to see all my ridiculous wibbling about the pockets (and other construction bits), you can check out my 1920s coat highlights on my IG here.

The antepenultimate week (and also the week leading up to the show, so lots of last minute decisions, fittings, and runs to various stores for accessories and such), I sewed together the facing, lining, and lining patch pockets. The lining patch pockets were hand-stitched so that I wouldn't have topstitching thread showing, per this extant 1920s coat (I did briefly consider smocking the tops of my pockets, but then dismissed that idea as that of a person with more time than I had), which looked lovely but took a long time.

Here's what the facing + lining looked like hanging on Cecily. You can also see the only dart in the entire thing where the shawl collar is. Ignore the stack of toddler clothes storage boxes in the background...

The penultimate week (and also the week after the show, i.e. all the tasks of costume striking to be completed by me, the one-person costume shop), I sewed together the fashion fabric fronts and back, and sewed the sleeves (but didn't set them in) and brought them in to class to have them hung by my professor (I put on the coat and she pinned them in place in the position that caused the least drag lines. Since many of us work on computers, we have forward sloping shoulders and lining up the shoulder seam notch and underarm/side seams may not actually be the best position for a lot of people; my sleeves needed to be rotated forward about 3/8"). I basted the sleeves in by hand in class, then brought them home to set in by machine. I also had decided on shield-shaped patch pockets as being the best compromise between historical accuracy (while there are some examples of welt pockets on coats of the era, the vast majority of them had large patch pockets...or no pockets at all, but that was a non-option for me), general aesthetic (a heckin' large square, while historical accurate, looked a little too boring to me, so I went with a slightly more interesting shield shape), and ease of use (I placed them low enough that it wouldn't be awkward to put my hands in them, even if the perfectly vertical placement is a little less ergonomic than a slanted one). Like the lining, these patch pockets were hand-stitched invisibly, and thanks to the busyness of the fabric, they don't break up the lines of the front as much as I was afraid they might.

That last week, I set the sleeves in, put in all the tailor-y bits (homemade shoulder pads, sleeve heads) attached the outer shell to the facing/lining, and then went about the tedious business of evening out my hems and catch-stitching everything down. For the hem of the cape, I catch-stitched the fashion fabric and the lining separately, then used French tacks to secure the two together at the side seams and center back. I had previously attempted to attach the lining entirely, but couldn't get it to sit right with a jump hem on the bias portions, so I opted to let it hang separately.

You can see the shape of the cape here, as well as the snaps that hold it onto the coat. 

For the coat, it took a couple of tries (and lots of staring at the coat on Cecily as a pinned, glared critically, repinned, glared again, etc.) before I got everything to hang right without pulling, but eventually I got it all sewn down (again, by hand) with a jump hem and everything! Oh, and I also tacked the lining to the coat at the neck seam allowance and the side seams so that the lining wouldn't billow out separately from the outer shell of the coat. I finished all the hemming with two days to spare, but the next day was full of frustration as I attempted to sew in the fabric-covered snaps and large button in exactly the right places and without any weird pulling anywhere. The morning the coat was due, I plopped SHB#2 in front of Sesame Street so that I could sew on all the snaps that attached the cape to the coat, and then I was finally done!

Without the cape, with nicely-blending-in pockets. 

Hello, 1920s-esque ulster coat!

Summary
Pattern: McCall's 7259, part of the archive pattern collection, circa 1927
Fabric: A little over 3.5 yards of a 60" wide, dark gray, tweed wool suiting with little flecks of ivory, burgundy, black, cornflower blue, and mauve; I originally purchased this from an antique furniture store in Berkeley seven years ago when I found a tiny little shelf in the back of the store that had some random yardage. The lady said she had got it for herself to make something fabulous, but had come to realize she likely never would, and she just wanted it to go to a good home. I paid all of $30 for it, which I now realize was an absolute steal for fabric of this quality. The 2ish yards of 55" wide lining fabric was mostly this dark burgundy floral damask polyester satin, which is on the thick side for a lining, but that just makes it feel extra luxurious. This was from my best friend Elaine's partner's stash, that they passed on to me when they moved (out of Arizona, ultimately back to the Bay Area!), so when I look at the lining I'm reminded of their generosity. It wasn't quite large enough for me to be able to cut all the lining pieces, even with the shortened cape, so I supplemented with some black Bemberg rayon for the sleeves since they wouldn't be seen.
Notions: 3 yards of 20" wide fusi-knit interfacing, which I used on every pattern piece except for the lining pieces and the back piece. I didn't have enough to do the large back piece (and actually had to piece together bits for the side edges of the front, and didn't want to wait to order more, so I just used black silk organza to underline the back piece. The organza was a fortuitous find from the free shelf in the back of the sewing classroom, and I still have yards left! I also purchased six 3/8" metal snaps for the cape attachment, a 1.5" covered button kit for the coat closure, and used a set of 1" metal snaps (covered with fashion fabric) from my stash for the inner closure. The facings on both the cape and coat are piped with black silk dupioni left over from my bustier project, and the hem of the cape lining is finished with burgundy-colored lace hem tape from an inherited stash.

I love that the inside is so secretly beautiful, even if nobody will ever see it!

Will you make it again? Unlikely, since I don't really need another coat like this. I do want to make another Phryne-inspired 1920s coat though, maybe a lighter duster in linen?
Total cost: $30 for the wool, lining was free, about $15 for the interfacing, and $5 worth of snaps/buttons = about $50! Of course, throw in the cost of the class tuition + toll + parking...and all the hours spent...
First worn: Just in class to show off and for pictures, but I'd like to wear it to go see the Phryne Fisher movie when it comes out next year!
Final thoughts: I'm really glad that I was able to make this coat almost primarily from stash/secondhand fabric, thereby keeping to my unofficial pledge to not purchase new in order to stay as green as possible in all my sewing endeavors. Things like interfacing or the exact size of snap are hard to come by secondhand, so I'm making an allowance for those things, though. I'm in love with the (detachable!) drama that the cape provides, and the instant Sherlock-y vibes of a caped coat. I have a little bit of wool leftover; maybe I should make another deerstalker? Actually, I would rather try to make it into a 1920s hat to match, so maybe if I find a suitable pattern one day. Without the cape, the coat is a little boring, but that's fine, because I decided to splurge a little and buy myself a fabulously fluffy, white faux-fur collar from Amazon that I can throw over the shawl collar of this coat to up the Phryne-ness of it!

This was taken by the fashion department's blogger. 

I'm really pleased with the whole tailoring class experience: I got a lovely coat out of it (even if I later realized that I had made myself yet another grey wool coat (aforementioned RTW coats in my wardrobe are also grey wool, so I guess I have a definite coat type...), and while mine didn't have more technically challenging bits like bound buttonholes, welt pockets, or a notched collar, at least I got to practice those skills when I made my samples, and best of all, I got a scheduled sewing time every week (and I even got to throw in the bonus of regular conversation with another adult, since my costuming friend @simply_mi was also in the class!). Even though the lead up to class is always stressful (get dinner ready! make sure the house is somewhat in order! spend some time with SHB#1 when he comes home from school! make sure my bags are all packed with all the sewing things I need!), in the end it's really nice to know that I'm guaranteed at least three hours every week to do something just for me.

Sometimes I feel guilty for taking so much time for myself every week -- it's not just the sewing class itself, but the commute there and back, the time it takes me to do my assignments for the class, and the time it takes to go out and acquire the materials I need to do my assignments -- but just recently I fell down the rabbit hole of Bernadette Banner's historical sewing videos, and she mentioned Cathy Hay's Worth peacock gown reconstruction project, which then led me to this very helpful video where she talks about how not to feel guilty about sewing when you have a family. She quotes Iyanla Vanzant: "My cup runneth over: what runneth over is for you, but what's in the cup is for me." At first, it seemed like just another variant of the "put on your own oxygen mask first" mantra that I blogged about before, but upon further rumination I realized the problem with that: oxygen masks are vital to life, so it makes sense to take care of your own basic needs first. But sewing costumes, or just giving in to my drive to make things: that's not *really* a basic need, is it?

I don't know if it's the child-of-immigrants, sacrifice-everything-for-your-family, just-work-harder rhetoric that was drummed into my head growing up, or leftovers of my childhood church's very conservative, Puritan-esque suspicion of anything that seems like too much fun, but it's very, very difficult to let go of the feeling of guilt that I should be spending all my free time doing something less frivolous. Like I said, I already have two fine coats, and there's always something more productive I could be doing with my time: research on developing children's emotional intelligence, integrating NGSS into my science teaching, or figuring out how to reduce waste in our family. I go ahead and pursue my hobbies anyway, because I'm a selfish Slytherin like that, it's just that I carry along a lot of guilt with it that prevents me from fully enjoying it. I'm not sure where to draw the line, since I know it's obviously not an either/or issue. Taking time for myself is healthy, but parenthood does inherently involve some sacrifice, and there must be a balance somewhere...and what if I just have a really, really big cup and "need" lots of replenishing time before I give the runoff to anyone else? See how I'm hesitant to even call time to create a need, I mean it's not one of those things that form the foundation of Maslow's bogus hierarchy of needs now, is it? If any other sewing moms out there have any brilliant insights, I would appreciate them!

Anyway, all this to say, it's so hard to know how to break out of societal constraints and expectations for women and undo the years of programming. A man cave is, if not expected, definitely not frowned upon for a stereotypically male breadwinner to be able to relax, get away from responsibilities, and putter around. How that translates in my mind for a non-breadwinner is trickier until I remember that I'm trying not to devalue traditional "women's work" like childcare and sewing, and I want to set an example for my kids of self-care and not self-martyrdom. So I suppose it's kind of perfect that my coat has four nice large pockets, perfect for carrying leaflets to spread sedition? Or, you know, fairness, kindness, and equality. Ladies, I guess I did take the advice of Irish poet Sharon Owens, and sewed myself a dangerous coat made of pockets and sedition (go read her fabulous poem if you aren't already familiar with it).

Pockets! (Photo courtesy of my professor, Ronda Chaney.)

[Apologies for the mostly terrible photos in this post. Most of the construction photos were taken at night, since that's when I sew, and I kept thinking I would take better finished garment photos in an atmospheric location, but let's be honest, that's probably not happening anytime soon and I'd rather get this blogged before I forget all about how I made it! Also, more about my lab garment, a 1920s-ish evening gown, in the next blog post!]

Finally Finished: Toggle Jacket!

That's the smug smile of a real sewasaurus. 

I've always felt that one couldn't be a real sewasaurus, much like the Velveteen Rabbit, until one produced a credible piece of outerwear, preferably of wool. I know, I know, that's just an arbitrary standard that my brain came up with, and I know plenty of other sewing bloggers who've never made coats that I consider to be real. My brain just works in weird ways. Anyway, in my quest to sew a wardrobe appropriate for San Francisco weather, I decided that it was finally time to tackle an honest-to-goodness jacket/coat. (What is the difference, anyway? Is it length? thickness? material? personal label preference?)

ZOMG I love that the sleeves are actually long enough!

Although I've got a lovely piece of red wool coating laid away, I'm too much of a chicken to dare working with it just yet. I decided to make a more casual, more machine washable, wearable technique-muslin* of sorts out of navy blue anti-pill fleece instead. At $5/yd on sale at Jo-Ann's (plus my teacher discount of 15%!), it's definitely cheap enough that I feel free to make mistakes, while still (somewhat) getting the experience of working with such thick material and the types of techniques that requires.

Side view.

Back view.

This project actually works nicely for R&RtRTW, too. I used to have a charcoal gray fleece jacket that I bought for cheap at one of those little Forever21-level-of-quality stores at the Tanforan Mall several years ago. It was light since it was fleece, and warm enough, considering that it was unlined and cheap. I wore it everywhere and wasn't afraid of getting it dirty since it was just fleece and could be thrown into the washing machine. It pilled like crazy after a while, though, and I sadly retired it after the beating it took in a two-week Hong Kong trip. I've missed it in the intervening years, as my wool peacoats sometimes look too formal (or are too heavy) for just going out to run errands. So this fleece jacket steps into the gap between expensive long wool coat and waterproof ski jacket.

I made View C, but even shorter.

I chose Butterick 6775 for my pattern; I picked it up a year ago at a thrift store in a big bundle of patterns, but never thought I'd actually use it. The insets just looked kind of weird, and the "semi-fitted" description scared me since I thought everything should be extremely fitted back then (now that I'm an older and wiser seamstress, I realize that outerwear shouldn't be fitted within an inch of its life, because otherwise how will it fit over your actual clothes?). When I took the pattern pieces out, I realized that the sleeve and collar were both missing; thankfully, the previous owner of the pattern had thoughtfully replaced the one-piece sleeve pattern with a two-piece sleeve from another pattern, and the collar was pretty easy to make up.

Since I only purchased two yards of fleece, I was barely able to fit in all my pattern pieces, and even then I had to make the collar shorter than I wanted. Frustratingly, I ended up cutting about five inches off of the bottom of the coat because it looked awkward at the original length, which meant I could have made a taller collar if I'd, you know, planned ahead and tried holding the pattern pieces up to my body. Rookie mistake, I know.

You can really see the sleeve head dimpling here. 

Initially, I was afraid that the jacket would be too small, since it's meant for a 32.5" bust, but I needn't have worried. That whole semi-fitted description was serious; I ended up doing an SBA on the front inset (which incidentally is a very clever design feature -- it provides shaping like a modified princess seam, but doesn't look like one at all) and shaping the side seams more by taking it in at my waist and gradually tapering to almost a 1/4" seam allowance to accommodate my hips (hello pear shape!). The two-piece sleeve was quite easy to set in once I took out the excessive sleeve cap ease and took in the underarm seam by over an inch! I mean, I know my arms are spindly, but these sleeves were really quite ginormous. I'm pretty pleased with how they look now, although there's still some dimpling at the top. Maybe I need to go back and put in an actual sleeve head.

Figuring out the toggle placement was actually one of the most frustrating parts of sewing this. I kept sewing them on misaligned or crooked, and let me just tell you that ripping seams out of fleece is so. freaking. difficult. The seam ripping frustration might also have been compounded by the fact that *ahem* I didn't baste the toggles first and just went straight for sewing them in "permanently" every time, hoping against hope that the placement would be miraculously correct. I promise, one day I will learn.

Finally more or less lined up!

The pockets were also an ordeal, trying to get them the same size and fit them onto the little space I had on the sides of my coat. I opted to make them without the flap, and with an angled hand entry like kangaroo pockets. One of my biggest pet peeves with the RTW toggle coat I already own (but wool, and much heavier than this one, so not redundant in my wardrobe) is that trying to stick your hands into pockets vertically is really awkward and uncomfortable, so this was my attempt to remedy that bad design.

In hindsight, I probably should've added stay tape to the opening to keep it from getting stretched out. 

I lined the coat in this fuzzy plaid flannel; I actually cut it from a cheap RTW poncho that was gifted to me. I felt slightly bad cutting it up, since it was a gift, but I'm telling myself that I would never have worn it in its original form, and at least this way it's going to good use. Unfortunately, there wasn't enough yardage to line the sleeves, so I just finished the armscyes with seam binding and tacked it to the seam allowance at the shoulder and armpit. This makes the insides of the sleeves look really ugly, but hey, nobody's going to see it, right? I might go back and add sleeves at some point if I find a similar-looking flannel, but for now, it's fine.

Looks normal enough when the jacket flops open...

...but when the jacket's flipped inside out, you see what a lie it all is -- there's no sleeve lining! Oh, and that flannel was so loosely woven and unstable that I couldn't get the plaid to line up at the center back seam. Oh well. 

Closer look at the inside...I love how the the other side of the cording stitching looks on the facing, and the way the lining looks with the dark blue makes me so happy!

I'm thinking of adding some kind of closure to the bottom half,
like a large snap or a hook and eye, since it tends to flip open.
I'm not sure what exactly to put there, though, since I still want
to be able to wear the jacket open and a large snap might be
kind of distracting. Thoughts? 

Summary:
Fabric: 2 yards anti-pill fleece, one Korean poncho's worth of 80/20 wool-poly blend (it looked just like this, but in black and white)
Notions: 2.5 yards of cotton cord, 4 wooden toggle buttons, seam binding
Techniques: grading seams, topstitching, setting in sleeves
Hours used: Erg. A lot. I made it through a whole season of Buffy the Vampire Slayer working on this thing, and that's not even counting all the times I put it on pause to sew particularly tricky bits.
Will you make it again? I love the toggle look, and am totally intrigued by this inset feature, but I think more than one coat with this design is unnecessary. Also, as mentioned, I already have a RTW toggle coat. The two-piece sleeve, though -- I am totally using that on future coats now that I've adapted the pattern for my arms!
Total cost: $17. This is probably the ultra-discounted sale price of a similarly shapeless polyester coat at Forever21 or one of those generic Korean import women's fashion boutiques that are ubiquitous in SoCal, but I made this one so it's got extra value to it! Also, it kind of bothered me that the toggles and cording were more expensive than the actual fabric.
Final thoughts: Maybe it's one of those biased mom thoughts, you know, my-child-is-gorgeous-and-perfect-because-he's-mine sort of things, but I really really really like this coat. I am so thrilled with myself for making real functional outerwear -- it's actually quite warm (at least for California...it wouldn't begin to pass muster in a Canadian winter!) and navy blue goes with almost everything, it's casual but not sloppy, it has that vaguely military look I love because of the cording, and I get the satisfaction of saying I made it! I'll wager that it's better made than any other similarly priced fleece coat with no interfacing that you can get at the mall, and oh gosh I just can't get over that I made real outerwear! I'm totally psyched about making my red wool coat now, even though I know it will probably be next winter by the time I get around to it. And can I also congratulate myself for persevering through the 80+ degree days and trying this coat on countless times and sweating because of all the poly and wool, because now I am totally prepared for the fact that winter is coming. Seriously, I think this is the first time I've actually done season-appropriate sewing ahead of time!

Apparently winter is coming from behind me. 

*Although this isn't the pattern I intend to use for my red wool coat, it does give me practice with the techniques that I may need to use, so it's a technique muslin, get it?