Making a Sherlock Holmes Inverness Coat

Making a Sherlock Holmes Inverness Coat


(clacking and whirring) (sophisticated piano music) – And thus it is time to embark on The Final Problem in this
Lady Sherlock series, the coat, which, along with the hat, is probably the most iconic element to
our image of Sherlock Holmes. The Inverness coat, or, what
also seems to in the period be interchangeably called
the ulster coat, was designed for both men and women, but was primarily intended as country-wear, not the most obvious choice
for a Londoner, but never mind. Holmes can do what he wants. The pattern I’m working from
mainly is the draft, well, a collection of drafts, really, from the “Keystone Guide to
Jacket and Dress Cutting”, which you may recognize
from my previous projects on this Lady Sherlock endeavor, and which you can access for free so I shall link that down below. Ok, so it looks like this
pattern is going to be quite a complex process. It’s going to be I think
a three-stage process, although I could be wrong. So basically, when I was looking at this, the how to draft the ulster
coat, he essentially starts off as saying, start by drafting the jacket. So I had to go back to the
jacket portion of the book in which he shows how to draft
just a basic jacket pattern. Then, of course, in order
to get the ulster coat, you just to lengthen it
and make a few alterations to this initial pattern. So I will be starting
off with this pattern, making the alterations
to turn it into this, and then I will have to go ahead and add the cape bit separately. I need to draft the coat bit first because in order to figure
out most of all of this going on up here, I
have to have these front and back pieces already drafted. A lovely viewer, follower, I
believe he’s called Parker, he went through such great lengths to send me some fantastic research on these ulster coats, old
patterns from magazines and such. And I’ve been also cross-referencing these patterns with this. I’ve, of course, also
gone through and annotated and compared the diagrams. And there’s some really
interesting information here. This magazine actually tells you a lot about the fit and the seam
placement of this ulster coat and, of course, the style of
collar and pocket placement. What I’ve come to realize,
that just didn’t occur to me is that the ulster coats with
this military cape thing, don’t have sleeves. I didn’t think about that. It just occurred to me
that a coat has sleeves, but I guess if it has a cape, it doesn’t need to have sleeves. The cape sort of just
acts as the sleeve bit. I thought that was just a
funny little idiosyncrasy of this little diagram here where the woman’s wearing her cape and she hasn’t got sleeves on it. But then, of course, I went back, and I referenced that to this pattern which is actually a different pattern. I think on a different page of this book or from a different book. And this one does not have
sleeves, neither does this one. So I guess it’s sort of the thing that the ulster coat doesn’t have sleeves, which is totally fine by
me, because as we all know, sleeves are the Devil’s work. It’s interesting to have sort of worked my way up accidentally in difficulty, starting with the walking skirt, which was quite simple,
moving on to the waistcoat, which was a bit more complex, and then finishing with the ulster coat, which is the most complex
of all of the things. So we’ll see how this goes. Hopefully, it won’t be too
tragic, but you know what? No promises, we hope for the best. Ok, so I have tentatively
completed the drafting for this ulster coat. I say tentatively because
there are things like this line that look very wonky, and I feel like this will definitely need a lot of alteration when we get into the mock-up. But that’s what mock-ups are for. He actually did in the instructions, he actually does address
the fact that you cannot just cut out these pieces because
you will end up destroying half of your skirt pieces. So what he advises to do,
which is really helpful, and is much less labor intensive than what I was planning to do, is he advises to take
another sheet of paper, put it underneath this, and trace over it with a tracing wheel. Fancy that! I don’t know why I didn’t think of that. You know, that is sort of
standard practice in sewing is to trace things with a tracing wheel, not to tape things on massive windows. So yes, I have gone ahead,
and I have taped together a new sheet of newsprint
that I will put underneath and trace those pieces off. Now, the other thing that
has come to my attention, I did go through and transfer
the ulster coat notes to the basic jacket instruction notes. Now I’m confused because he does say add full seams to this garment and ample cuffs to the sleeves, but do not make the latter quite so full at the top as for a jacket. So he is implying that this
pattern does have sleeves. He does not give a sleeve pattern. He does not tell us how to draft that. There are sleeve patterns
elsewhere in the book. So I’m assuming that he just wants us to go and take that and put those on here but make them less full. So yes, perhaps ulster
coats could have sleeves, which I’m not gonna lie, I’m low-key, a tiny bit
disappointed because I was very much looking forward to not doing sleeves. Maybe they could go
with or without sleeves. But at the same time, it could just be another issue of this magazine
is giving you the pattern, but the sleeves were
elsewhere in the content and you were just expected to
put the sleeves on separately. So I’m just gonna go ahead
and go with what Mr. Keystone is telling me to do. I will add sleeves. Reluctantly, I will add sleeves. So first and foremost,
I’m going to go ahead and get all of these pieces cut out. Then I will go ahead, and I will have to draft the cape piece. I also have to draft a collar piece, which is also again,
elsewhere in this book. He gives two different collar options, a broad collar or a standing collar, both of which he says are
in the book elsewhere. I will also have to draft the sleeves. Oh, and also, I have to draft a pocket because this is has got a little pocket. There are absolutely no
instructions for this, either here or in the Keystone Guide. So this is something that
I will either have to do some research on or it looks
fairly straightforward. It’s just a shape. Ok so we are about to get
started on the cape bit. This feels fairly straightforward. It’s just some straight lines and a couple of little things up here that
sound simple enough to do and then a big curve. So then I proceeded to draft the sleeves, which proved an entirely simple and actually rather delightful process. I guess their merry drafting
process makes up for the fact that they become utter demons when you try and make them into three-dimensional
objects, but, you know. In case you’re wondering,
this bendy, green thing I’m using to draft my longer
and more irregular curves is called a Flexi-Curve. Basically, it bends into
whatever curved shape you’re trying to draw. It’s very helpful, but also a bit of a temperamental
creature to get used to. But as always, all my tools
are listed down below, along with the relevant
material sources, yardages, research information, and
sundry such useful things. Do people actually read the description? Anyway, once again, he’s
having me draft the oversleeve and the undersleeve pieces
on one grid, so I have to do our fancy little tracing trick
again to separate the pieces. Ok, so I’m just about to start drafting the collar pattern. As can see on this page, he’s
got quite a number of options. What’s happening is basically, I want to go for this collar piece because it’s also slightly
taller and has room to turn down. However, in order to get here, the instructions for this, as you can see, are basically like, draw
the lines from A to B which are 2 1/2 inches. Draw the line from D to
C, which is 2 1/2 inches. But it doesn’t tell you
how to get from B to C or from A to D. Basically, these collars are
a sequence starting with, I mean, say this one, which
is basically just a rectangle. This one adds a little swoop down here. This one looks like it’s a
bit wider with the swoop. So basically, I have to
go back to diagram number, I think 58 is the one where he starts to actually explain this bit here. Basically draft a number 58,
make the changes to get to 59 and then make further
changes to get to diagram 60. So what I did actually
before I actually started all of this drafting is I read the entire book through
completely in the sequence that he’d written it,
and that is a huge help. I highly recommend doing that if you are working extensively
with one of these books just so that you understand, you sort of get a layout of
how things are presented. And the development of the garments, because they are put in a certain order. So he starts with the basic
body, the waist as it is, and then proceeds to, Ok,
but here’s how you turn the waist into a jacket. Here’s how you turn the waist into a coat. And on these jacket and coats, he doesn’t necessarily go into
the deepest amount of detail because he just did that earlier. I mean, the whole reason that I knew that the collars and the
sleeves and the cape bits were on different pages was because I had gone through and read the book. So it’s not like, oh,
well, I guess this coat doesn’t have a collar. I guess this coat doesn’t have a cape. I already understood that these were explained elsewhere in the book, and I can go back and reference those. So yeah, yeah, read stuff. Definitely highly recommend
that if you are using any source, any text as a reference, you go through and just read
the whole thing back to front. I promise you will not regret it because you will learn so much, not just about the content
about what’s in the book, but you will also learn about the author and about the context in
which they are writing. Even in just sort of a
seemingly plain drafting book such as this Keystone
Guide, you actually do pick up tiny little
nuggets of super important contextual information. For example, he mentioned
somewhere in the beginning, I think it’s one of
the first waist drafts, he references something about
the average proportions, which is like 15 to 20 inches different between the waist and the hips which is extraordinary, super
important for us to know as people reconstructing the garments that these are meant to fit a body with a 15 to 20 inch
difference between the waist and the hips, which, of course, brings up the whole issue of padding. But, yeah, so you just
get little interesting, tiny little just, just
essences of information, that of course, these
people are writing about as if they’re common knowledge, but to you, you’re like, oh my goodness. This thing just makes so much sense. So yeah, yeah, anyway, I
mean my point is read stuff! Read stuff, you will not
ever regret it, I promise. Ok, so mock-up fitting
number one for this overcoat. I got about yea far before I realized that I should probably have
done this initial fitting without the cape, because
I can’t really see anything that’s going on here. So what I think I’m going to do is I’m going to take off this
cape and do a proper fitting. However, let’s just
take a moment to behold the brilliant sleeve setting here. I don’t know if you can see, but I think this is the outer elbow seam that’s right here because,
you know, logic and stuff. I mean, there’s just so much wrong with the sleeves in general. When I drafted the
pattern, I initially added four inches or something
and still wildly too short. I added a little bit of,
I mean, this is batting because I just had it there. I think what I may do is
I may just rip them out, reset them in before I try
anything because why, why? I mean, I don’t know if you can see, but it’s like the elbow seam
is right on the top of my arm. That’s not logical at all. Maybe that has something
to do with the fact that they are completely whack. The drafting guide did say it was supposed to fit very loosely, depending
on the wearer’s taste, it could be more fitted or more loose. I may fit it just a little bit more. Is this the same issue
is that there’s just more room in the bust than I need. So fortunately, I think this is something that I can just take
off center front here. I mean, I drafted this as
a single-breasted coat, but I could just make it
double and be done with it. I’m also having a couple of
questions as to how this cape precisely is set in because
I’ve come to the realization that it can’t exactly close up top here if the cape bits are in the way. Yes, I shall have to have a little bit of an investigation and
find out how that happens, whether it’s set back a bit
on one side or on both sides. Although I think for the thing, I’m going to be wearing it open because (sighs) I’ve
come to the realization that I probably did not need to make any of these undergarments
because I could have honestly just worn the coat
closed and put on the hat and everyone would have known
what I was supposed to be. I want to show off my waistcoat, so I think I may wear it open like this. Like Sherlock in the Sherlock TV show, he’s always got his coat
blowing in the breeze. That’s the aesthetic, right? There’s a whole lot going on
in this upper shoulder area that needs to be solved. I can’t really turn around very easily, but something horrendous
is going on with the seams in the back just there,
which is really unfortunate because I cannot reach those to fix them. What I think has to
happen is I’m going to try just raising the armscye half-an-inch and seeing if that solves
some of the problems up here. I’ve also got some scooping
in the neck that has to happen and get rid of some of
these wrinkles up here. So this is going to require a
little bit of playing around. What I do in a situation like this when I am here by my merry self and cannot reach something in the back, is I just make a mental note, take off the mock-up, play
around with the pattern a bit, try something random,
put the mock-up back on, see if that worked, and
it’s just an endless process of trying stuff and putting it back on. It takes a while. It’s time-consuming, but
you get there eventually. The good news is all of this
will be covered with a cape. So does it really matter? No, but it does inhibit
my movement a little bit. See, nowadays, we’re so used to cutting all of our armscyes like way
down here for some reason, which is really stupid
because it actually inhibits our arm movement if you’ve
got fabric here to here. It seems a little bit counterintuitive to our modern senses
to raise the armscye. People think that’s uncomfortable, but it actually gives you
a lot more arm movement. So I think I just cut the armscye a little bit too low here. I’m just gonna raise it a bit, and we’ll see if that does anything. Ok, so I ended up putting
this on my dress form and playing around with the back of it because there’s just absolutely no way. I did attempt to do this
on myself, and it just didn’t happen because
people don’t bend like this. So this is fine. I think this will work. What I did is essentially the armscye just scooped a little bit too much, so it was creating this dip here where there was just too much room. So what I’m going to
do is I’m going to take a little slash on the
pattern and just take out some of this room to make
this top part a bit slimmer. And then I also just took out a little bit of room here. I think I may have taken
out a little bit too much. I’ll throw this on again in just a minute, just to check and see because mannequins don’t have shoulder blades,
but humans tend to have those. So we do need a little bit
of room across the back. In terms of of other
alterations that I made, I also took out a little bit
for the swayback issue here. If you missed my corset making
progress video, basically, I have a swayback, which is
where my spine sort of dips in. It’s very common. A lot of people have swaybacks. So if you swayback, I’ve been
finding with these projects that it does wonders just to
take a little bit of a dip out in the lower back area. It just makes the fit so much nicer. So highly recommend doing
that if you’ve got swayback. I also took in a little bit
more in the darts up here because I’m not quite so full in the bust as an 1890s lady was. I also took a little
bit out of the side seam because I did decide to just make it a little bit more fitted. Not that it matters, because
there will be a cape covering this whole upper body waist
area anyway, but you know what? What I also did is I marked
out the points on the sleeves where stuff has to happen. Basically, I marked where my elbow was, which is way down here. And the elbow of the sleeve is here. I marked a point sort of on my bicep level where things are fairly
straight on the sleeve. This will be my slash points where I will cut the sleeve here, and I will just add, whatever it is, 2 1/2 or three inches to
get this point down to here. (sophisticated piano music) So first I’m just marking
all of my new seam lines with pencil, so that I
can cut apart the mock-up along all the seam lines to
obtain the new pattern shapes. I can then lay these corrected
shapes onto the old pattern to mark out the new changes,
and cut the pattern pieces into the corrected shapes. Sometimes this involves
slashing the panels to move them closer together,
taking some fullness out of spots that had too much
room, like in that back panel, or adding more room, like in the sleeve. (birds chirping) Once we have pieces that
will maybe actually work, we can get to cutting out the real coat. Fasten your seatbelt, friend, because there is a lot of cutting ahead. Since I’m using a wool tartan for this, I’m cutting all the
pieces single, that is, with the fabric laid flat
rather than doubled up, so I can do my best to
strategically match the pattern from one panel to the next. (sophisticated piano music) (paper rustles) (light metallic rattling) (light rubbing of fabric) (metallic snipping) The lining of the coat is cut from this brown cotton
silesia, which you may remember from the waistcoat video, but is basically a
glazed, lightweight cotton that was commonly used for garment linings in the 19th century. The sleeves, however, will be lined with some of this brown silk that Noelle, my Lady Watson, sent to me. The silk is much less
frictiony than the cotton, so will allow the arms to slide more easily in and out of the coat. The coat also gets some
tailor’s canvas put into the front panels
and the collar pieces to stiffen them a bit,
so I’m cutting out two of each collar piece, as well as two of the first circa four inches
of the front panel pieces. Speaking of facings, I forgot to cut this out of the wool a minute ago, but I will also need a front
facing piece out of the wool to turn back into the lining and finish that center front edge. Finally, the cape part
gets a very special lining of its own, since this
will probably be seen. I’ve just found this nice, silk tartan in the garment district that I think goes well enough with the greens in the cape, so I’m just cutting both
cape pieces out of this. Silks today tend to be
a bit shorter in width, just as they were historically, and so it turns out that my
silk wasn’t quite wide enough to accommodate the entire
cape, which theoretically, also would have been the
case in the 19th century. So, I ended up tracing off
that appendage bit separately and piecing it on, which
is perfectly acceptable in historical dressmaking, so therefore it is
perfectly acceptable to me. Once all of the cutting is finished, I can go ahead and start
pinning all the coat panels of both the lining and
fabric layers together. And before I can get
the cape put together, I first have to get
those piecings attached, which made for a very annoying outcome, but piecing is period. And cross-grain piecing is also period. It’s fine. It’s on the back of the cape lining. No one’s going to see it, except the whole
internet, but that’s fine. If anyone comes up to
me at Costume College asking to see the back lining
of my cape, who even are you? And everything gets stitched together. Items stitched include: four
sleeves, each with two seams; shoulder darts on both
outer and lining capes, as well as piecings,
and center back seams; center back seams on both collar layers, as well as the canvas stiffening layer; coat layer, 10 seams and two darts, plus corresponding coat lining layer, and shoulder seams for both. All this done on a hand-turned machine. So yes, this literally
did take five hours. (clicking and rattling) But wait, there’s more! I’m now just attaching
the front facing pieces, which will fold over and inside the coat to strengthen the front and
finish the center front edge. And I’m also catching that
canvas facing piece in this seam as well, just for that
extra bit of added strength. This is, once again, stitched. (clicking and rattling) But wait, there’s more! All of these seams now need to be pressed, so that they lay nice and flat. This also took roughly an eternity. But pressing is always a
worthy time investment, so definitely necessary. (steam bursting) (lady giggles) All I can say is take goodness for lining because I cannot even fathom
having to overcast or fell all of these seams! Now that we have the basis of a coat, I then decided to get the collar together. I’m just pad stitching
the stiffening canvas to the underside collar piece, which is done with those
small, permanent pad stitches instead of the larger basting
ones that come out eventually. These will just help to keep
that canvas secured in place and will also help me to give
the collar a bit of shape. (birds chirping) And with that done, I can pin
the top layer of the collar onto my stiffened layer
with right sides together. That is right sides, ma’am. When the collar was correctly pinned, I could then go over my outer
seam lines with a back stitch to secure the layers together. This theoretically could
have been done by machine, but at this point I had
taken the coat to England and didn’t have one of the
correct period at my disposal, so hand work it was, which is, honestly, never a disappointment for me. This bit of back stitching
only took maybe half-an-hour. And then once I’ve turned the collar out, I’m then going over the edges
with a little top stitch, done once again by hand and about half-an-inch in from the edge. (gentle orchestral music) Then I can address the cape. I’m first just turning up the raw edges on the center fronts and
hem, basting them down, and pressing the edge nice and flat. Then I can lay the lining
over that wrong side, fold under the raw edges of the silk, and pin everything into place. These folded edges are secured into place with tiny,
neat felling stitches. With the cape in one piece,
I’m then just going ahead and putting in a row of top
stitching at half-an-inch along the center front edges of the coat. And now it is time to
venture into Sleevil Hell. Since these sleeves are cut on curves, I’m just clipping into these
curved areas at the elbow so that they bend a bit nicer and running a quick gathering thread across the top of the sleeve
head so that I can gather up some of the fullness more easily. If you happened to catch my
previous sewing retreat vlog in which I did a bit of work on this coat whilst visiting my friend
Cathy back in England, you’ll know that I’ve had
a bit of a back-and-forth on whether or not I
should put the sleeves on. After seeing the instructions
in the Keystone draft to add sleeves, I decided
to draft and cut them. But then came across an
image in one of Cathy’s books featuring a coat without
sleeves and briefly pondered the idea of not putting them
in because sleeves, obviously. In the end I did decide to put them in because I do actually plan to
wear this coat in daily dress, and English winters are not
exactly New York winters. They may require a bit of suffering now, but I will be most grateful
for them come November. The sleeves are back stitched in by hand because sleeves are stressful enough without adding sewing
machines to the equation. (birds chirping) The sleeves do not look
completely like trash. We are on the right track. Here is where I am so far. According to what I read, these coats could have a little bit of extra room. They didn’t necessarily
have to be super fitted. I did put a little bit of fitting into it. Because this is like five yards of wool, if you don’t fit it at the waist, you have to carry all of
that at your shoulders. And if you wear the coat for a long time, it gets really heavy. So I wanted to put a little bit of fitting just in at the waist, but
it’s still as you can see. It’s got quite a lot of room in it. So it’s really comfortable. It’s cut with this flare,
this sort of hip spring as you will, that is the term. This sleeve should probably
come up a little bit and fit closer to my body. Oh, look how much better that looks. You won’t see any of this. This all gets covered with the cape. So that’s what I’m going
to go ahead and try and figure out right now. Also, I just have to point out that I’m very, very much in love with the length of these sleeves. Sleeves on me are just
perpetually always too short. This isn’t historically accurate, but I may just keep it
because I love it so much. What I’m going to do is I think I’m going to go ahead and make
up the cape bit separately and then put it on to the coat. So I’m going to attach this collar bit. It’s not attached right now,
that’s why I’m holding it. And then figure out how
this whole center front closure thing works. We are on our way with this. This is what we are looking at so far. I mean, none of this
really technically matters, none of this closure, funny business bit, because I will be wearing the coat open so that you can actually
see the rest of the work that I spent the last
six months working on. So I’m going to go work on that now. And then, I mean,
obviously this whole thing needs a massive press. Onward. Ok, so this has been done. I have pinned the cape onto the coat, and we’ve got this little
one-inch gap in the front. I hope this is indeed what
I’m supposed to be doing, although now, we are venturing
back into that territory of mysterious tailoring techniques that I vaguely, but don’t
really know how to do. So we shall see how this goes and hopefully I don’t
ruin the whole thing. But isn’t that how we
all feel with sewing? So I’m going to go ahead and attach all of these layers together. Once again, I’m going to do this by hand because there are just
so many layers here. She is thicc as the young folks say, which means, that I think,
we may actually be done with machine work for this project, and the rest of it gets done by hand. Ok, cool, I mean, I’m
always down for that. I think I’m going to do
this with a back stitch, or I may cheat and do a running stitch or a running back stitch, I don’t know. Behold the B-roll, that will
be running over top of this to see what I’m actually doing. Yes, indeed, I am back stitching, thanks. Now, it is time to address
the all important pocket. I’m not going to lie,
I definitely sized this to be able to accommodate my phone, since that’s probably what
I’ll be carrying mostly when I wear this coat in real life, and the original draft didn’t give specific dimensions for the pocket. But otherwise, I did use
the draft to reference the rough shape, scale,
and placement on the coat. I could then cut the pocket piece out of some of the cabbage,
as well as the pocket flap, which is cut with an
additional inch-and-a-half of seam allowance at the top
to allow for some turning and folding above the actual pocket, which I shall demonstrate
hopefully more clearly anon. I’m going to line the pocket flap with a little bit of the silk tartan, so I’m also cutting a
flap piece from this. Back to the actual pocket, I’m first just pinning down that top inch of facing bit to form the top edge of the pocket. This is pressed nice and flat along with all the seam allowance around the rest of the pocket. This is why this type of pocket
is called a patch pocket, because it literally goes
on, just like a patch, but it’s left open at the
top edge for holding stuff. The flap pieces are attached,
right sides together, and stitched all round
the outer curved edge with a quick running back stitch. Yes, again, this could
have been done by machine. But, honestly, my needle was right here, and it would only take
a minute to do by hand. And before I turn the pieces out, I’m first just trimming
down the seam allowance to about a quarter-of-an-inch so that there’s a bit
less bulk in the edge. This, again, is pressed nice and flat. Then I’m just going round the
edge with a little top stitch so that it matches nicely
with the rest of the coat. (birds chirping) And I’m just quickly
covering a little button to go on the pocket and
hold that flap down. I’ve marked the center
front of the pocket flap and the width I want the buttonhole to be so that I can go ahead and put
in a little buttonhole here. I realized that my color options
for silk buttonhole twist were black, white, and
red, so obviously I decided it would be nice to make
a statement with the red. Also, like, we can’t not have The Red. Once again, I do have a video detailing the buttonhole stitch more specifically, so I’ll put that on the screen if you require that information. Ok, so I have pinned the
pocket onto the coat, where I think it is supposed to go. I did this, I put the coat on myself and did it sort of by eye. There’s only one on one side
as according to the image. So I don’t have to worry about things being exactly symmetrical. The reference diagrams do show the pocket sitting at a slight angle. I’m not sure if this
is quite angled enough. It doesn’t really look so angled here while it’s lying flat but. What I have to do now is I have to just top stitch this down, which I think, once again, I’m going to do by hand, probably with a back
stitch because if this has to hold weight then
it’s gotta be strong. And then after that, I can go ahead and get this pocket flap on, which will sit, I mean,
there’s a little trick to it, but it just sort of folds over like this. And then it will have its button and then it will be finished. Once again, I’m just going to do this by hand with a back stitch probably, because if this has to hold weight, then it will probably need something a little bit stronger
than a running stitch. And I will just be stitching this right to the top layer of the coat. I will have to avoid this front facing whilst I’m stitching this, so yeah. Next, I’m just tucking in those raw edges on the pocket flap, and
pinning it onto the coat above the pocket patch like so. This is back stitched into
place, catching the pocket flap, lining, and coat layers, and pressed into its proper flap position. This is then top stitched into place. And, at last, the button is attached. (gentle piano music) Now to pin the lining in, turn up the hem, and pin the hem lining in place. This is all secured into place, once again, with tiny felling stitches. The same is done with the sleeve cuffs: the edges are turned under,
then felled into place. Ok, so I did not think about this at all in the fact that, when the lining goes over all of these seams,
it doesn’t hide all of this. You may or not have seen, I
actually have a long red cape that does sort of this
exact same collar thing. I went and had a look at that. These edges are finished separately. Obviously, this cape is not
a late 19th century garment, is not late 19th century construction, but it is a way to solve this problem. So I think what I’m going
to do is after I have turned under these edges, I’m
just going to over the edge of it with a little felling stitch just to make sure that
it’s nice and secure on that edge, and then I will go in and put in another little
row of top stitching just at this half-inch mark inside here just so that it matches
the center front edge a little bit better. And hopefully, that will
clean everything up nicely. And then of course, I can
go ahead and finish up the lining bit and get
all of that sorted out. And then hopefully this will all look a little bit nicer. And, at last, the coat is finished off by putting in the buttonholes
down center front, nine of them, according
to the illustration, and attaching the corresponding buttons, once again also covered
with some of the tweed. And thus, my friend, the
coat, and subsequently, the entirety of Lady Sherlock, is complete on the 30th of June, totalling
a solid six months of labor. Six months, though, to
complete six smaller projects that don’t just form a pretty costume that I’ll wear for one evening
and maybe a photo shoot for the Instagram, but that
are actual, real, garments that you will most
definitely see me wearing in future stuff, because
yay for practicality! But anyway, I’ll be putting together a little feature compilation of the entire Lady Sherlock project and all of the layers together,
so that is still to come. Meanwhile, other project plans are afoot, so, stay tuned for that, I suppose.

100 Replies to “Making a Sherlock Holmes Inverness Coat”

  1. Congrats on finishing this project! It's been so cool watching you work on all the elements for the last few months!

  2. A theory (that nobody asked for) to explain why the arm-holes are cut so low nowadays… I think it may be because women shave their armpits, and having seams or fabric right under the armpit there might be uncomfortable…?

  3. Oooo, and you wear the pin that Cathy Hay gave you when she took you to The Great Central Railway! It's so lovely with the outfit! Well done on an amazing project!

  4. Bernadette, I was waiting for this video and now that I've watched it, I'm so please with the outcome – Brilliantly done. What a beauty. The Tartan is just so rich and I love the red accents of the button holes. I thought that was smart; I just love the color red. Glad you did it. Excellent work as usual. The music, your words, and pinning, cutting, etc, is so relaxing. I love it all. Keep up the good work. Can't wait for next vid.😊

  5. Quite the operation. But I wonder if you're eliminating the possibility of wearing anything under it.

  6. gosh I don't understand a single step, I'm lost, gotta start with something simpler I guess, you'd think a cape would be the easiest but not a sherlock one obviously
    p.s. it is always such a pleasure to watch your videos despite the fact I can't follow most of it

  7. "She is t h i c c, as the young folk say"
    Ok, but honestly this video was so calming and enjoyable to watch, and your work is absolutely lovely!

  8. I watched this while hand stitching the binding of my quilt. It was so lovely to have someone to sew with and the coat turned out so lovely!

  9. Dear Parker, Is making me an Inverness Coat for this winter, as I am down the rabbit hole madly making drawings. He is a lovely young man. Delighted to hear that he was his usual helpful self!

  10. I love the aesthetics of long coats but it's not easy to find one fitting of my imagination. I've only recently picked up using the modern sewing machine and stumbled across your channel as I was wondering how some of my favourite coats from anime would look in real life (bought cosplays has seams and shapes never look right to me), so as I'm watching your historical sewing journey, it's very helpful as to how I could look for guidance in the future but also screaming "oh god" as to the tedious process I'll be dragging myself into.
    I love your stuff! Sending mental power for when pattern making and sewing becomes tedious!

  11. you know those "getting dressed in ____ times" videos where they show the whole process of putting on an entire period-accurate outfit? you should do one of those for your Lady Sherlock! I'm obsessed with those videos, and you'll definitely have all the pieces for one.

  12. That it's a gloriously beautiful garment… Linings terrify me as does trying to make well fitted clothing but it's a joy to watch you work

  13. Awesome coat. I saw that there was an Inverness cape which is basically the sleeveless version of what you made. You made it so well, I want to make one although I don't need one in this Florida heat.

  14. What a wonderful series and a beautiful completed outfit. I'm sitting here wondering what I could sew but then I realize I'd likely never complete anything. Maybe in my retirement or when my girls go to college.

  15. My mom, who was taught sewing by her grandmother, who in turn was born in the late 1800s, joined me for a bit while I was watching this, and everytime you said "Now I need to just fell this by hand" or "now I just need to do this here" she said "Yes, that's just what you had to do". For some reason that just sounded so cute and felt like something worthy of sharing. Amazing skill and ingenuity! All your work turns out so lovely even if you yourself still see flaws. Both me and my mother are very impressed (which, again, for some reason is very adorable to me)

  16. "This ones a rectangle, this one has a swoop"

    -Me trying to explain something as if i have any idea what it's about 😂

  17. Quite a labour of love! Your coat is beautiful and well worth the effort! Love the red buttonholes.Great video.

  18. I think this is such a lovely video, especially the cutting montage. Your videos continue to inspire me to sew more

  19. So I understand that some projects take a long time to do. Is there by any chance a playlist of music/audio books that you listen to while sewing?

  20. Absolute fabulous workwomanship . The only bit missing for me was some beautiful violin music at the end to set the scene , oh and you smoking a pipe . ☺

  21. me to me: we want to make a dress/skirt!
    also me: but gender roles and masculinity in society and ulster coat?

  22. I have photographed a modern short "cape" that looked like the top part of this jacket, and there were some snap buttons in the inside, on two parts of the cape (one set on each side.) So that if snapped closed, they work as a loose sleeves for each arm. Just FYI. I love Sherlock Holmes, so I have enjoyed this project!

  23. I'm curious if you measured the pocket itself to fit your phone or the pocket + flap combo to not-quite-fit but hide the phone? I like the size of the big pockets you were able to put into your walking skirt(s) that fit at least 2 or 3 sets of sewing shears in them. Big Pocket. No Bag.

  24. I learn so much from watching you ! I didnt know that you could sharpen your chalk so it marks better ! also the adjusting the back side is genius ! thank you for this ! one day I hope to be on your level!

  25. I just found your channel today but I am beyond in love with it. It may sound peculiar but it’s so relaxing to watch your hands work meticulously and with such skill. This is a wonderful project and I cannot wait to see more <3

  26. Where, other than the internet, do you recommend for researching how to make this historical clothing? I do not think my local library/museums have books/clothing like this :'(.

  27. Yes I read the description boxes! I also read cookbooks and never make the recipes…but I know (technically) how. Lol 🤣 But oh how beautiful this is!!!! I loved every minute and every snip and every stitch. 🥰

  28. Just the best series of video's I've binged on in ages! Absolutely beautiful work on every single item you've constructed, I know we'll see your name at an awards show for stage or screen one day!

  29. I love how passionate you are about this project! It honestly makes me want to take up sewing again, which I haven't done since high school, but I know I can be damn good at it! Thanks for making these videos! 😀

  30. Me, the one person in the family who does not know how to sew or stitch: is watching this
    Dad: You do realize if you learned when mom and I asked, you could be making this yourself.
    Me: 😶

  31. I really want to get into hand sewing (I have an electric, but it breaks constantly and there's no control with it smh) but I'm really not sure where to start, but your videos give so much inspiration.

  32. Ugh! If there is one thing I hate, it's a low-cut armscye! I am not a doll, I must move my arms! LOL
    Absolutely amazing work, Bernadette! Kudos for sticking through to the end with those sleeves, it was worth it!
    ~Darla

  33. "Sleeves are the Devil's work". I am going to make some framed embroidery with that quote. Forever to be hung over my sewing machine to remind me never to embark on sleeves lightly.

  34. Beautiful! I'm a not very gifted beginner but you really motivate me to do more! I just finished a small medieval-inspired dress and caplet for my daughter and am feeling quite accomplished, in spite of the obvious flaws! Thank you 😉

  35. Absolutely love your videos. I am an absolute beginner with the hardest thing I have ever made was a pinafore dress for my 2 year old daughter which was unlined. You inspire me so much I am about to undertake my first complex sewing project in the form of an 18th century dress from a simplicity pattern. Please please please wish me luck.

  36. Hi! Got so inspired that I wanted to check out mr. keystones and draft the trousers, but found the instructions to be very confusing particularly at the bottom hem. Given the measurements he states at the beginninh still doesn’t make anything work

  37. Must I say you're an inspiration? Your work effort inspired my work effort and I've been plugging away for an hour solid on the heads for a character's reference drawing that I've been putting off. I turned this playlist on in the side and just started working.

    Thank you!

  38. Hello Bernadette. I have been your subscriber for some time. I found your channel when looking for handmade sewing instructions. I was delighted with your work. Your pieces are beautiful. Particularly, I loved this shirt you wear in this video. I'd like to see more details. With all affection, from Brazil.

  39. Just curious what you approach to the mockups are from a historical perspective. Do you baist them by hand or do you ommit that process from the historical accuracy part of the project? Love

  40. I have an ulster coat (vintage, not Victorian) that I bought in Portobello Road, and it does not have sleeves.

  41. Is there a reason you chose not to flat line the pieces instead of making another shell coat lining? Thanks! I just love this outfit and I am hoping to make one for myself!

  42. My six year old daughter immediately grabbed a piece of leftover green felt cabbage and safety pinned it at the top to make her own cape and called herself Daughter Sherlock. I wish I could show you the picture! Thanks for being a youtuber we can share!

  43. Assuming that you would have made a jacket for Lady Sherlock, what materials would you have chosen? I'm planning a secret project for my husband and I have an idea, but I still need to iron out a few details.

  44. A higher armscythe seems like it would make a seam along the back of the arm (medieval and men's jackets still in the present day) better for wear.

  45. Just a quick question – do you have any additional attachments at all for your 1880s Singer? I ask, because I have several machines from 1875-1945, have some extra attachments, and would consider it an honour to share from NE Ohio 🙂 Please do let me know.

  46. I do not see what your source is for newsprint/paper. Have been looking for pattern drafting paper (besides the back of old Christmas wrapping paper 🥴).

    As always, love to just hear your stream of consciousness. Yes, always read the descriptions 😊.

  47. watching this while completing my 12th century costume is 1) very enjoyable and 2) messing with my sleep-deprived head, bc for a moment I seriously was like 'shit I forgot about the pockets'. Ah yes, the pockets. The pockets. The pockets in my 12th century bliaut. 😂

  48. I can just listen to you speaking all day. So soothing. I don’t sew. Haven’t for over 25yrs since Home Economics in school. 🙂
    Looks towards my corner sewing machine still in a box for 3yrs

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