DESIGNING YOUR

WARDROBE:
Drafting the Tailored
Jacket or Coat
with Suzy Furrer
 Resources & Supplies 
INSTRUCTOR WEBSITE SOURCES FOR FINE
Suzy Furrer is the founder and director of FABRICS & TAILORING
Apparel Arts in Oakland, California, where
she teaches patternmaking and fashion SUPPLIES
design. Visit the website at ​ ● B. Black & Sons: ​bblackandsons.com
apparelartsproductions.com​. Fine wool fabrics and professional
sewing supplies
● Emma One Sock: ​emmaonesock.com
RECOMMENDED READING Online fine fabric retailer
● Building Patterns: The Architecture of ● Fashion Sewing Supply:
Women’s Clothing ​by Suzy Furrer fashionsewingsupply.com
(Apparel Arts, 2008) Professional interfacings and more
● Tailoring: The Classic Guide to Sewing ● Mood Fabrics: ​moodfabrics.com
the Perfect Jacket ​by Editors of Creative Fine fabrics and sewing supplies
Publishing International (Creative ● Vogue Fabrics: ​voguefabricsstore.com
Publishing International, 2011) Fine fabrics and sewing supplies

DRAFTING SUPPLIES
● Awl
● Drafting curves, such as a French
curve and hip curve)
● Gridded straight ruler, 2" x 18"
● Muslin
● Pattern paper
● Pencil
● Pins
● Red pencil or pen
● Scissors for fabric and paper
● Sloper: well-fitting bodice sloper
● Tape measure
● Transparent tape
● Tracing paper and wheel Page 1
© Craftsy
 Design Exercises 
Complete these six design exercises at the beginning of each design season (or at the very least,
once a year) to help define your design aesthetic and the wardrobe needs of you or your customer/
client. Get a large sketchbook and complete the exercises within its pages; having a book where
you can house these exercises is a good way to see how your design aesthetic changes and grows
over time. To get the most out of these exercises, approach them in an open, fun and playful way.

SHAPES (BLACK & WHITE)

Goal: Identify shapes you are attracted to.
● Find 10 to 12 images in black and white that speak to you. Black-and-white images allow
you to see shape without being distracted by color.
● Place the images as a collage or one or two images to a page. Use only 10 to 12 images —
no more! This will help you learn to edit.
● Use images found in nature, architecture, typography, markets, travel, sculpture, art,
furniture, car design, anything at all, as long as the images do not show fashion. No clothed
people! You do not want to be influenced by other fashion design at this point. You want to
figure out who YOU are as a designer.
● As you select images and discover the shapes you're attracted to — shapes with a lot of
volume or movement, hard edges, soft edges, organic shapes — you may start seeing a
mood come through.

COLOR
Goal: Find a color story.
● Find 10 to 12 images in and of color that speak to you. As with the Shapes exercise, limit
yourself to 10 to 12.
● Collect the images on one page or side-by-side pages so you can see a color story emerge.
● These images can be things that speak to you or images you select for the color alone. Try
not to think too much; just include what brings out an emotion in you. A mood will start to
come through with the colors you choose.
● You can find images found in nature, architecture, typography, markets, travel, sculpture,
art, furniture, car design — anything at all as long it the images do not show fashion. No
clothed people! You still do not want to be influenced by other fashion design. Again, we are
trying to figure out who YOU are as a designer.

Page 2
© Craftsy
 TEXTURE
Goal: Identify your texture preferences.
● Find examples of texture.
● Limit yourself to filling a full page in your sketchbook. As long as the page is full it does not
matter how many examples you include.
● Texture can be fabric such as faux fur, napped fabrics, fabric flowers, beading, sequins,
jewels, leather, suede, pleating or other types of fabric manipulation, zippers, buttons, or
trims. You can also use pictures such as the textures found in nature — perhaps later you
will find a way to recreate those natural textures in fabric.

MOOD BOARD
Goal: Develop a design theme
● Fill a page in your sketchbook with design inspiration.
● With this exercise, start including images of fashion and people.
● You can also include postcards, quotes, photographs, findings such as jewels, small toys,
buttons and trims and objects found in nature.
● Your board can be very organized or controlled chaos — approach it anyway you like. The
only requirement is that it fits on one page or two side-by-side pages. You want to be able to
look at it as a whole and figure out a theme for your collection.
● The theme might come from one object on your mood board or from the vibe the entire
mood board is giving off.

MUSE
Goal: Discover your inspiration.
● Include a picture of your muse(s).
● Your muse should be someone whom you, your customer or client aspire to look like. Who
looks really pulled together to you? Whose style do you admire?
● Your muse can be someone you know, a celebrity, a character in a movie or show or even
someone you saw walking down the street. Try to notice who looks exciting and effortless
with their style.

Page 3
© Craftsy
 TARGET MARKET QUESTIONS
Goal: Explore your wardrobe needs, or those of your customer or client.
● What is the ​age​ range of your customer/client?
● What are your customer/client’s ​physical characteristics​?
○ What are their best features?
○ Are there any features your customer/client would like to de-emphasize? Think about
fit and sizing.
● What ​season(s)​ are you designing for?
● Where does your customer/client ​live​? In a hot climate, cold, temperate?
● What is your customer/client’s ​lifestyle​?
○ How often do they dress up each month?
○ Do they need business attire? Casual attire? Travel clothing? Clothing that helps
them feel pulled together when they run errands or pick up the kids?
○ Examine your customer/client’s lifestyle needs.
● What is your customer/client’s ​fashion attitude​?
○ Are they fashion forward or conservative in their dress? Perhaps in between?
○ Does your client/customer go for fads or do they dress in a more classic manner?
● How much disposable ​income​ does your customer have or want to spend on clothing each
year?
○ Do they shop monthly, seasonally, special occasion only?
○ What is the range of spending on one garment?

END RESULT
Goal: Integrate these elements to create a cohesive plan.
● Boil down all this information (some of it you will use and some you will not) and come up
with a theme, an idea of silhouette and fit, a color story, a texture addition, your target
market and your muse.
● A successful small line has four to six colors, one texture, one print, and something that ties
one garment to the next (this could be a color, a trim, a silhouette). Try to have three tops to
one bottom and a great coat or jacket to throw over most of the pieces.

Page 4
© Craftsy
 Sleeve Measurement Guides 

SLEEVE SQUARE CALCULATION

Always round down if you are in between measurements.

TOTAL ARMHOLE
SQUARE SIZE
(Front + Back Armhole + Ease)

15" 2⅝"

15¾" 2¾"

16¼" 2⅞"

16¾" 3"

17¼" 3⅛"

17¾" 3¼"

18¼" 3⅜"

18¾" 3½"

19½" 3⅝"

20¼" 3¾"

20¾" 3⅞"

21¼" 4"

22" 4⅛"

22¾" 4¼"

23½" 4 ⅜"

23¾" 4½"

24¼" 4¾"

25" 4⅞"

Page 5
© Craftsy
 Sleeve Square Sleeve Measurement
Diagram Diagram

Page 6
© Craftsy
 Guide to Notches & Awl Punches 
SLIT NOTCHES FOR WOVENS
Notches are used to show where to clip and match pieces when sewing. The slit notch is most
commonly used with wovens.
● You can use a single slit notch or double slit notches.
● Double notches are usually used on center back pattern pieces, with the two marks either
¼" or ½" apart.
● You can also use triple notches, but it is better to vary the positioning of the single or double
notches; too many clips in your fabric may weaken it.

If your seam allowance is ½" or more, the leg will be a maximum of ¼" with a ⅛" bar across the top:

If your seam allowance is ⅜" or less, the leg will be ⅛" with a ⅛" bar across the top:

AWL PUNCHES
Awl punches are called ​drill holes ​once the pattern gets to the cutter and the sewing factory and
there will be a large production run of the garment. In sample making or making a one-off garment,
it is called an awl punch (because you use an awl to make the punch). Always mark awl
punches/drill holes in red.

Page 7
© Craftsy
 Pattern Standards 
Pattern standards vary with each individual apparel company, so it's best to come up with your own
standards that work for your product. Consistency in pattern standards will help to keep production
running smoothly. These standards might work for you (or are a good place to start):

Seam Allowances

All seams (knits) ⅜"

Seams behind zippers (knits and ½" - ¾"

wovens)

Side seams, princess seams and ½"

other interior seams (wovens)

Side seams on garments that might ¾"

need altering through the bust,
waist and hips

Seams on necklines, collar pieces ¼"

and facings at neck and armhole
(wovens)

Seams on casing edges and button ¼"

placket edges, or any seam edge
tucked under (wovens)

Seams on armholes and sleeves ½"

when attaching sleeves (wovens)

Seams on pocket openings ¼"

Seams around pocket bags ½"

Seams on patch pockets ¼" - ⅜"

Side seams on welt pockets ¾"

Page 8
© Craftsy
 Hem Allowances

Knits ½" - 1"

Linings ½"

Flared garments 1"

Pants, skirts and dresses 1½"

Tailored jackets and coats 2"

Sleeves 1" - 1½"

Edge/Topstitching
1​
Edge stitching ⁄​16​" from the finished edge

Topstitching ⅛" or more from the finished edge

Awl Punches

Darts Mark ½" from the vanishing point of the dart within the dart bulk.

Double-pointed or Punch the top and bottom of the dart as for a regular dart and mark the
fish-eye darts sides of the dart at the waist, ⅛" inside the widest part of the dart bulk.

Pocket openings Mark ⅛" inside each end of the opening.

Corners and points Mark directly on corners and points (some designers punch 1/16" away
in the seam allowance)

Stitches Per Inch (SPI)

Sheer or lightweight fabrics 14, 16 or 18 SPI

Medium-weight fabrics 10, 12 or 14 SPI

Heavyweight fabrics 8, 10 or 12 SPI

Edge stitching Use the same SPI that was used in construction

Topstitching Use a longer SPI than was used in construction (start with
three to four stitches less than the construction SPI and
adjust as necessary for the desired look)

Page 9
© Craftsy
 Production-Ready Pattern Process 
1. True the working pattern one last time.
2. Trace each pattern piece onto a clean sheet of pattern paper. No patterns pieces are on
fold. All pieces are full pieces (cutters will not cut on fold for you). Some cutters require a
separate right side and left side even when the pieces are mirror images.
3. Square the edges of each pattern piece ¼" to ½" if possible. This will help the pieces come
together smoothly rather than creating peaks and valleys at connections. Some pieces
cannot be squared because you will lose the integrity of the shape of the piece.
4. Add seam and hem allowances.
5. Cut each pattern piece with a border of about 1" outside of the seam and hem allowances.
Fold back all seam and hem allowances (the way they will lay after pressing) so they are
flush with the sewn pattern edges.
6. Cut out the pattern pieces just inside the pencil outline (if you cut outside the pencil outline,
the pattern will be too big).
7. Include notches. Mark notches in red.
8. Awl-punch dart apexes.
9. Notch the beginning or end of each seam allowance on the perimeter of each pattern piece,
or show the seam allowances in each corner with ½" to 1" angles.
10. Draw the grainline in red. Draw grain lines thoughtfully — not freehand. Your choices are
length grain, cross grain, bias grain and partial bias grain.
11. Stamp each pattern piece with the following information:

a. Season
b. Style (name or number)
c. Piece
d. Size
e. Cut

Very small pieces that don't have enough space for this information should be placed into an
envelope, and the outside of the envelope labeled with the necessary information. I suggest
having a pattern stamp made that looks like this:

Season ___________________
Style ____________________
Piece ____________________
Size ____________________
Cut ____________________

1. Fill out the Pattern Record Card and include a technical sketch of the front and back.
2. Punch the pattern and hang it on a pattern hook.

Page 10
© Craftsy
 Purchasing Guidelines for Fabrics & Notions 
For the Tailored Jacket or Coat 

❏ Wool (or other natural-fiber outer fabric). ​Wool works best because of its sculptural qualities.
Get 2½ to 3 yards. Pre-shrink by dry-cleaning or steaming. If you do not want to use wool, any
natural fiber fabric will well. Synthetics and man-made fabrics are harder to tailor.

❏ Underlining Fabric (optional). ​Underline your fabric if you feel it needs a little more structure.
Commonly used underlining fabrics include silk organza, lightweight cotton, rayon challis, or
cotton flannel. Pre-shrink with a steam iron.

❏ Contrasting Fabric. ​Contrasting fabric can be used in the undercollar, on pocket flaps or welts,
inside breast pocket, and facings on sleeves. Usually ½ to ¾ yard is all you need for
contrasting. Make sure your contrasting is thinner or lighter in weight than your wool. Good
contrasting fabrics are made of cotton, linen or silk. Pre-shrink by steaming with an iron.

❏ Hair Canvas. ​Hair canvas (also called Hymo) is made of goat or horse hair and cotton. Some
versions are hair and rayon. You will need about 2 yards of hair canvas to tailor a jacket. Fusible
hair canvas is available, but is not recommended — it fuses very stiff and changes the integrity
of the fabric greatly. Shrink by spraying with water and rolling in a towel to dry or steaming with
an iron.

❏ Cotton Batiste​. Cotton batiste is used under the hair canvas on the front as a support and for
the back stay. You will need about 1 to 2 yards total. Pre-shrink cotton batiste.

❏ Interfacings (Fusible vs. Sew-In). ​Fusible or sew-in interfacing is used in the hemline of the
body and sleeves, the front facing, the upper collar, and in the sleeve cap (about 2" – 4" from
the shoulder notch). Include seam allowances on the interfacing for the front facing, upper
collar, and the sleeve cap area. Use a woven (rather than nonwoven) fusible interfacing;
recommended fusible brands are Sof-Knit, So-Sheer, or Fusi-Knit, but there are many fusibles
out there so you need to experiment with a few to see what you like. For sew-in interfacing, try
cotton batiste or broadcloth, cotton muslin, or silk organza. Whatever you choose, you will need
about 2 yards. Shrink by spraying with water and rolling in a towel or hanging to dry.

Page 11
© Craftsy
 ❏ Lining.​ Rayon lining is preferred; it breathes well and is easy to work with. Polyester, nylon or
acetate linings are fine, but they don’t breath as well and perspiration could stain. Silk is good,
but it can be harder to work with (slippery to cut and sew) and it is very warm, which could be
good or bad. Use a walking foot when sewing silk lining. Whatever you use, make sure it is slick
so it glides on comfortably. Do not use cotton even if it is a fine quality combed cotton. Cotton
linings do not glide on and they get caught on the fashion fabric of the jacket and on the
garment worn under the jacket. You will need about 2 yards. You do not need to pre-shrink
lining.

❏ Shoulder Pads. ​Use them! They really clean up the shoulder area and give the jacket
definition. Look for ¼", ⅜" or ½" pads.

❏ Sleeve Heads. ​A sleeve head is a 2" x 12" bias strip of loosely woven wool or lambswool (Suzy
recommends using both). It is stretched into the sleeve cap area to help ease the sleeve and
make a nice, rounded shape in the cap and prevent collapsing. You can also purchase
ready-made sleeve heads.

❏ Stay Tape. ​Use ¼"- to ⅜"-wide stay or twill tape. Stay tape can be hand-sewn around the
underarm, shoulder, neckline, lapel, and down the front of the jacket for structure and to help
the front fall straight. Cotton batiste can be used as an option to stay tape. Stay tape is used to
help ease the back shoulder to the front and is used under the arm in the sleeve. A strip of stay
tape can be sewn into the front base of the armhole and can hang down to the outside of the
welts on a pocket to anchor it and keep the pocket from sagging. Pre-shrink by soaking in water
and laying flat to dry.

❏ Buttons. ​Most jackets and coats have ⅞ – 1" buttons. If the jacket or coat has only one button it
is sometimes larger (1⅛" – 1¼"). The buttons on sleeves are usually ¼" – ⅜" smaller than the
center front buttons.

❏ Reinforcement Buttons. ​You will need reinforcement (aka crystal buttons or balance buttons)
to sit behind each center front buttons. Reinforcement buttons are usually about
⅝" – ¾" in diameter.

Page 12
© Craftsy
 ORDER OF OPERATIONS FOR THE 
TAILORED JACKET OR COAT 
Have a tailoring reference book handy for a further explanation of how to execute some of the steps
below (recommended: ​Tailoring: The Classic Guide to Sewing the Perfect Jacket ​by Editors of
Creative Publishing International (Creative Publishing International, 2011).

DRAFTING & FINALIZING PATTERN

❏ Draft outer jacket pattern.
❏ Make and fit jacket mock-up.
❏ All markings should be done in tracing paper, thread tracing or a marker.
❏ Mark the roll line on the collar and on the front for the lapel.
❏ Jacket mockups should have front, back, both sleeves, and upper collar sewn.
❏ Be sure that each muslin piece has a grain line marked, along with proper notches and awl
punches.
❏ Mark the pocket placement.
❏ Mark the waistline.
❏ Mark the center front line on the right and left sides.
❏ Mark the length of the sleeves and the finished length of the jacket.
❏ Press under seam allowances along the front opening and around the upper collar so we
can see the outline of the garment.
❏ You do not need to include the lining or facing pieces.
❏ Make all necessary changes to the pattern and create your final pattern with seam and hem
allowances.
❏ Make sure all pattern pieces reflect the current fit. All pattern pieces should have cutting
instructions.
❏ Fill in a Pattern Record Card. Continue to update your Pattern Record Card as you make your
support pieces and lining pieces.
❏ Color-code your pattern pieces to keep track of them.
❏ Make sure all the corrections were made to your pattern.
❏ Each pattern piece should have grainline, notches, awl punches, button placement, and pocket
placement if necessary.
❏ Mark the roll line on the under collar piece.
❏ Mark the roll line for the lapel.
❏ Note if seam allowances need to be added or if they are already included and if so how much.
❏ Sleeve and bodice pieces should have the hem allowance included.

Page 13
© Craftsy
 ASSEMBLE FABRICS & NOTIONS
❏ Purchase your supplies (see detailed guidelines on page 1)
❏ 2½ to 3½ yards wool (2½ yards for jackets, 3½ for coats)
❏ 2½ to 3½ yards underlining (optional)
❏ ½ to ¾ yard cotton, linen or silk contrasting fabric if you are using contrasting
❏ 2½ to 3½ yards lining (rayon preferred)
❏ hair canvas (about 2 yards)
❏ fusible interfacing (about 2 yards)
❏ batiste, muslin or combed cotton (1 to 2 yards)
❏ shoulder pads
❏ buttons for the center front plus reinforcement buttons and sleeve vent buttons
❏ sleeve heads (½ yard lamb’s wool, ½ yard scrap wool)
❏ 1– 2 yards of ¼- to ⅜"-wide stay or twill tape

DRAFT LINING & SUPPORT PIECES

❏ Draft pattern pieces for the lining. Make sure there is a 2" pleat at the center back. Add an
additional 1½" to the base of all lining pieces for a jump pleat when you hem (no need to pattern
the jump pleat, just make the pieces 1½" longer than needed). You do not need a jump pleat for
a free-hanging lining because you will clean-finish the hem, however extra length is good at this
time in case you want to play with the length later.
❏ Draft a pattern piece for the front shoulder reinforcement (hair canvas). Do not include seam
allowance. Do trim ⅛" all the way around the piece to make it slightly smaller so it is not bulking
up the seamline. A front shoulder reinforcement is used to fill in the dip under the collar bone
and it helps make a smooth transition from shoulder to chest. Remember to cut it out of hair
canvas on the bias grain. Again, the front stay does not have seam allowance added.
❏ Draft a pattern piece for the front panel support (hair canvas). Do not include seam allowance.
Do trim ⅛" all the way around the piece to make it slightly smaller so it is not bulking up the
seam line. The front shoulder reinforcement is layered on top of the front support. The front
support is a layer of length-grain cotton batiste with a layer of seamless straight grain hair
canvas and the front shoulder reinforcement is placed on top. All three of these pieces are sewn
together and placed behind the front of the jacket.
❏ Draft a pattern for the front panel support (batiste). Include seam allowance.
❏ Draft a pattern piece for the back stay (cotton). A back stay is used to prevent strain or
collapsing across the shoulder blades; recommended fabrics include cotton batiste, cotton
muslin or combed cotton. Cut on a fold at the center back even if the center back is not quite
straight because of the back contouring in the pattern. Use a length grainline parallel to the
center back. The back stay has seam allowance around the neckline, shoulder, armhole, and
side.
❏ Draft a pattern piece for the hair canvas in the under collar. Do not include seam allowance.
Draw the sew lines on the piece (hair canvas).
❏ Draft a pattern piece for the sleeve cap support (interfacing). Don’t include seam allowance if
you are using fusible interfacing, do include it if you are using a sew-in.

Page 14
© Craftsy
 ❏ Draft a pattern piece for the sleeve facings (contrast and interfacing). Copy the pieces exactly
and cut them off 1" above the top of the vent. The remainder of the sleeve pieces will be cut in
lining with a jump pleat.
❏ Measure the sweep of your hem less the front facings. We are going to cut a bias interfacing
piece (fusible) the length of the sweep, plus a few inches. The height of the piece should be 4"
(just note the math for now).

CUTTING
❏ Cut all self-fabric pattern pieces and notch perimeters and mark awl punches where indicated.
Fuse any pieces that needs fusible interfacing before notching and marking. Use tailor tacks,
tracing paper/wheel, chalk, etc. to make awl punches and button placement and any other
notations inside each piece. Remember to add seam and hem allowances if they are not on
your pattern. Cut a 3" x 2½" rectangle on straight grain, cross or bias grain for each bound
buttonhole, plus one to three practice pieces. ​Note:​ Save your wool scraps to practice sewing
and pressing seams, darts, bound buttonholes and welt pockets.
❏ Cut front support, front shoulder reinforcement, and under collar, from hair canvas.
❏ Cut front facing, upper collar, sleeve cap area (about 3" – 4" depth from top of cap) from fusible
or sew-in interfacing. Look for any other pieces that need to be cut from fusible. Also, cut
approximately 2" diameter circles to place under bound buttonholes from the interfacing as well.
Pink the edges. (Fusible interfacing, rather than sew-in, works best for this.) Cut pocket stays to
place behind the pocket openings (1" deep x the pocket opening + 2" wide). ​Note​: Notch and
mark pieces that need interfacing AFTER fusing. The marks will be lost when you fuse over the
back of the piece.
❏ Cut the back shoulder stay and front support with seam allowance from straight grain
broadcloth, muslin or cotton. Cut pocket supports from straight grain broadcloth, muslin or
cotton. Using the selvage edge could add strength. Cut strips 1" wide by 15" long.
❏ Cut any contrasting pieces.
❏ Cut the lining pieces.
❏ Cut the sleeve head pieces (2" x 12"): Two in wool on bias, two in lamb’s wool on bias.
❏ Cut 1 – 2 yards of stay tape (¼" or ⅜ wide).

INTERFACING
❏ Fuse or sew interfacing to the front facing.
❏ Fuse or sew interfacing to the sleeve cap area.
❏ Fuse or sew interfacing to the upper collar.
❏ Fuse behind the bound buttonhole(s) placement at the center front and the sleeves. Once you
fuse behind the bound buttonholes, THEN machine baste the center front line on both right and
left sides. Machine-baste the line on the sleeves where the center of the sleeve vent buttons will
sit.
❏ Fuse a stay behind the pocket(s) placement if the pocket does not bridge two pattern pieces. If it
does, wait to fuse the stay until later after the seams have been sewn.
❏ Fuse welts, pockets facings and any other pieces that need to be fused.

Page 15
© Craftsy
 ❏ Cut a strip of interfacing measuring the sweep of the hem less the front facings. The piece
should be 4" in height. (This can be done in two cuts.)

ORGANIZING
❏ Organize your pocket pieces into little baggies or envelopes.
❏ Organize all your pieces in any way that might work for you so you can keep track of everything
as you move through the project.
❏ Organize your buttons, threads and any other notions and supplies so they are easily
accessible.

CONSTRUCTING & TAILORING

❏ Sew bound buttonholes on the front of the jacket.
❏ Sew and press darts and seams.
❏ Sew and press center back seam on the bias undercollar (don’t include hair canvas on the
undercollar yet).
❏ Sew welt pockets, including the interior welt pocket on the facing.
❏ Tailor the front of the jacket.
❏ Tailor the undercollar.
❏ Shape the undercollar on a ham: Fold the collar over on the roll line, pin it to a ham and steam it
into shape. Leave for 24 hours or until you need to sew the collar on the jacket. (Shape hip welt
pockets over a ham the same way.)
❏ Fuse the upper collar and re-mark notches and awl-punched areas.
❏ Attach the Back Stay.
❏ Interface the sleeve caps if you have not already done so.
❏ Sew the shoulders.
❏ Sew the front facing to the back facing at the shoulders.
❏ Sew a fabric loop at the center back at the neckline edge of the facing so later you can hang
your coat on a hook.
❏ Sew upper collar to facing.
❏ Sew under collar to garment.
❏ Attach the upper to undercollar around the outer collar edge, along the lapel and down the front
of the jacket.
❏ Compare right and left sides of collar and lapel. Adjust as necessary.
❏ Press and grade the seam allowances carefully. Roll the seams toward the inside.
❏ Compare right and left sides of collar and lapel again after pressing and grading. Adjust as
necessary.
❏ Close the hole that could be formed by sewing at the gorge point.
❏ Baste around the collar, lapel and down the front of the jacket.
❏ Check shoulders to make sure they are the same length.
❏ Sew the side seams and press open.
❏ Shape the lapel. Mist, roll it back, mist again, and steam. Leave for 24 hours.
❏ Finish the bound buttonholes through to the facing.

Page 16
© Craftsy
 ❏ Sew the sleeves so they are in the round. (Buttonholes should have been completed earlier).
❏ Ease the sleeve between the front and back notches using a strip of wool and optional
lambswool.
❏ Machine or hand baste the sleeve in and check how it hangs. Adjust if necessary.
❏ Sew a stay tape anchor onto the center back seam allowance and the side seams seam
allowance of the jacket. Join to the lining later.
❏ Machine-stitch the sleeves in once the hang is checked. Catch the pocket stay in the lower
portion of the armhole. Sew stay tape at the bottom of the armhole on the jacket side between
the notches (cut a piece of stay tape that is 6¾" x 2"). Trim the area with the tape down to ¼"
under the arm to reduce bulk.
❏ Sew in the shoulder pads.
❏ Sew the entire lining together, including the sleeves. Be sure to leave an opening of about 10" –
12" on the sleeve seam on one sleeve if you are bagging the lining. If you have a pleat at the
center back of the lining, it should be pressed with the bulk of the pleat toward your
non-dominant side. Machine- or hand-baste the center back pleat closed.
❏ Finalize and mark the hem length of the jacket. Hem depth on jackets and coats is usually 2"
(plus ½" seam allowance if you are attaching the lining to the top of the hem).
❏ Mark the center front base length on the jacket. The buttonhole side should be an ⅛" longer
than the button side because the buttonhole side tends to ride up slightly.
❏ Interface the hem and sleeve hems. Machine baste to mark the hemline after interfacing.
❏ Sew the lining to the facing.
❏ Secure the upper collar and undercollar together at the neckline seam.
❏ Machine-sew the bottom of the sleeve lining to the top of the sleeve hem.
❏ Attach the waist stays to to the lining.
❏ Sew the base of the facing to the base of the jacket.
❏ Hem the jacket base and sleeves.
❏ Tack the sleeve lining to the garment seams at the shoulder notch and the underarm and 3" or
so from the shoulder notch front and back.
❏ Machine stitch the opening on the sleeve lining.
❏ Mark and sew center front machine buttonholes at this point if you did not use bound
buttonholes earlier.
❏ Mark for button placement and sew on buttons at the center front and on the sleeves.
❏ Pull out basting stitches.
❏ Do a final press.
❏ Wear proudly!

Page 17
© Craftsy
 Suzy's Tailored Coat/Jacket Pattern Record Card

Company:
Date:
Season:
Style No.:
Style Description:
Size Range:

Key: (1) Self | (2) Contrasting | (3) Interfacing | (4) Hair Canvas | (5) Broadcloth | (6) Lining

Pattern Pieces: 1 2 3 4 5 6

1
 Tailored Jacket Pattern Record Card

Trims:

Technical Sketch: Front & Back View

2
 Suzy's Tailored Coat/Jacket Pattern Record Card

Company: Apparel Arts

Date: 6/1/17
Season: Fall 2017
Style No.: C17-1
Style Description: Tailored Coat
Size Range: 2-16

Key: (1) Self | (2) Contrasting | (3) Interfacing | (4) Hair Canvas | (5) Broadcloth | (6) Lining

Pattern Pieces: 1 2 3 4 5 6
Self Fabric
Center Front Panel ½" seam (sa) 2" hem allowance (ha) 2
Front Side ½" sa 2" ha 2
Center Back Upper ½" sa 2
Upper Back Side ½" sa 2
Center Back Lower Panel ½" sa 2" ha 2
Lower Back Side Panel ½" sa 2" ha 2
Upper Sleeve ½" sa 1 ½" ha 2
Under Sleeve ½" sa 1 ½" ha 2
Front Facing Upper ½" sa 2
Upper Collar ½" sa 1
Bound Buttonhole Panel no sa 1
Pocket Welts ¾" sa at sides ¼" sa already in top/bottom 4
Pocket Flap ¼" sa 2
Note: Use ¾" sa at side seams and sleeve if unsure of fit
Contrasting
Under Collar ½" sa 2
Front Facing Lower ½" sa 2" ha 2
Back Facing ½" sa 1
Pocket Facing ¼" sa top/bottom ¾" sides 2

Interfacing
Front Facing Upper ½" sa 2
Front Facing Lower ½" sa 2" ha 2
Back Facing ½" sa 1
Sleeve Cap Support No sa 2
Upper Collar ½" sa 1
Pocket Welts ¾" at sides ¼" sa already in top/bottom 4
Welt Pocket Support (same as pocket welt) 2
Pocket Facing ¼" sa top/bottom ¾" sides 2
Pocket Flap ¼" sa 2
Center Front Bound Buttonhole Support no sa 2
Sleeve Buttonhole Support no sa 2
Note: Use ¾" sa at side seams if unsure of fit
Hair Canvas
Front Support no sa 2
Front Shoulder Reinforcement no sa 2
Under Collar no sa except ¼" at CB to overlap seam 2
Note: Use ¾" sa at side seams if unsure of fit

1
 Tailored Jacket Pattern Record Card

Key: (1) Self | (2) Contrasting | (3) Interfacing | (4) Hair Canvas | (5) Batiste | (6) Lining

Pattern Pieces: 1 2 3 4 5 6
Batiste
Front Support Shield ½" sa 2" hem 2
Back Stay ½" sa 1
Pocket Support no sa (just draft the strip) 2
Note: Use ¾" sa at side seams if unsure of fit
Lining
Front Side ½" sa (additional ha not necessary) 2
Upper Back ½" sa 1
Center Back Lower ½" sa 2
Upper Back Side ½" sa 2
Lower Back Side ½" sa 2
Upper Sleeve ½" sa 2
Under Sleeve ½" sa 2
Interior Pocket Bag ¼" sa at top ½" sa at sides 1
Exterior Pocket Bag ¼" sa at top ¾" sa at sides 2
Waist Stays no sa 1
Note: Use ¾" sa at side seams and sleeves if unsure of fit

Trim & Technical Sketch: Front & Back View​

2
 Trims:
¼ to ⅜ twill or stay tape - 1 ½ yards
2" x 12" lambswool - x2 pieces
2" x 12" bias cut wool - x2 pieces
4" bias cut fusible interfacing - 2 yards
Shoulder pads - 1 pair
1 ⅛ center front buttons - x4
¾" sleeve buttons - x4
reinforcement buttons - x4

Technical Sketch: Front & Back View