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Thank you for that posaune.  It is great to know the background to this work. The work shown in this book looks very much like a man's jacket construction.
Drafting, Fitting and Construction / Re: shoulderpads
« Last post by Schneiderfrei on March 29, 2017, 11:09:05 PM »
I thought this post might be a reasonable place for my translation from the ABC des Schneiderhandwerk - The Making of a Coat.

The Shoulder Pads (Cotton Supports)

We don't make cotton stuffing, rather, cotton underlay or cotton supports, because they are only supposed to serve the purpose (in Normal figures) of supporting the jacket shoulders and shaping them according to respective fashions.  We all know of flat shoulder tops, high and wide shoulders, that can be achieved through the use of cotton padding.  In physical deformities cotton has yet another use, namely, compensation for eg a hanging shoulder; then one can certainly speak of cotton padding.  The cotton support is given great importance by many Masters and every tailor has his own views on the making of shoulder pads.  The question as to whether the pad is to be attached above or under the canvas inlay [Einlageversteifung] alone causes great division.  Here the shoulder pad will be shown basted out with cotton.

Abbildung 71. Shows a cardboard template of the size of the finished pad, two different sized pieces of inlay material, ( hair canvas, cut in warp and weft directions, see arrows) and two cotton pieces. 

Abbildung 72. the two pieces of hair canvas are sewn together with machine stitches.  Thus we increase the curvature of the small inner piece, so that it draws the larger piece with it.  By the opposing spring-force of both parts we get a sturdy, longitudinal and transverse framework and respectively a framework for the cotton supports. 

Abbildung 73. Here we can see the stitched parts and their effect.

Abbildung 74. The cotton parts are placed one on top of the other, like in Abb 71. and the rear edges plucked out to give the necessary contour. Possibly the plucked out cotton can even be placed between the two cotton pieces. We baste these prepared cotton parts on the sewn framework, and take care in working to preserve the intended shape of the shoulder pad.  The basting stitches are passed 'through and through' thus vertically, through the cotton wool; transverse basting stitches can be only undertaken with difficulty because of the toughness of the cotton wool. 

Abbildung 75, the finished cotton supports are trimmed after the basting and pressed.  However, steam pressing is avoided in any case, since the volume of the shoulders pads would be lost.


Abbildungen 76 und 77 shows the jacket prepared for checking.
Drafting, Fitting and Construction / Re: shoulderpads
« Last post by TTailor on March 29, 2017, 09:59:18 PM »
i cross stitch the shoulder pad to the canvas once it is in the correct position.
I also stitch close to the armhole seam allowance stabbing up through the shoulder pad along the whole length of the pad.
I think it is an excerpt from "Der Zuschnitt für die Herrenschneiderei" . Edition# ??
In the past the tailors (gents) did coats and overcoats for ladies and this coat is worked exactly like a men's coat. The style was called (if with a skirt) Schneiderkostüm.
Ladies tailors did mostly dresses and blouses then. Maybe because of the heavy iron??
I think after the war they took away the tailoring for ladies from the "Herrenfach". So this may be early 50er.
I have "Die Verarbeitung der Kostümjacke" which was printed (I think) in the sixties and clearly done in the way a tailor for ladies works.
Here is a link to a guide to construction - in German- of a Ladies Jacket.

This file was once shared by Schneidergott in relation to the ABC des Schneiderhandwerk series.

I do not know any more than that about its provenance. Perhaps someone else can say.

Goodness Very Sorry I already posted this link before.


Drafting, Fitting and Construction / Re: shoulderpads
« Last post by jruley on March 29, 2017, 12:40:13 PM »
I'm sure peterle has forgotten more about shoulder pads than I will ever know :).  (1860's reenactment coats have a natural shoulder line and little to no padding).

However, Cabrera's book shows another way.  The chest piece and main canvas are fastened together with pad stitching, so it's impossible to put the pad between them.  Instead, the canvas is left free in the shoulder area.  The canvas and pad are basted together with long stitches, then they are basted to the scye.

I would be interested to know how many different techniques professionals use.
Costumers Forum / Re: Frock coat skirt/Pleats
« Last post by Philipdep on March 29, 2017, 12:32:32 PM »
Just an update: I have finished patterning and cutting! Thank you all very much for the help, it is turning out great!

Drafting, Fitting and Construction / Re: shoulderpads
« Last post by peterle on March 29, 2017, 08:20:02 AM »
Der Schulterpolster wird zwischen Kamelhaareinlage und Rosshaarplack eingeschoben und mit grossen Stichen daran befestigt. wenn dann das Futter auch an Ort und Stelle ist, wird entlang dem Armloch in der NZG durch alle Lagen durchgeheftet.

English: the pad lies inbetween the horshair chest piece and  the camelhair(?). after bringing the lining in place, you baste around the armhole in the SA taking the stitches through all layers.
Drafting, Fitting and Construction / shoulderpads
« Last post by posaune on March 29, 2017, 07:18:42 AM »
How do you fasten you shoulder pads in a coat. Do you sew them with big stiches along the sleeve armhole seam allowance and to the shoulder allowance or just punctual?

lg posaune
Costumers Forum / Re: Frock coat skirt/Pleats
« Last post by Philipdep on March 27, 2017, 01:13:20 AM »
Thank you all very much for the help!

It looks like it has been stylised for the show. Not a true replica of any particle time. The shoulder seam is very high. A lower shoulder wasn't adjusted for. The skirt is baggy. The tailor and cutter, from maybe the turn of the century, had a page of different back cuts, which this might be one of those, or some variation the show invented. I doubt they invented anything new with the pleat construction.

That's my two cents.

I agree. Its a modern coat with minor period attributes. Period coats would normally hve a step vent at the CB but this one does not, it looks like a large box pleat with out any CB opening, as far as I can see.
It has obviously been made from a fabric that responds well to distressing and breakdown, which has been done for the character.

Yes, I think it'd probably be hard to pin it to any specific era. From what I can tell, there is just a box pleat at the center back, and the two pleats to either side of the CB (under the buttons) have a uniform overlap. However, I think that the two pleats farthest from CB are tapered, but I can't tell from pictures. I'll be patterning today, and I'll be sure to post some pictures. Thanks!
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