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Pattern Drafting

It is difficult to overstate how integral the art of pattern drafting is to the process of handcrafting a bespoke garment, for a pattern defines the very first reference points that affect the balance and contours of the cloth. A well-drafted pattern will result in a first fitting that requires only minor alterations to the major seams and balance points. By contrast, a poorly-drafted pattern ultimately will require more complex adjustments in between each fitting to ensure an ideal fit. Correcting the mistakes of a poorly-drafted pattern requires far too much extra time and effort to make it worthwhile. Apart from being inefficient, with practice, such efforts are unnecessary.

Good pattern drafting depends on precise measurements and a keen understanding of the drafting system being used to convert those measurements into a drawing. In addition to taking the common measurements like the circumference of the chest, waist, and hips, I tend to take several direct measurements like shoulder width and wrist size. About 20 measurements are carefully applied to pattern paper, and seam lines are drawn by hand and with the assistance of rulers and french curves.

Note the egg-shaped armhole. This shape allows for maximum flexibility and movement.

After the pattern is drawn, the key measurements (e.g., chest, waist, etc.) are checked and rechecked to ensure accuracy and precision. The patterns are then cut and marked with the client's details. But before I set aside the pattern for cutting, I compare one of the most critical aspects of the pattern: the relation in shape and dimensions between armhole and sleeve. Any defect in the correlation between these aspects can distort the shape of the sleeve and shoulder area and the way that the sleeve hangs, thus resulting in a very unsightly appearance.

The sleeve patterns are laid next to the armhole.

When it comes time to lay the patterns on the cloth for cutting, I can be confident in the chalk lines that I trace, knowing that they are leading me toward a finely crafted jacket. I need only follow along with my needle and thimble.

In Between Fittings

After undertaking a first fitting, a number of changes and alterations are made in preparation for the second fitting. The entire coat will be ripped apart and adjusted according to my notes from the fitting. Pockets will be added, and the body canvas will be basted back in position along with the cloth.

As with any new client, the first fitting will have fairly generous allowances in cloth which I will slowly trim away until I achieve the fit that I desire. One area in particular that required some attention with this coat was the area near the armhole and shoulder blade region. In this case, there was a bit of extra fullness on the back of the coat near the arm hole. By dropping the shoulder line slightly, I will be able to gather that extra cloth and draw it upward toward the shoulder seam, thus eliminating the excess. You can see the newly chalked shoulder seam line in the photo above. I then carefully check several important measurements and redraw the armhole line.

Pockets are then added to the main foreparts of the coat. This particular cloth with its check design requires extra care to ensure that the lines of the pattern match up whenever possible.

On the inside of the coat, the pockets are reinforced with linen strips and a combination of machine and hand stitching is used to ensure maximum strength in the pocket mouth area. Finally, the finished pocket bag is hand stitched to the inner body canvas for additional support and stability. With this coat I chose to position the front breast pocket bag on the inside of the body canvas for maximum support.

I also pad stitch the lapels of the coat by hand after the first fitting. These pad stitches help the lapel maintain its shape throughout the life of the garment, and they are critical to achieving the beautiful, soft roll of the lapel near the front buttons.

After the second fitting takes place, I will make additional corrections, and I will add the lining and facings.

On the Cutting Board

On Friday, I chalked and cut a two-piece suit for a client. The process took a little longer than usual because I needed to be careful to cut the cloth in such a way as to allow the checks to match at certain points on the coat and trousers. I also used a new pair of large shears for the first time and it took some getting used to.

The cloth is a beautiful light weight Super 130s wool from AristΩn. The coat will feature a single-breasted cut with two front buttons, and slim (2 1/2") lapels. I look forward to working with this silky smooth cloth.

 

Christmas Comes Late

I'm naturally suspicious of a tailor who is not very well dressed himself. It's far more reassuring to a client when meeting with a prospective tailor that they can see not only a good sample of the tailor's work, but also his confidence and satisfaction in wearing the product of his own craftsmanship.

Lately I've invested a great deal of time working on my clients' orders, and I was hoping for a break of time during which I could turn to a personal project. With 15" of snow (and counting) on the ground outside, new cloth stuck in transit, and all my other current projects finished at one stage or another, that break finally arrived. A month after Christmas, I've finished the first baste of a gift to myself: a new suit for the autumn and winter months.

I picked out the cloth months ago, and I've been dying to work with it ever since. It's a 13-14 ounce dark grey worsted wool from Dugdale's "English and Town Classics" bunch. As anticipated, it's been a joy to work with. The cloth's thickness contributes to a beautiful, natural drape over the bodily figure (especially down the front break line of the trousers), and it stretches and shrinks perfectly with modest encouragement.

As soon as I can recruit a friend to lend me a hand, I'll undertake the first fitting.

A New Project for an Old Design

A while back, I wrote about a client's wish to have a double-breasted waistcoat patterned after one worn by Terry Benedict's character in Ocean's Eleven. It's been difficult finding a suitable silk brocade fabric, so that project is temporarily on hold while we continue searching for the right material.

In the intervening time, we have decided to create a second vest using the original design. Instead of using a fancy silk, this second version will be cut from traditional suiting material. Because the client wants to wear this piece as an odd waistcoat (he will pair it with a variety of suits in his wardrobe), we chose a very versatile dark gray herringbone cloth. The cloth is an ultrafine Super 160s luxury wool from Huddersfield's Denby Dale collection. It's a perfect selection for the planned vest not only because of the color and pattern, but also because of the silky-smooth texture and weight. At 8-9 oz, it will remain cool on the wearer despite the close-fitting and double-breasted cut that might otherwise be too warm for regular use.

This vest has a touch of flair on the inside that few observers will notice. While a silver paisley lining will be used for the visible part of the backing, gold paisley will line the inside of the vest, and a gold coral paisley will line the inside of the pockets.