Quart Coat Part Two: Completion

Have you ever worked on a project that seems to take forever to prepare that you swear it will take you weeks to finish and then all of a sudden you have a finished item? My Quart Coat is one of those projects. 

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As with any big project, it takes a long time to prepare the fabric, cut out the pieces, transfer your markings before you even get to your machine. Add in a large PDF pattern to assemble and I think I spent about five-six hours just preparing to sew. I chose the immediacy of the PDF pattern just in case winter planned to leave early and therefore not giving me much time to enjoy the finished item. I shouldn't have worried - winter is still definitely here! The pattern lines up beautifully when you're taping it together. It is actually perfect and that's really important when a pattern checks in at a whopping 50 pages! 

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Size wise, this coat fits very well. Other than my standard grading out for the waist and back in at the hips, I didn't make any alterations. There is enough ease in the sleeves to have a 40 minute phone call without your blood circulation being cut off. The collar is perhaps a little high and would sit better if I shaved off about a centimetre but that's a very minor detail. I wasn't sure about the length as my other winter coats are longer. It fine though - my legs don't get that cold and my skirts are no longer getting caught on the lining. 

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This pattern calls for a lot detailed and precise sewing. I chose to make bound button holes which are my preferred button hole on jackets and coats. I needed some guiding through this part as I was a little rusty on the technique. I followed Karen's ebook and it is absolutely fantastic. I would definitely recommend it to anyone looking to make these for the first time - I ended up with four perfect button holes. I would recommend creating the facing side of the button holes before you stitch the facing to the coat as indicated in the directions. This will save you pushing a large amount of fabric through the machine and the constant fear that the weight of the fabric might stretch it. Other areas that need precision include the zipped sleeves and the epaulettes. Marking my seam lines really helped with creating a neat finish. 

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Perhaps the most pleasing detail of the Quart is the side pleats. They are very easy to create and I left my hand basting in place until the coat was finished to ensure a clean finish. Creating in them in silk was harder though, for all of the reasons you would expect. A note on the amount of fabric you need for the lining - I got everything out of 3m with 80cm width. I didn't use the silk for the zipped sleeves or under the epaulettes but I would have had enough to. The colour contrast was just too strong and I used some black poly lining scraps.  

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Hand stitching makes several appearances. You need to stitch the lining to the zips on the sleeves and, of course, to add the buttons. Pauline provides two options for attaching the lining to the exterior. You can either bag it or hand stitch in place. I chose to hand stitch using the fell stitch as it gives you much more control. I found this part very satisfying as my stitches are almost invisible.  

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So the verdict after wearing it for a week? Without doubt, I love it! It is super toasty on frosty mornings and this alone justifies the price of the boiled wool. While I would rather have sunshine and bright days, I'm now okay if winter decides to stick around for longer! 

Quart Coat Part One: Fabric

I'll open today's post with a question. Do you like seeing a project split over posts? I certainly hope so, as that's what I'm doing for this project. I recently decided that I desperately needed a new winter coat and was planning to buy one. However the retail world has conspired against me this year and I couldn't find a coat that had any shaping and didn't cost an absolute fortune. I prefer a bit of definition around my waist but it is a straight style that seems to be in vogue at the moment. Not even charity shops could help - the beautiful £8 black coat was a size too small (goes to cry in the corner).

Buoyed on by a few Twitter friends, I hatched a plan to create my own. It was the only option open to me, right? I chose the beautiful Quart Coat by Pauline Alice. Now, I'm going to make you wait to the next post to see the finished item. Detailing the fabrics, construction, and final thoughts about the coat would have made one epic post and as I'm sure you would get bored, today I'm focussing on the fabrics and my tips for working with them. I'll break it up by adding photos of the construction.

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I knew immediately that this coat would be made from boiled wool, as long as the pleats would hold. I wanted to lose some of the fabric regret I've been carrying for a year since I passed up a gorgeous purple boiled wool at John Lewis, but the main reasons were practical. 

First, I was making a coat at the wrong end of winter. I wanted it to be a reasonably quick make (well, as quick as a coat can be) and therefore chose boiled wool because it doesn't need finishing nor does it require any interlining - it is that warm. I ordered samples from Stone Fabrics and Dragonfly Fabrics and they taught me that not all boiled wool is made even. There was an evident difference in the quality and thickness of the wool, made all the more noticeable by similar price tags. After extensive consulting, including the boyfriend test (watching Adam's face as he flips through the option), I chose the plum wool from Dragonfly Fabrics. It's absolutely gorgeous and well worth the £30 per meter price tag.
 

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This was my first time working with boiled wool so I did some research. Here's what I found out and what I discovered while working with it:

  • Boiled wool is both stable and dense. While it is at its best in an item with few pattern pieces and simple lines, it can work with slightly more involved designs 
  • It has residual shrinkage and it is wise to pre treat it. Like Jane, I stood for a long time at the ironing board steaming the piece ensuring that the iron didn't touch the fabric. Allow the area to cool before moving to the next piece as this avoids stretching the wool. Claire Shaffeur recommends buying an extra 1/4 yard to allow for the shrinkage
  • Be careful of the heat. Boiled wool doesn't like the iron, especially at high temperatures. I pressed with a low heat and then finger pressed the seams. I also found that it can take a mediumish temperature when protected by a silk organza press cloth (a lifesaver for attaching the interfacing)
  • Boiled wool is a double faced fabric meaning it looks very similar on both sides. Make sure you mark the wrong side (I chalked a "W" onto each piece)
  • Use a slightly longer stitch (2.5-3mm). After a few tests, I settled on 2.8mm. I also used a ballpoint needle following the advice over at Handmade Jane.
  • I managed to get three layers of the wool through my machine without a walking foot. Any more than this and I would have wanted extra help

Lining: silk

I've learnt the hard way that a lining can make or break a project. After splashing out on the wool, I knew that the lining needed to be of good quality. I came across this light green silk in Darn It and Stitch, priced at £8 per meter in their sale. I love silk and am becoming more and more confident working with it. Given that I will be dry cleaning this coat in future, pre washing wasn't strictly necessary but instinct told me to hand wash it. I'm glad I did as the water turned a bright blue in a matter of minutes and it did shrink slightly. 

Silk has a well earned reputation for being difficult, it slips a lot, requires a lot of pins and requires tonnes of patience. Turns out this piece of silk wanted to surprise me - it was fairly easy to work with. It only slipped when cutting out and making the pleats, otherwise it was behaved itself. 

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My tips for working with silk:

  • Test the heat of your iron on a swatch. Pure silk can take a higher heat than your iron would indicate. This took a medium-high setting, without a press cloth, very well
  • Remember to pin in the seam allowance to avoid seeing holes. This is especially important if, like me, you're too lazy to switch to silk pins
  • Don't be afraid to hand baste seams together. I appreciate this takes a little more time but it ensures the curves of princess seams or arm holes go through the machine smoothly first time. It also prevents your hands suffering the long, slow torture that lots of pins are famed for. Silk or embroidery thread are good options
  • While French Seams are beautiful and work perfectly for silk, they aren't your only option. Try putting a scrap through your overlocker - it worked well for this project and didn't damage the fabric (told you I was aiming for a quick make)
  • If you're cutting on a table, put weights on the pattern piece and gently lift the excess fabric as you cut it. This prevents the fabric moving too much and while you might get the odd wobbly line, it generally works. I like this method as it saves back ache from cutting on the floor
  • Be careful when transferring your markings and always test on a scrap first. My chalk pen (pink) stained the silk so I used tailor tacks and small snips in the seam allowance
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PS. You'll have gathered that I'm now on Instagram - you can find me at iwanttobeaturtle. I'm still new to this platform and figuring out how to use it effectively, so please bear with me. For some reason my iPad photos wouldn't work for this post so I had to embed them from Instagram - not my favourite way to share photos but better than none at all!