kotmj's Tailoring Notes
Posted 12 October 2014 - 11:27 PM
You see above the paper pattern for the back of the jacket. You see to the bottom right the neck scye. Above that, you see the shoulder line. At the top of the pattern is the armscye. About 4" to the right of the armscye, you see a vertical line in drawn in pen. This is the chest line. More importantly to our discussion, there is a shorter pen line, also vertical, about 3" in length, coming down from the armscye itself. It's partly obscured by masking tape. That's the sleeve pitch mark.
The sleeve pitch mark signals how the sleeve is to be attached to the jacket bodice. It signals the sleeve rotation, a term very popular on SF. (Many factors govern the hang of the sleeve -- the sleeve rotation is just one, and it's not even that important.)
The three masking tapes there is to secure a fold I made in the pattern. It's a fold of about 1/2" depth. The fold shortens the back balance length at precisely the place where I made it.
I do not always shorten the back balance length there (i.e. at armscye level, above the sleeve pitch mark). Sometimes, I shorten it below the level of the armscye. Sometimes I shorten it at waist level. Sometimes, I shorten it at two locations by varying amounts at each location. So even something like shortening the back balance is a nuanced affair -- you have to determine where exactly, and by how much.
A shortening of the back balance is necessary because the initial draft always errs on the side of an overly long back balance. It makes the jacket easier to fit.
The way the customer stands, and the distribution of mass at his back (determined by skeletal and muscular factors) are what determines the way the back balance is shortened.
And now I finally come to the point I want to illustrate with the picture. Shortening the back balance above the sleeve pitch mark changes the rotation of the sleeves.
Posted 16 November 2014 - 06:07 PM
This is the rear of the trousers, after the baste has been unpicked and pressed flat. The faint chalk marks and fold lines indicate the lines of the original draft. The fresh and distinct chalk marks are the lines of the edited draft. The editing was done after fitting the baste on the customer.
Several points of interest:
1. The seat seam -- this would be the curved line on the left -- has been shortened by about 1".
2. There is a shift to the left of the entire upper portion of the trousers.
This is a pretty routine editing of a trouser pattern.
Posted 16 November 2014 - 06:26 PM
Here's a photo of someone wearing tailored pants with the pockets positioned according to local practice:
You'll notice the pockets are much too close to the sides of the trousers!
Less rule-based trouser cutters would have positioned the pockets closer to the seat seam.
Another dumb rule very prevalent in KL is that the dart be positioned at the center of the pocket mouth. This is an arbitrary rule with no function. Darts should be positioned where they are needed, not where the pockets happen to be.
Here you see the trousers after re-cutting. The dart is not centered on the pocket,but is centered over the highest point of the buttcheeks.
Posted 16 November 2014 - 08:51 PM
The efficient archetype is by far the most prevalent of collar stands. Every single RTW shirt I've looked at sports this type of stand. So do the majority of MTM/bespoke shirts.
This archetype has the following two characteristics:
a) the curvature at the top of the stand is identical to the curvature at the base of the stand
b ) the width of the stand is constant
And here is the secret as to why this archetype of stand is so prevalent. Are you ready for it?
I reveal unto thee the Truth!
The shape of the efficient archetype is brutally efficient in manufacture. The identical curvatures allow for stacking, resulting in minimal interlining scrap. Also, the stacking dramatically reduces the amount of cutting action required -- cutting the top of one stand also means cutting the base of another.
Let's look at the second archetype. Let's call it the Bavarian archetype, since it is very uncommon, and all indications lead me to think that it all comes from just one source -- M.Mueller & Sohn of Germany, a patternmaking specialist that supplies the patternmaking algorithms used in many CAD patternmaking systems.
Notice that the curvature at the top of the stand is not identical to the base of the stand. Moreover, the width of the stand is not constant -- there is a noticeable thickening at about the hollow of the neck, to compensate for the hollowness at the wearer's neck at that area.
Such a stand is very inefficient in manufacture. It doesn't stack at all, resulting in about 30% interlining scrap and double the cutting time, with the resultant lower output/more elaborate jigs/more wear to the cutting elements.
Here you see an Ascot Chang collar with the typical thickening absent in the efficient archetype.
The Bavarian archetype is in my mind the more "featuresome" stand since it props up the collar, causing the tie knot to be higher up the neck.
Posted 25 February 2015 - 03:08 PM
The warping probably took place as the cloth was wound onto a bolt. I guess I will have to see if it can be stretched back with the iron, but I am not hopeful.
Posted 27 March 2015 - 01:58 PM
I agonise over every curve, I second guess myself repeatedly, I keep changing things. Then, when I lie down to sleep, I am still thinking about that pair of pants.
It is a blessing that the jacket was drafted years ago already (but never made).
But, just now, I was double checking the jacket pattern and went into the whole crazy second guessing mode of mind. Even though I know the jacket will be great, because this pattern is a close derivative of one made for a customer, and which fits me quite well.
(Pardon the Uniqlo chinos)
I'm hoping the suit will be ready for an inaugural trunk to a new city. I hope to do quite a bit of sewing on this jacket; mostly the canvas and the buttonholes including the Milanese on the lapel. Not sure if I have the time though...
Posted 04 April 2015 - 07:54 PM
Nikon introduced stabilised lenses in 1994; after furious development Canon came out with its own a year later.
Those very interested in what they make are always making them better, clawing ideas from everywhere. It's natural.
Posted 13 April 2015 - 10:54 PM
Very happy with the technical aspects of fit. I'm a little too tired now to have further opinions. But, what do you guys think? I welcome all opinions.
Posted 15 April 2015 - 11:12 AM
If you want accurate, life-like reproduction of colours, you have no choice but use Canon. Fuji just cannot do it. This here is a quite accurate reproduction of the RAF blue.
Many years ago, a tailor from cutterandtailor told me I do not need a gorge dart. He's right, I don't. But I WANT TO. A gorge dart is a great way to sneak in even more chest fullness. The original draft of this pattern, made years ago by a younger me, had no gorge dart. After much agonising, I added them in. So glad I did.
From the front view, I am very happy with shoulders and chest, and overall length. When the front view was captured, the back had not yet been fitted, so we are seeing some of the effects from a long back balance from the front.
I find the skirt to be a little wide. It's fine when in motion, but standing still, there is too much width at skirt level in the forepart and side body. Cutting down on this would require more waisting; otherwise the bodice would be like a straight tube from waist downwards. Too bad, because I like the present ease in the waist.
I may lower the buttoning point a little.
It's still early, but I find the long, but relatively soft chestpiece to be a definite plus. This jacket is a Bendahara -- there are shoulder pads in there.
This jacket had already been fitted to me by the coatmaker. He found the yoke to bee too long -- his pins around the neckscye corrected this. After this correction, he was very happy with the jacket and would have proceeded with production.
I took pictures of the back and found more correction necessary. Back shoulder slope was off by 3/4" -- the pins have now corrected them. Back balance at waist level was also off by 3/4". After these corrections I am quite happy with the back.
Notice the large amount of drape in the upper back. Love it. I can play golf in this thing.
The pants were made for me a long time ago by some other tailor.
I find the Canon colours so lovely. I think Fuji is wrong in going down the path of candy colours which are such a distorted representation of reality.
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