Butterick 6026, Blouse by Katherine Tilton

Readers,

I was browsing recently through a lot of photos my photographer had shot in a session last fall and realized I’d never gotten around to writing about this Misses’ top designed by Katherine Tilton that I’d made.

I just looked through my notes to recollect what changes I made. They were the usual ones: folding out a little excess, which raised the underarm, the waist, and the positioning of the pin tucks. I think I narrowed the back piece a little, too.

I’d never made pin tucks before. I knew I had to do these 1/16″ tucks precisely so that the neckline edge would be the right length for properly attaching the collar. My sewing machine manual showed how to use the blind hem attachment–

to make the pin tucks:

You seasoned pin tuckers are probably laughing up your sleeves, but I was amazed that I was able to achieve accurate results easily after just a little practice.

I chose a cross-dye cotton for a practice run.

The fit turned out fine.

But even though I enjoyed making this blouse I don’t have plans for another one.  For one thing, I’m actually not keen on the effect of the pin tucks on me.  I think the lines draw the eye toward this poofy middle, where the viewer may wonder whether I had seconds of everything at the brunch buffet last weekend.

I mentioned this suspicion to a friend, who assured me it was all in my imagination.  Maybe so. I still think there are more flattering looks out there for me, like the Vogue 8772 blouses I sewed a few weeks ago.

Also, I like having a blouse I can choose to wear tucked or untucked.  This blouse is one to wear untucked only, to show off those radiating lines.

Speaking of showing off radiating lines, when I first saw Katherine Tilton’s pattern I was reminded of Ginger Rogers in The Gay Divorcee.

Now that is a striking effect!

(Photos of me are by Cynthia DeGrand .)

 

Class: Tailoring Details with Kenneth D. King

Readers,

That humming sound you hear is coming from my head, which is still spinning from spending last weekend at Janie’s Sewing Corner in Cleveland, Ohio.

Students gather around Kenneth for a closer look.

Students gather around Kenneth for a closer look.

That’s where I joined 31 fellow sewers to see Threads magazine contributing editor, adjunct professor at New York’s Fashion Institute of Technology, and self-described “couturier to the stars” Kenneth D. King demonstrate tailoring and couture techniques for about 11 packed hours spread over two days.

The class description on Janie’s website read, “Kenneth will teach a workshop on tailoring details, focusing on old-school techniques the first day and more modern techniques the second day.”

Actually, Kenneth led off on Day 1 with his “new school” tailoring innovations–not that it mattered, since nearly all of us had signed up for both days.

I had e-mailed Kenneth earlier in the week:

Hello Kenneth,
I thought I would drop you a line to say how much I look forward to meeting you Saturday and Sunday at Janie’s Sewing Corner.

I also wanted to tell you that I bought Smart Tailoring the day it was announced on the Taunton website, and made a jacket following your “old school” methods. I was going to follow up with a “new school” jacket, but remained confused about the collar-lapel pattern adaptation, so I will learn from you this weekend and then produce a “new school” jacket—the first of many, I think.

I documented the process of making my jacket using Smart Tailoring on my blog, Getting Things Sewn. In this post, http://gettingthingssewn.com/tailoring-with-kenneth-king/ I explain why I took on this project.

Sewing is not easy for me, but I’m capable of good work, especially with expert help. I look forward to getting my questions answered this weekend!

Thank you, Kenneth,
Paula DeGrand

Minutes later Kenneth replied:

Hello, Paula,

Be sure to bring your pattern, and I’ll show how to adapt the under collar to the body for everyone else to learn….
See you this weekend!
Kenneth

Yippee!

So in class I was prepared when Kenneth asked me to retrieve the pattern pieces for the under collar and front of the pattern I was trying to adapt for a “new school” jacket. He pinned the front to his flip chart, and then pinned on the under collar at the notch on the neckline. He pinned the collar to the chart at a second point, showing a gap between the two pattern pieces.

I was watching intently and scribbling notes at the same time and didn’t even think to take a picture. Here are my notes, in their entirety:IMG_9636 (460x192)Okay: “gap…curve…take out there…add back here…make a muslin…my jacket does have a peaked lapel…this adaptation does work for peaked lapels…” I have fragments here, but not a clear picture.

I don’t write fast enough, and I barely grasp patternmaking principles, which are both big impediments in a fast-paced sewing class.

In short,  it is still a mystery to me how to combine the under collar and the front into a single pattern piece to simplify making a notched collar. How to “finesse some of that gap” remains beyond my grasp. I doubt a photo of the flip chart would have provided the solution to my puzzlement. I needed one-on-one instruction, and that wasn’t going to happen with 31 classmates that day.

The undercollar and front are a single piece, removing a seam and therefore bulk. Notice--no seamline between undercollar and front. The line of stitching is holding the stay tape along the roll line.

See this? No seamline between the undercollar and the front, which means one fewer pesky, bulky seam to deal with. This is the result I want to achieve with my own jacket pattern pieces.

When I do adapt my pattern at last, I’ll post a step-by-step process. Promise!

(See my previous three posts to read about attempting to adapt my pattern.)

On both days Kenneth taught at a steady, swift pace, frequently checking our faces for comprehension. One time I must have been staring back blankly, because he asked again if I was following him, and I said “I’ll have to practice to lock in the knowledge.” It was an honest answer, and it seemed to satisfy him.

When I looked at my notes I was astonished at all the ground Kenneth covered. For example:

  • How to make a muslin framework to suspend canvas inside a jacket front, providing support but avoiding bulky seams
  • How to tape a roll line and machine-stitch it in place through the canvas and fashion fabric

    The stay tape is stitched in place through the canvas and fashion fabric along the roll line.

    The stay tape is stitched in place through the canvas and fashion fabric along the roll line.

  • How to steam, press, and baste in the turn of cloth in a lapel
  • How to stitch a notched collar with a minimum of bulk, avoiding the usual “train wreck” of seams meeting in one place

    A notched collar "new school" style.

    A notched collar “new school” style.

  • How to make mitered cuffs
  • How to make a “hidden pocket” in a jacket front lining
  • How to remove bulk from a pocket flap pattern piece by cleverly relocating the seams
    The "origami" pocket flap means no bulk at the edges because the seam allowances have been shifted out of sight. This is the back.

    The “origami” pocket flap means no bulk at the edges because the seam allowances have been shifted out of sight. This is the back.

    This is the front of the flap. The edges are free of bulk.

    This is the front of the flap. The edges are free of bulk.

  • How to make a bulk-free seams and welt pockets in nonravelly materials like felt or leather
    Sketching a pocket for nonravelly materials like felt and leather.

    Sketching a pocket for nonravelly materials like felt and leather.

    The pocket in felt. Nice.

    The pocket in felt. Nice.

    The pocket bag of the felt pocket.

    The pocket bag of the felt pocket.

  • When a three-piece sleeve is better than a two-piece
  • How to draft a notched lapel from a shawl lapel
  • How to reason out the proportions of a garment in a fashion illustration or photograph from knowing the average neck-to-shoulder seam measurement and knowing that the elbow bends at the natural waist.
  • How to make a surgeon’s style jacket cuff with working buttonholes
    Surgeon's cuff, with working buttonholes.

    Surgeon’s cuff, with working buttonholes.

    The surgeon's cuff, neatly finished inside.

    The surgeon’s cuff, neatly finished inside.

  • How to make bound buttonholes and welt pockets of consistent dimensions and quality

    Kenneth  demonstrated bound buttonholes and neatly finishing the facing. That's silk organza.

    Kenneth demonstrated bound buttonholes and neatly finishing the facing. That’s silk organza.

  • How to smoothly install an invisible zipper
  • How to make fell stitches, tailor bastes, and pad stitches
  • How to stay curves even before cutting out the pattern piece
  • Why cut some seam allowances 1 inch wide and how to press out the ripples along the edges
  • How to make a Hong Kong finish the couture way

Both days Kenneth produced samples from scratch or finished ones he’d started and then passed them around for us to scrutinize and photograph.

Kenneth King demonstrated sewing a notched collar, "new school" style.

Kenneth King demonstrated sewing a notched collar, “new school” style.

What a nice looking felt collar.

What a nice looking felt collar.

He brought several jackets, familiar to users of his DVDs, books, and Threads articles, that we could look at inside and out.

The "new school" jacket that appears in the Smart Tailoring DVD.

The “new school” jacket that appears in the Smart Tailoring DVD.

His tool bag lay open on the table. It was fun to see the tools he had amassed or created over the years and how he used them.

Kenneth King's tool bag.

Kenneth King’s tool bag.

I’d never heard of a Florian pinker. “Pinking shears tend to chew some fabrics,” Kenneth said, as many of us nodded in agreement. When I saw how neatly this gadget trimmed edges, I wanted one for myself.

The Florian pinker

The Florian pinker

IMG_9604 (460x273)

“I’m all about having the right tool for the job,” Kenneth told us, and sometimes that means adapting a tool to improve it. He did not hesitate or apologize when removing a spring mechanism from a zipper foot, pronouncing it useless, and dropping it with a “plunk!” into the wastebasket.

We got more advice on equipment, tools, and supplies:

  • Don’t use a Teflon ironing board cover, which repels moisture rather than allowing steam to move through a garment
  • Collect and use good pieces of pressing equipment–tailors’ hams, a point presser, a clapper, sleeve rolls, a sleeve board
  • Get a really good iron. (Kenneth has a Reliable i600, which has amazing steam–and runs up an equally amazing electric bill.)
  • Have at least one pair of Gingher tailors’ scissors, and ship them back to Gingher to be sharpened.
  • A vacuum table? “Not really. Good for a dry cleaner. Too much for me.”
  • Use a trimmed shaving brush to remove chalk markings.
  • Iron thread for hand sewing, and it won’t twist
  • “Don’t cheap out on needles.”

Then there was the quotable Kenneth:

  • “I wasn’t formally trained except for patternmaking.”
  • “Know the rules.”
  • “Know when to break the rules.”
  • “I’m not wild about wearable art.” In couture, the wearer is more important than the garment; with wearable art the garment is more important than the wearer, he said.
  • “I believe in spending the time you need to get a beautiful result.”
  • “I’m lazy–I don’t want to do any more than I have to.”
  • “You need to put your time in where it shows.”
  • I’m very much about repeatable and reliable.”
  • “I’m known for handouts at FIT.” (And at Janie’s, too: We all got to take home a CD of Kenneth’s ten handouts for the classes.)

    Drafting a notched-collar jacket from a shawl collar pattern. Kenneth makes it look easy.

    Drafting a notched-collar jacket from a shawl collar pattern. Kenneth makes it look easy.

  • “When it’s all said and done, if it gives you a good result, it’s correct.”
  • “There’s this whole thing on directional sewing…” Kenneth disagrees: “I have a life…”
  • “A lot of Bemberg lining you can read a newspaper through, and I hate that.”
  • A tedious or time-consuming task is “a nosebleed.”
  • “I tell my students, ‘I started when I was 4; I’m 57–do the math.”
  • Sewing purists who endlessly debate fine points are “clutching their pearls” or “wrapped around the axle.”
  • Quoting Fred Astaire: “If you make the same mistake long enough, they assume it’s your style.”

Miscellaneous facts:

  • Kenneth takes his own photos for his Threads articles.
  • His next DVD in Threads’ “Smart” series will be about sewing fake fur.
  • He loves Fortuny fabric. (Shocking, I know.)
  • He takes a dim view of mimes.

Kenneth’s recommendations:

  • Better Dressmaking by Ruth Wyeth Spears is “one of those good all-around books from the forties.”
  • Check out the great content on Threads Insider, where Kenneth’s beautiful “bark coat” can be seen.
  • Support your local independent fabric store, which can provide supplies and services that the big chains can’t or won’t.
  • If you have a chance to take a class from Lynda Maynard, do it.

It’s been six days now since Tailoring Details with Kenneth King ended, and I’ve been thinking about what I got out of it.

  • I got to meet and listen to a master. I find being around any kind of mastery has a good effect on me.
  • I saw with my own eyes techniques demonstrated with successful results. (I am a little bit skeptical of most sewing directions–and directions in general.) I’m much more likely to try these techniques now.
  • I made, or renewed, the acquaintance of fellow sewers.
  • I bought myself an impressively large sleeve board.IMG_9632 (460x260)

It would be a shame, though, not to invest a little more effort to yield richer, longer-lasting rewards. Like:

  • Researching irons and buying a much better one
  • Making or buying the right ironing board cover
  • Seeing how far I could get following Kenneth’s handouts for his FIT students
  • Trying Kenneth’s bound buttonhole method
  • Trying his “origami” pocket flap, not only to reduce bulk but as a pattern-drafting exercise
  • Using my Threads and Threads Insider subscriptions more, and more strategically

And, most of all,

  • Continuing to amass experience and knowledge making jackets and coats.

Although I brought my “old school” jacket to class to show Kenneth and to ask questions about it, I may have given him a mistaken impression. If I had listed my specific questions in that e-mail earlier in the week, Kenneth probably would have woven those topics into his talk.

My jacket made following Kenneth's "old school" methods still needs a final press.

My jacket made following Kenneth’s “old school” methods still needs a final press.

Instead, my jacket waited in the wings and never got onstage. And when we wrapped up Sunday afternoon and Kenneth had a plane to catch, I thought it would be insensitive as well as untimely to press him for advice about–pressing, among other things.

But you know what? I’ll just look at my jacket again on my own and figure out what to do next.

Thanks, Janie! I'll be back!

Thanks, Janie! I’ll be back!

The Ripple Effect

Readers,

A few days ago I learned:

  • Kenneth King’s pattern adaptation for notched-collar jackets doesn’t work for peaked lapels.IMG_9104 (370x460)
  • I had picked a jacket pattern with a peaked lapel.IMG_9200 (334x460)
  • I was mistaken to think all peaked lapels look the same. They definitely don’t.

I so wanted to stop thinking about fusing jacket front and under collar pattern pieces into one piece.

Is this easy for an intermediate sewer like me?

Is this easy for an intermediate sewer like me?

I wanted to get down to the business of making a “new school” tailored jacket to pair with the “old school” one I’d made using Smart Tailoring.

Here's a jacket made with "old school" tailoring methods. I was planning to sew a "new method" companion to take to Kenneth King's class.

Here’s a jacket made with “old school” tailoring methods. I was planning to sew a “new method” companion to take to Kenneth King’s class.

But making the jacket any other way would not be “new school,” and I wouldn’t learn what I had set out to learn.

If I gave myself one more chance to learn this technique and succeeded, I’d still have four weeks to produce a “new school” jacket to bring to Kenneth’s class in Cleveland.

So I dug out yet another jacket pattern, one that I was pretty sure had a notched–not a peaked–lapel.  It’s McCall 7379. From 1933, the eBay vendor said.IMG_9224 (358x460)

Since only the pieces for View B were left, she listed the pattern for 99 cents. I snapped it up.IMG_9225 (303x460)

Yesterday I laid out the front and under collar pattern pieces.

The original pattern pieces, with the seam allowances.

The original pattern pieces, with the seam allowances.

The photocopied pattern pieces, with seam allowances cut off.

The pattern pieces photocopied onto tracing paper, with seam allowances cut off.

I sewed a muslin of the back, front, and under collar. It went together easily.IMG_9221 (460x345)I trimmed the seam allowances off the photocopied under collar piece and laid it on the muslin.

The under collar piece fits back onto the muslin, which is laid over a tailor's ham.

The under collar piece fits back onto the muslin, which is laid over a tailor’s ham.

As was expected, the under collar fit just fine, as it should.

Then I ripped out the back piece and laid out the front-under collar combo as flat as I could.

That didn’t mean it laid out perfectly flat, though. There was a ripple, which I could transfer from one place to another but couldn’t remove.

The ripple is between the shoulder seam and the dart.

The ripple is between the shoulder seam and the dart.

Now the rippled is between the dart and the lapel.

Now the ripple is between the dart and the lapel.

And this is where, once more, I found myself lost in a dark wood. I could not fathom what the rippled muslin pieces were telling me.

So a single, flat pattern piece, eliminating a bulky seam leading to a superior notched collar, remains beyond my grasp for a few more weeks.

In the meantime, I think I’ll sew up something from a tried and true pattern. I could use a change.

Installing the Jacket Sleeves and Finishing the Lining–Old School

Readers,

Guess what? I finished my 1941 McCall “Misses’ Mannish Jacket,” except for buttonholes, yesterday!  I’ve handed my creation over to my capable photographer, Cynthia DeGrand, to shoot it in her studio this afternoon.

The linings have been basted to the sleeves to avoid getting twisted later. The tops of the linings remain loose.

The linings have been basted to the sleeves to avoid getting twisted later. The tops of the linings remain loose.

This past week found me following Kenneth King’s demos on his DVD set Smart Tailoring to set in the sleeves by hand and machine and complete sewing in the lining by hand according to “old school” methods.

Kenneth likes to distribute the ease over a long distance--the points I've marked with pins, where the sleeve flattens on itself.

Kenneth likes to distribute the ease over a long distance–the points I’ve marked with pins, where the sleeve flattens on itself.

Make two staggered rows of running stitches by hand inside the seam allowance by about 1/8 inch to ease the seam cap.

Make two staggered rows of running stitches by hand inside the seam allowance by about 1/8 inch to ease the seam cap.

The rows of hand stitching are staggered to gather the cap better.

The rows of hand stitching are staggered to gather the cap better.

As throughout this “old school” process, I was surprised how much I liked doing the handwork. Hand-basting the sleeve into the armhole gave me more control over distributing the ease, and I had no pins in my path when I machine-sewed the sleeve in place.

The right sleeve cap has been gathered and steam-pressed and -shrunk to shape.

The right sleeve cap has been gathered and steam-pressed and -shrunk to shape.

Oh--I forgot to spritz the left sleeve before I tried steaming and pressing the cap. Do not skip the water-spritzing step!

Oh–I forgot to spritz the left sleeve before I tried steaming and pressing the cap. Do not skip the water-spritzing step!

Similarly, I enjoyed more control stitching the lining in place by hand than by machine.

I have sewn this jacket pattern four times before and drafted a shoulder pad to fit, but Kenneth shows how to trim a commercial shoulder pad to fit.

I have sewn this jacket pattern four times before and drafted a shoulder pad for it, but Kenneth shows how to trim a commercial shoulder pad to fit.

With fleece from my stash and the shoulder pad pattern I made previously I made shoulder pads in a jiffy.

With fleece from my stash and the shoulder pad pattern I made previously I made shoulder pads in a jiffy.

When I try Kenneth’s “new school” methods from Smart Tailoring for a second jacket project I’m sure there will be more machine work, and I may be equally satisfied with the result. The big change may be that I will no longer see handwork as fussy or laborious. It certainly doesn’t have to be.

A sleeve head fills out the sleeve cap; Kenneth recommends using a a bias-cut wool flannel.

A sleeve head fills out the sleeve cap; Kenneth recommends using a a bias-cut wool flannel.

The 3" x 10" wool strip is folded and pressed, then zizzag-stitched, folded and pressed again to create tiers.

The 3″ x 10″ wool strip is folded and pressed, then zizzag-stitched, folded and pressed again to create tiers.

Press and steam-shrink the sleeve head to help mold it into its final shape.

Press and steam-shrink the sleeve head to help mold it into its final shape.

The shoulder pad aligns with the sleeve seam allowance.

The shoulder pad aligns with the sleeve seam allowance.

The fold of the sleeve head is placed about an eighth of an inch inside the seam allowance and then is opened up.

The fold of the sleeve head is placed about an eighth of an inch inside the seam allowance and then is opened up.

The sleeve head is unfolded and attached to the sleeve cap with a running stitch.

The sleeve head is unfolded and attached to the sleeve cap with a running stitch.

Although I finished the jacket as much as I could, I don’t have buttons for it yet so I can’t make the buttonholes. And without buttons and buttonholes it isn’t done and is still a project, not a garment.

Once stitched in place, the sleeve head will fold back on itself.

Once stitched in place, the sleeve head will fold back on itself.

The shoulder pads are in both sides, but the sleeve head is only on the right. The other sleeve cap looks a little collapsed.

The shoulder pads are in both sides, but the sleeve head is only on the right. The other sleeve cap looks a little collapsed.

I realized a few weeks ago that I might find wonderful vintage or vintage-looking buttons to go with this vintage pattern and fabric. So I’m waiting till I’m in London a few weeks from now to look in earnest.

In a little while I will join Cynthia and my jacket in the photo studio. See you back here in a couple of days, I hope!IMG_6681 (345x460)

Installing the Sleeve Lining–Old School

Readers,

The word “vent” is followed by “spleen” or “frustration” with some frequency, and I know why.

I spent yesterday afternoon trying to line my sleeve vents neatly the “old school” way following Kenneth King’s instruction in his Smart Tailoring DVD set. And while my first attempt was successful–after a fashion–it wasn’t pretty.

My first lined sleeve vent. Well, it can only get better, right?

My first lined sleeve vent. Well, it can only get better, right?

Apparently there is widespread aversion to lining sleeve vents among even professional sewers.

The sleeves started out innocently enough. Who could know what evil lurked within?

The sleeves started out innocently enough. Who could know what evil lurked within?

Checking some of my home sewing library sources I found only one–Vintage Couture Tailoring, by Thomas von Nordheim— that gave any instruction for lining sleeve vents specifically, as opposed to jacket and skirt vents.

Align the opened seams of the lining with the sleeve.

Align the opened seams of the lining with the sleeve.

Von Nordheim writes,

If you have a working vent construction, as in this jacket [used as the demonstration project in this book], the finishing at the hem is not quite as straightforward. Some Givenchy couture jackets in the author’s collection have fake vents, meaning the vent and blind buttonholes are only done in the shell fabric, but the lining is finished in a straight line around the hem as described. This could be considered a shortcut and not really acceptable in fine bespoke tailoring. Although rarely used, a vent and buttonholes on a sleeve should be made to work.

It does seem odd to bother making a vented sleeve and then use a cylindrical lining that almost entirely covers that lovely mitered overlap.

A running stitch secures the lining to the sleeve, so there's no problem with twisting.

A running stitch secures the lining to the sleeve, so there’s no problem with twisting.

We no longer live in the time when surgeons had vented sleeves so they could unbutton and roll them up in an instant to keep working while continuing to be properly attired.  (Where did I ever hear this explanation of vented sleeves, and is it even true?)

The running stitch starts about 6 inches down from the top of the seam and ends about 4 inches from the bottom.

The running stitch starts about 6 inches down from the top of the seam and ends about 4 inches from the bottom.

Who knows–maybe someday I will have a sink full of dirty dishes to wash when I’m wearing this “McCall Mannish Jacket,” and a bespoke tailor will be passing through the kitchen just as I unbutton and fold back my sleeves and plunge my bared forearms into the suds. The bespoke tailor will notice my beautifully lined vents and say, “Nice work–Gieves and Hawkes?”

Then I’ll wake up.

The underlap lining is stitched in before the overlap lining.

The underlap lining is stitched in before the overlap lining.

Well, if ever I should be in such a situation, I’d like to be prepared. So I gave Kenneth’s instructions a try.

The really tricky part–the only tricky part for me–was judging exactly where to cut into the lining. If you have sewn a vent you know what I mean, and if you haven’t and never will, you probably don’t care to read a boring description by an inept amateur, so I’ll save us both time.

The lining for the overlap is fell stitched along the hem and pick stitched along the vent. I need more practice to make my stitches smaller and more regular.

The lining for the underlap is fell stitched along the hem and pick stitched along the vent. I need more practice to make my stitches smaller and more regular.

The important thing to know about sewing a vented sleeve is there’s this slash you make in the lining so it will turn back just so, and the lining lies neatly and beautifully flat in just the right place with no fiddling.

Kenneth’s lining didn’t just lie beautifully–it reclined languorously, like an odalisque.

Before slashing the lining, I pinned it in place on the overlap.

Before slashing the lining, I pinned it in place on the overlap.

He made it look easy. The camera came in for a super closeup. Kenneth found the place to cut to, marked it with a pin, positioned his tailors’ scissors, and made one decisive clip.

I watched this seconds-long section repeatedly, trying to divine how he knew where to cut into this lining. Once you cut, there is no uncutting, so I wanted a formula to follow.

You see, in the aptitude battery I took a few years back I scored low in the paper-fold test, which measures how well you can imagine and recollect…uh…marks on paper that are hidden by folds.

Now, you might not think imagining and recollecting marks on paper hidden by folds is an aptitude until you’re up against lining a sleeve vent. Then you will have wished you scored higher. Because you have to be able to grasp how the lining lies now and what will happen if you cut into the lining at this angle or that angle and which is the best angle.

I tried to simulate the situation with a piece of folded paper, which at least helped me avert a full-out blunder.

Using a paper mockup I tried to imagine where to slash and fold back the lining. This little exercise helped some.

Using a paper mockup I tried to imagine where to slash and fold back the lining. This little exercise helped some.

After staring at my sleeve lining for so long you would have thought I was trying a new meditation exercise, I made a tentative cut, an irrevocable decision.

I finally took the plunge, slashed the lining, and turned it under to cover the overlap--with so-so results.

I finally took the plunge, slashed the lining, and turned it under to cover the overlap–with so-so results.

It was not too bad.

Not too good, either.

The resulting lined vented sleeve lacks finesse, but I can only go up from there, right?

I had another sleeve to go, another chance at achieving excellence in vent-lining, but the spirit was not willing. I opted to slipstitch the lining in place temporarily.

Left: the vent is lined. Right: I slipstitched the lining temporarily. I will finish the vent properly under Kenneth's tutelage in July.

Left: the vent is lined. Right: I slipstitched the lining temporarily. I will finish the vent properly under Kenneth’s tutelage in July.

I’ll bring the sleeve, which should be attached to the jacket shortly, to Kenneth’s tailoring details class in Cleveland in July to get advice from the maestro himself.

Together we can roll up our sleeves and plunge into the task of lining to impress even the most meticulous bespoke tailor–or surgeon.