- Hello friends. It is Sunday. I thought I would try and
maybe attempt taking one of these "days off", however, I saw "Downton Abbey' last night and I beheld all of the
glorious tailoring in that film. I got home last night, no,
no, no, don't chew the wires, and I decided that I needed to immediately do all of the sewing. So, here we are, today, on Sunday. This is not work, this is
what I choose to be doing with my Sunday, okay. Don't roast me. I have this long, black,
Victorian style coat. I made it four years ago-ish. I knew nothing about tailoring. I still don't really know
that much about tailoring. I adore it. This coat is tragically made, basically, but I wear it all the time,
always, because I love it. My goal for before it starts to get really coat-worthily
cold out this year is to fix this coat into something that looks a bit more professional
and not like I made this on the floor of my living
room, four years ago, with pretty much zero sewing experience. (squeaking pig noises) Anyway, so, this coat was made
from a commercial pattern, one of the big four
standard pattern companies. The pattern has gone through
quite a bit of alteration, to the point where it now, I mean, I say it's from a Big
Four pattern company, but I actually now have in the envelope an entirely separate coat pattern, based off of the original coat pattern. Here's our coat friend. Yes, it looks like a coat,
it's definitely wearable. I have been wearing this, like,
every winter for four years, but I actually want to
make it look less like a costume and more like a real coat. So, the first thing
you will notice is that the lapel/collar situation is completely just not acceptable. I really want to go back and look at the original coat collar piece, because I remember having
a little bit of trouble getting it to fit properly
on the neck of the coat. It might just be because I was
making a ton of alterations to the pattern and just didn't
understand how to do that. This collar is coming
off and getting replaced. The second situation that you will notice. I had no clue about any of the
interlining structure stuff that's supposed to go on
in the front of a coat or any sort of tailored garment. Maybe there's a light
interfacing in there. There's no horsehair canvas, which I do have and I will be putting. There's no pad stitching
in this, so obviously, you can see the lapels don't want to sit back beautifully like this, they want to sort of do
whatever but I did end up having to go through and manually
tack down the lapels, which is not something
you're supposed to do. The sleeve is actually
not in the right place. It needs to come up a little bit. So that's just a little fitting thing that I never corrected, so I'm
going to do that this time. The cuffs are an absolute nightmare. Again, I had no clue what
stiffening materials were, so it's basically just two layers of the very, very soft velvet. The cuffs have no structure
to them whatsoever. And again, they're, like,
kind of tacked into place because I couldn't get them to function. I don't know what's going on here. I guess I can just rip this apart because we're taking it apart anyway. Oh, I just never finished
this edge, I see. So the cuffs will come off. I will probably recut the
velvet bits and interline them with something so that they
have a bit more structure. Oh my, this is going
to be... an adventure. The front of my coat
just doesn't sit flat, as you can maybe see. So this is, I mean, this is
a pad stitching situation. I did go through and I hemmed the lining, as you can see, by machine. I will probably be taking
out the entire lining and restitching it in
by hand because, hello. But as you can see, the inside stuff, nothing's finished on the
inside, which is not a problem, because, in theory, this lining shouldn't
just be loose like this it is loose like this because I never put a hem on this coat. The wool, since it doesn't fray,
it's just sort of left raw. I always found that when I
would try and fold up and hem the wool, it wouldn't want to sit nicely. It sat a lot nicer when
it was just sort of raw. But now I understand how to press things. I have a feeling, a very
terrible sinking feeling that I never pressed these seams, because these seams
look like they could use a bit of flattening. It's lined with this
eccentric silk brocade. I haven't decided if it's too much or if it's just kind of pretty. I think it might just be kind of pretty. It's not holding up terribly well, as you can see over here, down here. The silk is wearing just a little bit. We have a lot of work to do. This is the original commercial,
no, you can't see that. This is the original
commercial pattern that I used, this Simplicity pattern. I made quite a bit of alterations to this. So I started off with this tissue pattern and ended up with an
entirely different pattern. The changes that I made
were primarily to do with my whole spine situation
because what I should have done, if I actually
knew what I was doing was obviously make a mock
up and fit the mock up and do all of that. I didn't understand the
concept of mock ups back when we were first doing this project. Well, I'm not recutting the whole thing. I'm just recutting the front bits. (dramatic music) (many long painstaking hours of unpicking) (snip) (good old fashioned montage time) I ended up having to do
quite a bit more surgery than I initially anticipated. So, I took off the facing pieces as well as the front panels. Quite a bit more work to
do than I thought I did. Here is the lining, now
completely disconnected from the coat, but still
got the sleeves attached. The sleeves are now disconnected
from the actual coat because I wanted to reset those. I figure that these, since
they're not actually seen, they can just do whatever
underneath the coat. And we are now reverted
back to basically pieces of the coat, except all
of these long panels are stitched together, which
is quite a big time saver. But anyway, I'm going to
go and press the coat body as well as the lining,
as well as the sleeves. I'm not going to press the velvet. I don't know how I dealt with this. Well, I guess I didn't press
anything so I didn't have to, but I don't have a velvet board. If you are not familiar with pressing, you can't put an iron on velvet because it will crush the
pile, the fluffy things. You have to iron it on,
basically, like a board of spikes so that the velvet has a place to thrive. I don't think I'm going
to touch the velvet, but I think it will be okay because there's not very much of it. It's just on the lapels, and
the collar and the cuffs. Oh yeah, speaking of the collar and cuffs, I have removed those all completely. And those are things that I
will have to either re-cut, unless I can salvage
the pieces that I have and just put some interlining into those so that they have a bit more structure. That's more work to do than I anticipated, but you know what? Isn't that life? (lively music) So because my initial collar
piece was terribly wrong, I have decided to go ahead and cut a little mock up sample collar shape, just to see if I can work out what was initially wrong with this one. I went ahead and I put this on myself and this one actually works fine, so it seems like maybe the pattern is OK. When you lay this one on top of this one, you can see that the initial collar that I cut is way too short. I didn't cut it with seam allowances. Oh my god, no. Okay, now I'm confused because see, commercial patterns do this
thing where they include the seam allowance in the pattern. The patterns are not net. So this includes, what's it, 5/8 of an inch of seam allowance, which normal patterns don't. So I thought I was cutting
this out without seam allowance just by cutting straight
around this pattern shape, but I actually, this does
have seam allowance on it, which means that when this get stitched, in theory, it does end up to be this size, which is not correct. I didn't actuallY show you this on me, but if you can see on the picture, the collar is supposed
to come down to probably about her collarbone. On the actual coat, on me, it was sort of sitting up, way back here. So it was like an inch or two too short. I have just gone ahead and redrafted this collar piece myself
because I realized that by leaving the seam
allowance on here and here, the collar was actually
going to be too wide, so I probably shouldn't do that and treat this whole pattern as a net pattern. I really just need the
extra width, length wise. I was having a little bit of a debate because I couldn't decide
which grain to cut this on. I know the pattern says
to cut on the fold. What it's going to tell me may or may not be the correct answer
because, as you can see, they're not expecting you to
use proper tailoring canvas. They are expecting you to use interfacing, probably fusible interfacing. One has to be very selective
about the grain here, because, as you can see, the horsehair, which is a very structured
fiber, runs on the cross grain, so perpendicular to the selvedge, which is the straight grain. And where the horsehair runs parallel, you get it to fold very crisply
and very nice and evenly. However, where the horsehair
runs like this, laterally, you get this much more bubbly fold when you try and compress it. And I couldn't decide if
it's best to cut the collar like this or if it's best
to cut the collar like this. I finally got over myself
and went and looked at some articles on
Your Wardrobe Unlock'd. And all of these articles, both
modern tailoring techniques as well as historical tailoring techniques are actually telling me to cut the collar with a seam down the
middle and cut both pieces on the bias, which I've
actually seen done plenty of times before and just escaped my brain. What the commercial
pattern is telling me to do by cutting one single piece on the fold, interfacing it with modern
fusible interfacing, trusting that it will make the right curve round the neck to actually
sit in the proper place. This is actually probably
the problem that I was having initially,
trying to get the collar to stretch as far around
the neck as it should be in order to reach the right
places on my shoulders. It's not going to stretch
very much if it's like this, on a straight grain. Whereas, if you have
your pieces both on bias, on the bias, where it's
not straight up and down or straight this way, where
the threads are not pulling this way or pulling this way, there's actually quite a
bit of stretch, naturally, on the true bias, the 45 degree angle. So by cutting your collars on the bias, you actually get a bit of natural stretch, in curving around the neck,
which would probably get it to sit in the right place. So that was probably the issue that I was having on my original coat the pattern is not telling you how to tailor things properly. As you know, someone
who is just starting out in sewing and making this thing probably wouldn't really care to
know, but I care to know now that I want to make a proper coat. And so, we're going to
try and do this properly. (dramatic music) (let the tailoring wizardry commence) Good evening, friends. It is evening now, as we can sort of see. Here's where we have gotten to, thus far. We've made quite a bit of progress, but not a whole lot because I feel like as I am tearing things
apart and re-cutting things and redoing things, I'm
finding more and more things that I need to do to this coat. I have cut out canvas
interlining for the cuffs and I have pad stitched
them both into place and then I've gone ahead and I've pinned both cuff
sides together so that I can stitch these round here. I have the new front facing
interlining pieces cut out. These are ready to be pad
stitched into the front facings of the coat, however,
I am not going to focus on that just yet because
I've placed an order with Burnley & Trowbridge for some little 1/4 linen
tailors tape and that just will help to stabilize
the edge of the seam. You'll see. I will show this to you in a bit, but I didn't have any
so I had to order some and that actually might be here. I have a notification
that I have a package. I have also cut out some
entirely new collar pieces. I've pinned these pieces together. I have an upper collar, under
collar and the interlining. I will have to just stitch
down here real quick and then, this will get
pad stitched to this. I mean, effectively the
same thing as the cuffs and then, stitched around
that way and then turned out and then, lots of top
stitching still to come. (dramatic music) (aesthetic candle flame shots) Okay, I have since learned that this is only partially correct. Only the canvas layer and
the velvet side of the collar that goes down gets bias
cut and seamed together. The collar piece that
sits on top and gets seen by the world, theoretically
gets cut all in once piece on a fold so that there's
no seam down the center. More details on this process, of course, were taught to us very
kindly by master tailor, Barbara Pesendorfer in the
last video that I posted, which I shall link up above, if you care to go down a
little pad stitching detour. (dramatic music) (pad stitched piece in all her glory) (machine whirring) (dramatic music) It was at this point
that I realized I kind of have no idea what I'm actually doing. So, research. (lively music) (tea is a very important
part of researching) (biscuits are also crucial) (pig squeaks in the background) - Here in the chest area, we have a second layer of horsehair to make it really strong. And it's also steamed and
stitched into a round shape. So if you can see here. - Okay, so from what I gathered thus far, I am on the right track, which
is not a very difficult thing to happen because all I have
done is cut out some pieces. From what I gather, this
canvas interlining should cover the entire, the canvas
interlining should cover the entire front of the bodice, bodice? front upper chest area
and then should come in, clip away at the side bit
area so this bit isn't bulky, just sort of clip in this way. And I am unsure as to whether
the canvas is supposed to stop at the waist or go all
the way down to the ground. I think it needs to stop at the waist or at least come down
to like the hip area. So I think that's what I may do. I also may do a little bit more Googling and find out for sure. Yes, I think that would
be the wise thing to do. But anyway, so I need to go
and see if my front piece on that pattern covers the
entire front chest area. I don't think it does. I think it's a princess seam. That would make sense. Which means that the
side piece comes in here and I will need to cut
another bit of canvas to seam onto this canvas
over here at the side and cover that entire area. So I think that's what has to happen. At least, that's what Victorian
dressmaking techniques are telling me to do. I guess I trust the 19th century. The other thing that I have
learned in my endeavors is that I think I have
done the pad stitching on the under collar incorrectly. I have my pad stitching
going all the way down here. Whilst I was re-watching the
Foundations Revealed call on tailoring, I saw Barbara,
in Barbara's demonstration, she has a little curved line here, coming, well, you know,
where this rolls back. And then, under that,
where this is supposed to be the stand bit of the collar, it's not pad stitched like this. It's pad stitched around like this to help it assume that curve. I actually don't think I have
to unpick this collar bit. I can just unpick this
bit of pad stitching and add that in there. So I'm gonna go ahead and give that a go. (dramatic music) I feel like I explained that
bit very poorly back there, but basically, the canvas
stiffening is supposed to cover the entire front
of the chest and come around to the side just under the arm. And since the front of the
coat is princess seamed or has a curved seam down the
middle of each front area, I only cut canvas for
the center most panel, not the side front panels. So I'm going to seam that second
half of the front canvas on and it turns out, I don't
actually need canvas in the entire center front panel, but I'm continuing it all the way down the center front edges instead of cutting it off at the waist, just to keep those edges nice and crisp. So I'm cutting away some of that excess to use for the side front bit. I hope this mildly makes more sense. (dramatic music) There's also no reason
for the center front panel of the outer coat to be detached now, so I'm just going to
restitch that together now. (dramatic music) (machine whirring) Maybe you can vaguely
see that the center front of this coat is not straight. It comes here and then it
wants to sort of veer off to the what, right, left,
whatever direction this is. And there's a little bit
of a gap in the front here. I mean, in a sensibly cut, well-made coat, this would have just been straight down. This is either an issue
with me not cutting the panels on the correct
grain when I initially made this coat, or it's to do with
the fact that the pattern does not contain enough
volume in the skirt. I have learned, since
making the ulster coat that the skirt panels for the, I mean, actual 19th century skirts
are ridiculously wide, which I don't think
this coat actually does. I mean, there's a little bit of flair, but it's not quite so dramatic as, at least the Keystone pattern that I was using for the Lady Sherlock coat. Those coats, they really
flair towards the bottom. I mean, obviously this is not
a historical drafted pattern. As we know, these Big Four
commercial pattern companies, as much as they try and be historical, they don't actually
look at the real thing, or at least, if they start
with original source material, the way that they alter the
patterns so that they behave. They add tons of ease, they
edit everything so that it works according to
modern sewing method, which defeats the purpose of
producing a historical pattern because you're not going to get anything historical that way. So this is meant to be a modern coat. This is where we are at so far. I'm very excited to have
my coat back because it is now the depths of winter. It is very cold here in merry New York, and I want my nice long wool coat back. So let's go get some
interlining into these lapels, pad stitch some things so
that we can get the sleeves on and get this finished. Okay, so if you're wondering
what the heck I'm doing, I actually don't really know myself. I pinned these two pieces
together because these two need to go together eventually,
and I needed the shape of the coat in order to figure that out and where all the seam allowances are. I have then posed the question to some of my fellow CosTubers about OK, friends, does anyone know anything about
tailoring and what do we do. Marika has send me five million pictures from Vintage Couture Tailoring techniques because she owns that book. Morgan Donner has told
me everything about how to tailor in the 16th century,
which is vaguely useful. Noelle has said the exact opposite of what Marika was saying. And Cathy Hay also has
some insight as well. Now that we have five
million different answers that don't necessarily
agree, here is, I think, the battle plan which may or
not entirely change by the time that I actually show
what I'm doing on camera. So this is going to come off. What I'm going to do is
I'm going to go ahead and I'm just going to herringbone stitch, cross-stitch these two pieces together. The raw edge doesn't
matter because it's going to be covered with stuff any way and I want the seam to be
really flat and not bulky, so I'm not going to finish this edge. Then, what I'm going to to is I'm going to lightly baste this canvas layer into the fabric layer. I think, Marika's book
is telling me to put in three vertical lines
of just temporary basting, which you shall see anon. Then, I think but I am not sure, all of the edges are
then cross-stitched down so that they stay in place
and I think that's also when this linen tape comes in to stabilize this seam allowance edge. This canvas will not go all the way up to the seam allowance. I'm not teaching you how to
tailor because I am trying to figure this out as well. And then- but wait, there's more- there's a secondary chest
piece which just comes up to about here-ish and that actually gets fully pad stitched
to this layer and that's when you put in the shaping and the curve. I think that's how this is done. We shall see. But for now, at least I know
how to herringbone stitch, so I'm going to do that, yeah. Okay, so I have this
piece now cross-stitched onto this piece, which
is a good start, I think. In addition to this front
facing piece layer thing, this also needs a little chest piece, pad thing, to go up
here to get pad stitched in here and that's what's going to give it this nice, curved body shape. So, that, from what I gather, is supposed to look relatively like this. So presently, I am now
endeavoring to take this piece of cabbage, of hair canvas. I've also read that it could
be done of flannel as well. And I read, I think this
was in Marika's book that this should be the same
grain as the bottom thing. I am now going to line up this cabbage and cut out the relative
shape that this will be. (dramatic music) I'm taking a minute to
procrastinate real quick by prepping the linen tape that I'll use to structure the front edges. This is effectively the
same thing as prewashing your fabric before using it. All I'm doing is soaking
it for a few minutes in a bowl of cold water, then steaming it flat
with a hot iron to dry. (dramatic music) So what I am doing now,
in order to prepare these chest pieces to go
into the main body pieces of the coat and then get
stitched into the coat, first I have just cut a little slit here which runs along that joining seam in the two front panels of the
coat/interfacing of the coat. And this is going to give
it a bit of a curve shape. So I'm just going to put a
piece of linen tape over this to secure both ends together. The slight overlap of
these two edges down here will just help to give
it that curved shape that will make it sit more
naturally across the chest. Because it is a raw seam and
I don't want to turn and fell, which creates bulk, this
will just get a piece of linen tape cross-stitched over it to hold it all into place. (dramatic music) (behold an absolutely massive
amount of pad stitching) So we have finished the
pad stitching on this panel and as you can see, this has
now got a lot more dimension to it than it previously did. A little bit wrinkled because
I was traveling with it. As you can see, this has got
now a lot more dimension to it. It's, I mean, you can't feel
it because screens and stuff, but it feels a lot more substantial than this floppy bit over here. Now, it is time to go ahead and get these basted into the coat. According to all of these tailoring books, there is a very specific method
for how these pieces need to get basted into the actual coat. I have literally made a
step by step to do list for how this is supposed to happen and let's see what we can do. OK, so the basting is now complete. I guess I can vaguely explain
to you what's going on since you can't really see, so initially, the first line was
going from this shoulder point all the way down to the hem. And there's another one
going from this point here all the way down to the hem, once again. And then, there's also, at the waist line, there's a short basting
line just going to here. Then there are separate lines. There's one going from here to the hem and then from here, just
at the edge to the hem, as well as a separate
one going from here up. And then, from here just
up to this roll line. It is apparently
important that these lines are done separately
because this has to smooth the interfacing down, this has
to smooth the interfacing up and sort of out onto the lapel. So then, there's another basting line just at the roll line here, which is where the lapel will roll back. There's another basting
line going from the top of the shoulder here, sort of curving down and ending about here. And then, there's another
basting line just tracing the edge of the armscye. I probably forgot one, but anyway. So that is the situation
that's happening here. I've also just cross-stitched
this interfacing bit to the actual wool, just here, because, obviously, the interfacing
is going to come out. So here it is from the front. It is looking like a coat. It's got wonderful structure to it so far. It is very dusty, as you can see. It is apparently important
to then turn the coat out to the front and just be sure
that nothing's wrinkling funny or warping or bubbling where you haven't quite smoothed
everything properly because once things are
basted into this position, this is roughly how it's going to be. Obviously, these stitches
are going to come out. So my next step is to go ahead
and pad stitch the lapels. I mean, it's like the pad
stitching that I was doing here, except it's done from
this side of the material. And it's done with the lapel rolled back into its, well, final
resting position, I suppose. And this bit here, where
there's this really sharp, harsh roll here, this is going
to be done round my finger. And just positioning the
fabric in that position and securing it that way
will make the fabric want to sit back into this rolled back lapel instead of wanting to flop forward or stand up or do anything. Also, it looks pretty and hand
stitching is fun, so right? (dramatic music) (more tailoring and
padstitching witchcraft) Procrastinating once again by cutting out the new pocket pieces out of this nice, sturdy cotton silesia that
will definitely hold up better than the previous silk pockets, which were shredding apart at the seams. (fabric scissor ASMR) Okay, so the lapels are
finished, as you can see. This is wanting to pick up and fold back and roll back into place quite nicely. The next step, now, is to
go ahead and tape the edges. So I have gone ahead
and I have just cut away the extra of the interlining just so that I have my seam allowance of the wool free. So what I'm going to do
now is I'm going to take this linen tape and I'm
just going to to lay it ever so slightly inside the interlining and this is just going to get cross-stitched down into place. This will just give a
nice bit of structure to the front edges of the
coat so that it doesn't try to stretch or warp out
of shape or anything. And this is going to run all the way down the front edge of the
coat, up the lapel edge, and then also one little line
of tape just inside here. What I'm also going to do whilst I do that is I'm also going to go
ahead and cross-stitch the inside edges of the
interlining to the coat, ever so lightly so that
it doesn't go through to the outside, just catches
a few of these wool fibers on the inside and just
keeps this down into place because once these
basting stitches come out, then we are not going to
have anything securing this. (dramatic music) So felling down all of this
tape took a small moment, which was time excellently
passed listening to Emmeline Pankhurst's autobiography on the suffragette movement, which is most fortuitous
because this video has been most considerably sponsored by our friends at Audible. Audible is the online purveyor
of audiobooks, of course, as well as podcasts,
theatrical performances, wellness, guidance sessions and basically, enough listening content
to keep you occupied for more than three
centuries of sewing projects. That's like if Bonnie Prince
Charlie started listening to Audible in the early 18th century, he'd still be listening today instead of leading potentially futile revolutions. And thus expires that eternal feeble hope we readers all harbor that
somehow, perhaps, maybe, we'll actually get around
to reading most of the stuff we want to read over the
course of our lifetimes. Oh my god. Anyway, Audible can help
you get slightly closer to that potentially fictional goal because members get one free audiobook and two free Audible
originals every month. And titles can be downloaded
and listened to on the go, even outside the sewing room. For more information, visit
www.audible.com/bernadette or text Bernadette to 500500. And do let me know what
you are listening to. (dramatic music) Good morning. It is a morning. I won't tell you how
many mornings have passed in the duration of the making of this coat because it is not pleasant. Here is where we are at,
so far, with this coat. All of the pad stitching,
interlining stuff is done. The edges are taped. The lapels, as you can
see, they just, I mean, they don't want to sit like that. They just want to stay in place. Look at those well-behaved,
good boi lapels right there. This is why we put so much
effort into the pad stitching because they just behave so nicely. There are a number of next steps for this. What I think I'm going to
do is I'm going to focus on the machine stitching
bits that need to happen for this because believe it or not, I'm leaving for London again in two days and I'm having serious
war flashbacks to trying to make the ulster coat
before I left earlier this year and not quite doing that. Once again, I'm trying to
at least, whilst I'm here, get the machine stitching
bits done for this. Today, I'm going to focus
on getting the pockets into this, getting getting
the sleeves onto this, getting the cuffs and the collar attached. And then, there's a little
bit of work that I still have to do on the interlining bit. Oh, I've got to cross-stitch
the edges down here, which I still haven't done. (dramatic music) Oh yeah, and I'm also
putting new gathering threads into those sleeve heads
so that I can gather those up into nice poofy sleeves at some point in the immediate future. (dramatic music) So I have tried on the coat real quick and then I marked with chalk just where the sleeve should be. I've started to pin this
place and then I realized I should probably tell you what I'm doing. Thread marking onto
this chalk line so that this appears underneath, in here, and I can pin the sleeve into
place and then sew it on. I'm making this sound
extraordinarily simple, but in reality, we all
know this is probably going to be some extreme Sleevil Hell
that we are about to enter. But you know what, let's just, shh. My lovely new assistant, Betsy, is here, working on some Etsy things. The Etsy is actually going to be no longer because the both of us
cannot cope with the amount of Etsy that's going on. But I'm here working on a coat. Betsy's there working on paper stuff. Cool. (hello from the captions) (it is I, the caption wizard,
whom you just met onscreen) (nice to finally meet you all) Well hello friends. OK, so it's been like a month
or so since we last spoke and a couple of things have got done. A couple of things, well, most
things, have not got done. So I am here and we are now
presently finishing this caot. This vlog is a disaster, but I know that. So, basically, what
happened is I have stitched these facing pieces in, so these are now stitched
to the front of the coat. I know it looks like a disaster right now, but I am presently in process of putting in the top stitching which
will sort all of that out. I have put some pockets in here. I think I attached the front
pieces to the coat, as well. I didn't film any of this because I am a responsible YouTuber. The collar went on. So basically, the coat
is in a state right now, but it's nearly finished. Right now, I am going
to finish top stitching this edge here, which will
just hold the facing down flat, inwards like this. Then, all I have to do is
just stitch the lining in, buttons and button holes. The coat is so very nearly done. We are going to finish
this and we re not going to pretend as if I have
been working on this for four months because that
was not supposed to happen. (dramatic music) Now that the front edges are neater and the velvet facings are
held down nicely inside, I'm now pinning the lining
bit back into the coat. (bell ringing) This is subsequently held down with some small felling stitches. (dramatic music) The same thing also happens with the cuff and that raw edge at the end
is turned inside the lining. (dramatic music) Well friends, it is the final countdown. The top stitching is in, the
facing is in, the lining is in. It's all in. All I need to do now is I
need to put the hem in here, which is basically the
same process as putting the lining in, folding
that and then folding this, and then hand felling it down. And then, all I will have to do is put in the button holes and the buttons and then this is ready to wear, which is good because tomorrow evening, Cathy and I are going
to see "Mary Poppins" on the West End and I
want to wear this coat to go and see it because
literally, how perfect. It is currently late at night. I am going to be sewing into
the wee hours this evening and then, probably, tomorrow morning, I will get the button
holes and the buttons in. Nice lighting should
resume shortly, I hope, but meanwhile, let's go do a hem. Okay friends, so a thing
has happened in that, remember how, when I
initially made this coat I had hemmed the lining
separately from the coat bit that wasn't hemmed at all? Well, it turns out that,
apparently, for some reason, I cut the lining so that it's not quite as wide as the coat panels. I don't know if you can see
here but here's the coat seam, here's the coat seam,
here's the coat seam. And then this panel seam
is like way over here. So like, the panels don't
actually match up in width, which mean that trying to
do this as I normally would, like this, it's just not,
it's not wide enough. The lining is just not
going to fit into the coat. So what I'm going to have
to do is I'm going to have to put two different hems in this. I'm going to have to keep this
as a free-floating lining, which means I'm going to
have to hem this layer down. By the way, look at this
fantastic cutting job. This hem here is going to
just get whip stitched, just down to the wool. These stitches probably won't
come through to this side because it's thick and it's wool. This layer is going to get felled, just turned under and
felled as I normally would, just like that. It's a bit more work to do tonight, but I think I can manage it. It's not that much hem. We usually say about an hour per meter, but I think I can get away
with slightly larger stitches here, so this might be about two or three hours of stitching. So, I'm gonna get a start
on this and hopefully, if this doesn't get done tonight, then we will have some time
tomorrow morning to finish this. (dramatic music) With the inevitable addition
of buttons and button holes, the coat is now officially complete. We will perhaps not dwell
on the fact that this, actually, in reality, took
about four months to do, which it most definitely
should not have done. That is no longer of any
consequence because now, I have a, well, new? Old?
Existing? pre-existing? newly existing coat that is now finished in a much better way that I
am actually slight proud of and of course, is warm
and perfectly to my style. So, I am looking forward to
further winter adventures in this merry new coat. I hope any future coat
aspiring folks out there have gained, at least, some
sort of use out of this video. And perhaps, I shall
see you out in the world in fabulous new coats. Until the next sewing
adventure, anon friend. (Dramatic Coat Swoosh) (and now) (the moment you've all been waiting for) (Adorable Pig Noises) (never mind the Etsy orders on the floor) (monch)
