Dada a extensão deste artigo, achei por bem publicar as versões inglesa e portuguesa em separado. Para a versão portuguesa, cliquem aqui.
This is the second part of Rob Chave’s step-by-step guide on how to design and sew a doublet using my own doublet as a case study. This next part concerns the linen lining, and assembling finished panels together. You can read Part I here.
15 – The linen for the lining is cut roughly to size. As it’s been pre-washed, it’ll take a fair bit of ironing. Give it a light spray with water and then press it until it’s nearly dried out. Then leave it for a while until it’s completely dry when cool (linen wicks moisture and swells as it does, so ensure it is absolutely dry before cutting it neatly).
16 – Pin the linen to the canvas in a few places. Be gentle so as to avoid opening small tears in the fabric.
17 – Now trim the edges as you did the shell. In this case the allowance is roughly 10mm, which grades the seam allowances slightly instead of having them the same length inside. Again, V’s and lines are trimmed around all curves to fold it in on itself.
18 – Start folding the linen in on itself to match the edges of the shell as neatly as possible. Try to leave about 5mm of the shell visible around the edges of the garment.
19/20 – Pinned all around the edges.
21 – The fustian for lining the collar is pinned into place, as with the other panels, but still allowing for the rolled shape in the collar. For the main body panels the linen doesn’t need to be that bit smaller, but on the collar it will show if the shell and lining are cut exactly the same size.
22 – After pinning, replace the pins by basting the linen panels into place with long running stitches. This allows the edges to be pressed flat, which makes a big difference to the neatness of the finish.
Note I have also put in a couple of stitches in various places to mark points I want to line up:
-The armscye areas on the torso are marked with half-way points;
-The sleeve is marked with the shoulder seam point, underarm seam point, and a point halfway between the two (the halfway point on the rear armscye lines up with the back seam of the sleeve itself);
-The collar is marked where it meets the shoulder seam.
23– It’s finally time to start the seams. I prefer to use clamps to hold the pieces together instead of pining them. As the pins have a lot of material to go through, the tension can cause visible marks in the shell, and the seam itself will end up curved in unintentional ways. My preference is to start by fitting the peplum (skirt) pieces to the body.
24 – Start with the knot in between lining and canvas, then stitch in place once. I do the first one slightly away from the edge, then one stitch at the edge, and then back again. This allows it to be pulled tight without gapping at the intersections between seams.
25 – Continue in a whip stitch across the whole panel.
26 – Showing the resulting seam.
27– Once the peplums are fitted to the upper torso, I repeat the same method for the side seams, then shoulder seams.
28– Half a torso. The shaping of the pattern combined with the interlining hold the shape well.
29– Now the collar is fitted to the body. I prefer to fully assemble each side of the body before doing the back seam all in one. By doing this, it becomes easier to get the point of the collar in place. Afterwards, the back seam can be done with the seams of each collar pieces lined up precisely.
CONTINUES IN PART III, HERE