Vintage Vogue 2265 // The Coat

Have you ever had a project that turned out exactly as you’d hoped for, perhaps even a little better. This coat was that for me. I felt like it took forever to sew, but that was mainly because I put it on hold over the holidays to prioritise the Christmas sewing that I hadn’t really intended on doing in the first place.

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I used a vintage Vogue pattern and the main modifications I made were to do with fit. I lengthened the bodice, skirt and arms. I also made a SBA and graded the waist and bodice side seams in quite a bit. My shoulders and waist differ by about two standard sizes, which makes buying garments like this near impossible. And then my height and arm length usually throws things off further. But I’m so happy to report that I nailed the fit! It’s probably my first classically cut coat or jacket that fits my shoulders, bust, arms, and waist as it should, and all at the same time.

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I employed traditional tailoring methods to make this coat, helped out by my trusty Singer book on Tailoring. I block fused everything bar the sleeves with a fusible interfacing. This step took the place of the underlining that was called for in the vintage pattern.

I then hand stitched  most of the remaining hair canvas and twill tape down. I also stitched the lining in by hand. I know it’s possible to bag a coat out using the machine, but I’m terribly biased when it comes to hand-stitching linings for coats and jackets, or any other very special project for that matter. I figure that for the time it takes to pad stitch collars and lapels (which I prefer over machine stitching) it’s worth the little extra effort to attach the lining by hand too.

As a side note, I also feel like I need to mention shoulder pads here. They weren’t called for in the pattern, but in any coat, jacket, or blazer they are an absolute necessity. Mine are slim/medium sized ones that don’t add any bulk to my coat. But they do add structure to the shoulders and give the garment a professional finish. Never skip the shoulder pads (and this is coming from somebody with broad shoulders, an asset I always look to disguise rather than exaggerate in clothes).

The outer fabric is a wool coating. The off white portion is finely woven wool with a smooth texture and very subtle shimmer. Black wool tufts are woven through it in a rustic herringbone pattern. It was way more beautiful than I expected when it arrived on my doorstep so I may have ordered a little more to stash away for the future. The black twill weave lining is acetate. It has the most glorious oily black gloss to it in real life but was a horror to cut in the dry, static winter air of our house right now. I had to literally peel it off the cutting mat.

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Because of the texture of the wool coating, I felt that bound buttonholes would be unsuitable. I would have liked to do the buttonholes by hand but my skill level needs to improve a bit on that front first. I tested the fabric with some machine buttonholes and my Pfaff pulled through very nicely. The buttonholes are lost in the busy fabric, so I’m not too worried that they weren’t couture. I covered buttons to use for the front and the sleeve vents. I also positioned small buttons on the front coat facing to stitch through when I attached the outer buttons. I’ve seen this a lot in RTW coats. It makes the inside of the coat look pretty, and it reduces the strain on the coat fabric.

And if you’re wondering where my inspiration came from for this coat, it was none other than Anna Wintour herself. I considered making a belt to go with my coat too, and may still do so oneday. But right now, I’m perfectly happy with it as it is.

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