This week's patterning went a little inside out.
I finished the 1929 coat with a habotai lining color I wouldn't normally wear (it's not my red). Since the weave of the coat fabric is so light and open, I did the lining in this hue to keep the outside appearance of the coat very bright. Had I used my favorite deep claret, the coat would be much darker overall.
The 'inside out' occurs before having dropped this lining in so light is shed on the construction and finishing methods I used. Take a look:
As I posted early on about this coat, I Hong Kong-ed the seams.
Since I was after a quick finish, I did not Hong Kong the hem edge, but rather used traditional seam binding tape. Out of red tape, I put this ecru to use-again, ensuring a lightness in color for the outside of the coat. The front facings are also finished in the Hong Kong manner.
In lieu of creating self-faced sleeve cuffs, I faced each with habotai and top-stitched the upper edge after turning to give the effect of an applied piece at each sleeve end versus a loose-fitting cuff. Each of the pieces I made were invisibly tacked in place to keep close to the sleeve.
Each pocket was also faced with habotai and top-stitched in place:
A quick note on stabilizing the armsceye, shoulder and front facing seams: I put Gail Patrice's Deni-fuse to work again as a 3/8" wide stay tape (I cut it on straight of grain) in order to keep the sheer quality of this woven yet giving it strength in such high-stress areas:
Of course, I use this fusible as interfacing on larger parts of a garment (such as the sleeve appliques and pockets of this coat). The secret to its real success in keeping sheers well, sheer and maintaining a fabric's natural hand? It's small glue dots!