I love coatmaking! I love the art of tailoring a coat.  I've learned that so many people are intimidated at the thought of sewing a coat.  I'm a dive into the deep end, head first kinda sewing gal.  So when it comes to tackling a sewing project?  I ain't never scared! (A double negative was needed to convey that feeling!)  But I do understand how overwhelming some can feel when it comes to fully tailoring a coat.  It's a lot of steps and the best skill you can possess?  Patience.  

The reason why I've fallen in love with vintage coat patterns are the drafting, the pattern pieces and the instructions.  In the past, I would have had to draft interfacing pattern pieces and sew with a stack of reference books.  And based on all of the things I've learned from multiple tailoring resources over the years, these instructions are comprehensive and everything I needed to make this coat.  

Vintage patterns come in single pattern sizes.  I used the size 14.  The sizing and ease is generous.  I can wear a blazer underneath this coat with comfort. I added 3.25" to the length.  That was the only fit alteration I needed.  My fabric is a pretty basic Black Solid 100% Wool Coating from Mood Fabrics.com.

The fronts of the coat are interfaced with hair canvas. (If you need to buy some, be sure to use my coupon code in the sidebar.)   In order to stay the roll line of the lapels, I used 1/4" black twill tape.  Here is a previous post discussing the hair canvas interfacing and my machine padstitching.  The collar is interfaced exactly like the lapels. 

The backstay is also cut from the hair canvas.  I normally use plan muslin fabric.  But the pattern suggested the interfacing.  I was concerned that the hair canvas would be prickly with only the barrier of the lining fabric.  From wearing it briefly for the photos, I didn't feel anything.  Here's hoping it stays that way.

The back of the coat also has an interfaced Martingale.

The pattern did not suggest this, but this is where I do my own thing.  I know how I like to set sleeves in jackets and coats.  I ease the sleeve cap with bias strips of hair canvas.  See the details here on Tailoring a Coat Sleeve.

If a pattern suggest shoulder pads, use them!  If you're making a coat and it doesn't suggest shoulder pads, use them anyway!  Even a thin set, about 1/4" thick can make a difference.  I make my own.  I've talked about that here and here.  In my sewing group, The Amazing Sew-Alongs, we discussed using fleece shoulder heads.

Since I set my sleeves with the bias cut hair canvas strips, the sometimes act as shoulder heads.  I make a judgement call on how the sleeve is hanging regarding whether or not I need to add an additional sleeve head.  For this coat, I didn't.

Before I added my lining and I was trying on the coat, there was a glaring detail missing: pockets!

I don't remember which one I used, but I grabbed a patch pocket and flap from another coat pattern, measured down from the shoulder and placed.  I topstitched it in the same manner as the other topstitching.

This Michael Kors coat was my inspiration.

Here is the inside!  Y'all know I love beautiful insides.  I'm never ashamed to allow someone to examine my garments inside and out.  

The lining is completely handsewn instead of being bagged.  Instead of doing a basic cross stitch to secure the back lining pleat, I just use a cute embroidery stitch.  And I added a hang chain that I also bought at Jo-Anns.  I added a contrasting color piping between my lining and facings.  The hem of the coat is interfaced -- of course.  A "Jump Hem", which is a pleat formed at the lower edge for wearing ease is created. Also created at the sleeve hem as well.

The coat was sewn with Schmetz needles in Universal size 80/12, 100/16 with Gutermann Mara 100 in black.  And topstitched with Schmetz 100/16 topstitch needles, using Coats & Clark Button Craft Thread c/o Coats & Clark.

And love that when I take this coat off in public and turn it inside out and toss it over a chair, the inside is just as beautiful!  My lining fabric is Black Flannel Back Satin from Jo-Anns.

And it also looks and hangs beautifully when undone.

I still had fabric lying about from the last couple of projects.  And while I was about to fold and shelve the pieces, I decided to just use it instead.

This is the patent leather from Mood Fabrics that I used for this skirt.  I liked it so much that I decided to make a patent leather t-shirt.  I used Vogue 8840, view A. 

This top went together really easy.  The only alteration I made was a FBA... didn't want to have that "smushed uniboob" look!  I really love this designs welt seams.  They scream, "Let me be leather or suede!"

It's a simple pullover top with a cute little neck slit opening with a hook and eye closure.  I fused the hems for a cleaner look.

***Sidenote:  When ironing leather/faux leather, I always use a pressing cloth with no steam.

For my simple, single-seam pencil skirt (fabric cut on the fold, based on the your waist measurement with negative ease, with an elastic waist), I used the last yard of leftover red ponte knit from Mood Fabrics that I used for these pants.

I layered my top over a black long-sleeve knit top, added opaque tights and patent leather booties and my pea coat.  

While following street style trends, I for the colder months I always see pea coats, leather leggings and booties paired together.  And it's the perfect uniform for fall and winter. 

I'm calling leather legging a "new classic" because they're not going anywhere anytime soon.  They've become a wardrobe staple.  And they're actually pants whereas lycra legging are not.

"LOVE"

And they look great with pea coats.  I'm quite partial to my pea coat.  I think it's one of the greatest things I've made.  And everytime I wear it, I always receive compliments.  And I'm beaming with pride as people gag when I tell them that I made it!  It goes without saying that I LOVE this coat!

I've been contemplating making another one this year in a bright color.  Maybe after the first of the year.

Wearing:  pea coat: Vogue 2873 (OOP); blouse: McCall's 6651; leather leggings: McCall's 6404; booties: Just Fab.com 'Leander'.

Happy New Year!!!

Every year since this pattern was released back in 2005, I've planned to make this jacket.  I've bought fabric every single year and the fabric seems to get designated for another project -- each year.  For the life of me, I couldn't remember why I'd never gotten around to making this.  But this year, I was determined to make my pea coat that I've wanted for so long.

This is out-of-print Vogue 2873, a design by Michael Kors from his Fall 2004 collection. 

Original Michael Kors pea coat

What I love most about this design is that pea coats are so traditional and timeless and this pattern was no exception.  

Pea coats are a wardrobe essential that every well-dressed woman I can think of owns and wears to death.  The pea coat was made iconic by Jacqueline Kennedy Onassis.  That's why it's often referred to as the "Jackie O jacket".

They have the ability to make your ensemble look much more pulled together than otherwise.

For my pea coat, I chose this pattern because it has all of the details that I wanted (i.e. military-inspired epaulets, three row high buttons).  I wanted to use a heavy weight, high quality coating fabric so I chose this wool/cashmere (wool 80%/cashmere 20%) fabric.  I can't tell you how luxurious this fabric feels.  Unlike how wool can feel itchy, the cashmere makes it feel like a cuddly blanket you just want to wrap up in.

Here are my jacket "innards".  As you see, I've intricately tailored it.  I'm not going to go into great depth and description because I've blogged extensively in the past on my tailoring techniques.  The only thing I really did differently this time was using the machine instead of padstitchng.  It tremendously cut down on all of the handstitching.  I used a serpentine stitch as seen in Kenneth King's book "Cool Couture".  Other steps were taken from my tailoring go-to book -- "Tailoring:  The Classic Guide to Sewing the Perfect Jacket".  

The only modification I had to make was adding an inch of length to the body of the pea coat.  I was pleasantly surprised at how generously the sleeves are drafted.  I couldn't believe I didn't have to lengthen them.  

For the lining, I used black Bemberg rayon that I picked up at Joann's.  My location stays pretty well stocked in the basic colors.  And my favorite detail of all are the great silver/gold crested shank buttons.  

They just take the jacket to next level compared to the ones I see most in ready-to-wear.  And I topstitched using heavy-duty thread that wouldn't get lost in the thick fibers of the fabric.

For my final project of 2012, this is my favorite.  I succeeded in making an heirloom-quality jacket that I plan to wear for many, many years.