This page is here for your interest. I decided to document my progress through a semi-difficult pattern, the Maia Jacket from La Fred. This pattern has wonderful design lines: princess seaming that includes a little pocket and then angles out to the side seam; a Peter Pan style collar if you wear the jacket buttoned up, or a small notched collar if you leave the top few buttons undone; two piece sleeves with a turn back cuff; princess seaming on the back giving shape and interest (I like to see seams on the back of a jacket - otherwise there is just a vast blank expanse of fabric).
Maia Jacket by La Fred This semi-fitted high-hip jacket features princess seams, with the front panel extending into a small pocket at the horizontal seam line. The two-piece set-in sleeves are bracelet length, with angled cuffs. The jacket has a convertible collar. View A features the front buttoned all the way to the top for a Peter Pan effect. View B shows the top two buttons undone, which creates the look of a notched collar.
Click here for back view.
Click here for Maia Jacket in Threads May 2004
I made a muslin of this jacket over a year ago and put it away as I wasn't overly pleased with the fit. I had traced a size 18 for the jacket and found that the shoulder and upper chest area was too big. After trying to take in the princess seams, I got frustrated and put it away as what was really required was to trace size 16 in the upper area and size 18 from the armhole down. This meant tracing off two different tissues as sizes up to 16 are printed on one and size 18 and up are printed on another. It wasn't something I felt like doing.
But I dug the pattern out again this spring and bit the bullet. Traced off the right sizes, made the only other alteration required which was to shorten the body of the jacket 1" above the waist and to shorten the sleeves 2". If you are tracing off this pattern, I strongly advise that you trace off the lining at the same time; I didn't and found another mental block when it came time to do that. Plus I made a mistake with the facing and forgot to shorten it. Not a big mistake as it could be recut easily, but it is best to make all your alterations at the same time and then trace the pattern. Otherwise it is far too easy to forget something and make a mistake which might be a critical one.
I chose a linen cotton blend for this jacket. I had a fabric here that had a really nice drape to it; it had a certain heaviness as well which I thought would be good in a jacket. I chose fusible knit interfacing for the jacket and opted to interface all the pieces possible. I wanted a jacket that would not collapse with wear and could take some throwing on and off without losing its shape. Therefore, I interfaced the front and side front piece, the front facing, the collar and under collar, the sleeve cuffs and the back neck facing. A little time consuming, but as I began to sew the jacket together, I was really glad that I had done this as it took shape so nicely.
Showing the interfacing on the entire fronts. Note the shape of the pocket, how it is incorporated into the princess seam. The pocket is not that functional, as it is rather small, but you can keep a key or kleenex in it.
Also note that I opted to interface the upper back area. I used a woven cotton for this and simply cut it from the back once it was sewn together. It was then basted to the neck and shoulder edges. It duplicates the back jacket to about 3" below the armscye. This helps the jacket to maintain its shape but, something I prefer most of all, will help to hide the shoulder pads from making a shadow through the jacket.
The jacket front and back are now joined together, the side seams are not sewn yet. The collar has been basted on. Next step will be to attach the lining and facing unit to the jacket while the side seams are still open. This allows you to work in the flat which is easier, side seams are sewn once the facings have been sewn on and pressed to the inside.
Close up of the pocket edge; it is hard to see but I did a saddle stitch by hand along the top of the pocket. I used the thread I sewed the jacket with, but doubled it so that it would be more visible.
The edge of the collar was also saddle-stitched with double thread. If you were making a dark jacket, this would look wonderful done with contrasting thread. Picture white thread on a navy jacket, very sharp.
The lining/facing unit is ready to be sewn into the jacket
I chose bemberg lining for this jacket. Bemberg or China silk is the way to go with jackets, those fabrics will breathe and you won't feel suffocated in your jacket.
Lining has been inserted, facings pressed to inside. Then the side seams were sewn and pressed. Next step will be the sleeves.
At this point, I could try the jacket on to check the fit. I tried it on over what I was wearing, which was a cotton polo shirt. Well, it became immediately apparent that this jacket is meant to be worn alone, I couldn't make the fronts meet until I removed my polo shirt. Once I did that, I could overlap the center fronts. So keep this in mind, if you are making this jacket, that it fits close. I should have realised this from the picture on the pattern envelope; Fred shows it on its own with nothing underneath.
But I don't plan to wear it on its own; I will wear it over a top that is a thin jersey or a silky crepe, and I don't plan on buttoning it. And, tonight, while cleaning out my closet, I found a tee in a teal green jersey that coordinates with this jacket. The tee was an orphan and now it has found a companion garment.
Following the pattern instructions, I pressed the front facing so that the seam rolled to the inside. However, this should depend on whether you plan on wearing the jacket turned back at the top. I am planning on wearing it with the first button undone, so I repressed the seam so that I had a "break point" where the facing turns to the outside and becomes a little lapel. From the break point up, I pressed the seam so that it rolled to the outside of the jacket, and from the break point down, the seam rolls to the inside. Press it whichever way it will remain as concealed as possible. It really does look good if you favour those seams and hide the seamline with pressing.
Another thing I found was that I needed to place the collar and lapel over a rolled up cloth and press it over that. It was getting funny drag lines on it until I did that. So I simply rolled up a pressing cloth, put it under the lapel and edge of the collar and steamed it lightly to give it a memory. This is one advantage of the fusible interfacing; it remembers when you do this and keeps the shape.
The cuff is attached to the sleeve
When pressing the cuff and sleeve seam allowances, favour the seam so that it rolls to the sleeve side. This is because the cuff will be what is visible and you don't want to see the seamline.
The Cuff and sleeve
You have to break the stitching at the dot where the cuff swings out to match the jacket sleeve seam. Be sure to clip right to the dot, in order to be able to turn this successfully. I found that leaving a tiny hole there was best (just like when you make a notched collar) and I took a few stitches by hand to pull this together after the cuff was pressed flat.
The finished cuff and sleeve
I have been pleased with every step of this garment and the cuff and sleeve are no exception. Kudos to Fred for drafting such a great pattern, everything fits beautifully and her instructions help you to do each step professionally. Now, onto that tricky part of setting the sleeve into the jacket. I am prepared to do some basting at this point.
The sleeves are now set in
I put the sleeves in three times before I was satisfied with them. The first time, I eased the sleeve cap with two rows of basting but ended up with puckers in the jacket bodice. Then I adjusted the ease on the cap and basted them in again. Still not pleased with the results. The third time, I used the method that Fred recommends (why didn't I do this the first time?) and basted tie interfacing to the the seam line of the sleeve cap, pulling the interfacing which is bias tightly while sewing. This was sufficient to ease the cap and they went in very nicely this time.
This method distributed the ease better than I did with my two rows of basting.
Back view of the sleeves - no puckers!
Fred also tells you to press the sleeve seam from the right side of the garment. Using a press cloth, you push the seam allowances into the sleeve and press them well. Most other patterns and sewing books will tell you to press on the inside of the garment, pressing only the seam allowance to shrink out any fullness. This method flattens the cap a little, but the result is a softer look.
Close up of the back shoulders
The shoulder pads have also been sewn in at this point. Now to sew the lining side seams, insert the sleeves into the lining and attach the lining to the hems. The hem of the jacket has been stitched already. Fred advises fusing bias strips of interfacing to the hem area, but extending above the hem so that when you hem the jacket, your stitches will only pick up the interfacing and not the jacket fabric. This prevents any pick stitches showing through to the right side. Another great tip from Fred.
It is these little details that really make this jacket look good. And give me satisfaction in a job well done.
The buttons are translucent so that they pick up the colour of the jacket
The jacket is finished
No one here at the moment to take a picture of me in the jacket, but I will get one soon
Copyright protected, June 2006, Julie Culshaw
Any sewing questions? I would be happy to try and answer them: you can email me at mail@timmelfabrics.com
Inside view 
