Pants Fitting: Perfect is the Enemy of Good

I have started a new project; pants based on the Jedediah Pants pattern from Thread Theory Designs.

This “new” project is actually a continuation of the “Breakfast Club Wardrobe” project, though since it had gone on for so long I’m splitting it into two projects: the shirts (completed) and now the pants.

Given the amount of effort involved in producing a hand-made garment, I’ve come to realize that the effort is wasted if the fit and style aren’t also right.  So I’m really trying to get the fit right before making three pairs of pants based on the pattern.

For readers new to the blog, this is not the first time I’ve wrestled with fitting this pattern.  I’ve made several past attempts to fit these pants:

This latest round of fitting picks up where I left off.


One thing I learned from the previous rounds of muslins is that the choice of fabric does make a big difference in fit, as the pants drape and hang quite differently.  The early muslins were in polyester, which fit quite differently from the shorts I made in cotton twill.

For a little better fidelity in fitting, I decided to experiment with actual muslin fabric.  Fabric Outlet had a recent sale on muslin, so I purchased some in a weight as close to the twill as I could get.  I’ve been cutting patterns out of muslin and joining them together by machine with a basting stitch – a regular straight stitch with a 5.0 stitch length. Oddly, the Juki doesn’t have a dedicated basting stitch in its repertoire of 625 stitches.

Inseam Ease

The Jedediah Pants pattern has a good amount of ease in the inseam between the crotch point, and the first notch around the knee.  On my pattern, the front piece is somewhere around 3/4 inch longer than the back between those two points, which is really noticeable. I pinned the front and back pieces together at the crotch point and the midseam notch in this photo, to show off the extra ease.


When I made the grey shorts, I eased the front and back pieces together on the machine.  But did I make a mistake with my pattern alterations, or is it supposed to be this way?

I wrote Thread Theory via their website, and got the following response from proprietor Morgan Meredith:

In regards to the length of the inseams on the Jedediah Pants, yes they were intentionally drafted this way.  We’ve included a diagram and explanation for this on page 6 of the instruction booklet.  The pant legs are designed to be stretched in certain areas using steam from the iron to create ease at the knees (to prevent bagging in the future) and at the thigh centre front.  This stretching will end up creating inseams that are easier ease when stitching the seam.

So, that answers that question!

Wrinkles in the seat

The shorts I had made in the gray twill had some really unsightly wrinkles just underneath the seat.


Figuring out how to eliminate these wrinkles was enough to make me set the problem aside.

Since then, I’ve been watching a new program on public television called “Fit 2 Stitch”.  The host, Peggy Sagers, focuses on garment construction, and especially on fitting.  She demonstrates techniques for creating flat patterns, but she also shows how to use draping to correct fit issues and transfer the corrections back to the pattern.

There’s been a few episodes featuring pants fitting, and one of them is online. Though the entire show is worth watching, she does something interesting about 14 minutes into the show; she demonstrates how to create a dart to remove the excess fabric that pools underneath the seat.

Now, you don’t want a dart going across the back of your ass. But here’s the magic insight I got from Peggy Sagers: if you can make the dart start and end on a seamline, you don’t need to keep the dart in the pattern; you can simply subtract the fabric from the pattern. The easiest way is to simply fold the dart out of the pattern. The pattern still lays flat after the change, and you can move on with your life.

First Attempt

For the first attempt at removing this excess fabric, I pinned out a dart with the point at the inseam, and the wide part on the side seam. (I also attempted to pin out some fabric that was pooling right between the yoke and pockets). Pinning the excess fabric while looking at myself in the mirror was pretty challenging.


Next, I used a tip from Kenneth King’s “Smart Fitting” series of articles in Threads Magazine (issues 147 through 150).  I drew across the edge of the pinned area with a pen to mark the region to remove.


Sadly, the region I pinned out (in red below) turned out to be a curved dart. This situation didn’t happen on Peggy Sagers’ TV show.  I considered the situation for a while, then drew a straight dart (in blue) to try to approximate it as much as possible.


I stitched in the darts, and reassembled the muslin.


The alteration was partially successful.  Here, I’m modeling the original pattern on the left leg, and the darted version on the right.  The right side looks a little better, but not by a whole lot.


Second Attempt

After watching the episode above another time, and watching the other episodes (from season 1) where Peggy Sagers adjusts pants, I noticed that she always put the point of her darts on the side seam and the wide part towards the inseam, the reverse of the way I had done it.

So I tried doing that on the left leg. What I got was a straight dart (the lower one in the photo below), that had its apex on the side seam but took a good section (nearly 3 inches) out of the crotch curve on the center back seam.  (The upper dart was yet another attempt to remove excess fabric between the yoke and pocket.)


This was a mixed bag.  The wrinkles were alleviated.

IMG_1619But a new problem appeared, worse than the wrinkles. A crazy diagonal twist now radiated from the center crotch out to the knee area.


I figured that the pant legs were now off grain as a result of the alteration. To illustrate what I mean, first look at how I removed the dart from the seat area, by folding it out of the paper pattern.  Already you can see the grain line at top ends up on an angle.


Now, when you overlay that on the traced pattern piece after the foldout, it becomes obvious that if the waistline falls more less on grain, the legs end up seriously off grain after sewing out the dart in my muslin.


So I went ahead and cut a new muslin piece for the back pattern minus dart, with the grain line for the legs matching the fabric.  I hoped this would solve the problem.

Here’s the pants resewn, with a newly cut muslin after the dart has been completely removed from the pattern.  The good news is, the wrinkles under the seat are much improved.


The bad news is, the crazy twist lines from crotch point to knees still remain.


And I noticed a new problem, just as bad as the crazy twist lines.  Removing the dart shortens the crotch curve considerably, by about 3 inches.  The waist of the pants in back now fall substantially lower than they should.  In the photo below, the underwear waistband indicates where my preferred waistline falls. In front, the pants line up right against the bottom of the underwear waistband. (The pants muslin has no waistband of its own).


Third Attempt

In Kenneth King’s “Smart Fitting” series, he describes a pattern alteration he calls “no net change” – meaning fabric is removed from the pattern where it isn’t wanted, but added back somewhere else in order to keep the pattern pieces in alignment.

Using the “no net change” concept to fix the waistline, we can add the dart back in at the top of the pants back, right at the seam between pant back and yoke piece.

This is easily done by pivoting the original pattern piece up to add back in the missing wedge of fabric.  I chose to pivot the original pattern to the point where the grainlines fall into alignment.


Next, I taped in some additional tracing paper, traced a new outline and smoothed out the crotch seam line.  This adds the missing wedge back into the yoke.

IMG_1640How did this turn out?  I have sewn a new muslin with the corrected back piece.  The waistband is fixed, but the crazy twist from crotch to knees reamins. I haven’t yet taken photos, but I will share them with you next time.

The Self-Taught Sewist

As nerve-wracking as this whole process has been, it has been very, very educational for me. I’m learning pants fitting the hard way, by doing it, making mistakes, and learning how to fix them.

Over at the Cutter and Tailor forums, there’s a firmly held opinion that you can’t master a skill as deep and intricate as tailoring via self-tutelage; they liken it to trying to learn how to be a surgeon by reading a book.

To some extent, I think they have a point.  But never before in human history has it been so easy for the home sewist to get live demonstration of techniques via the Internet, from Craftsy, YouTube (such as the Peggy Sagers video above), and other resources.

For another example, if you’d like like to learn to properly hold needle, thimble and thread for hand stitching, you need look no further than YouTube to find not one, but two Saville Row-trained tailors to demonstrate:

Sewists of previous eras never had this kind of amazing advantage.  I think this ready access to information, live demonstrations, and online discussion broadens the scope of what people can hope to learn via self-teaching.

I do feel like there were spots in this process where I would have liked to have had a human instructor available to ask questions and get advice.  Perhaps I could have gotten my advice by asking questions on discussion forums, but I definitely feel I could proceed quicker with an onsite mentor.

But I do feel as if I am learning.

Next Time

Let me know what you think in the comments. I’d love to hear your suggestions for making the crazy twist go away.

Next time, we’ll try to bring pants-fitting to its conclusion.

Getting Acquainted with the New Machine

Before we get going, I just wanted to thank everyone for the discussion in my previous article, Three Tailoring Classes at Craftsy. The comments were hugely beneficial for me and touched on some deep issues such as how and when to turn an avocation into a vocation. Thank you for reading and contributing to the blog.

I haven’t had enough time to really get acquainted with my new Juki machine – that’s likely to take months. But a few things I’ve noticed:

  • The thread cutter is a mixed blessing. It’s incredibly convenient to use, but once it cuts the threads it doesn’t leave a thread tail for the bobbin – the bobbin thread is kept inside the machine. When you start a new stitch, you often get a thread nest at the start of the stitch due to the loose bobbin thread.  You can pull up the bobbin thread manually, but that sort of defeats the convenience of the thread cutter.  I haven’t yet compared notes with other Juki owners on this issue, but I have read that this is an issue with brands other than Juki.  Unless I learn something new here, I have a feeling I will skip the thread cutter on fine sewing projects.
  • I’ve shut off the feature that activates the thread cutter when you press the foot pedal with your heel, after I accidentally hit it mid-stitch.  I find I gravitate towards using the front panel controls to work the thread cutter anyway.
  • The automatic needle threader isn’t as nice as the one on my old Brother PC-210.  The Brother took more effort to actuate, but it got the needle threaded better than 95% of the time.  My success rate with the Juki is more like 50%.  It’s a minor nit, but it’s galling that a $300 machine outperforms the Juki in this regard.
  • I’m having to get used the timing on this machine – It accelerates and decelerates a little differently than my Brother, so I’m still working out when to left off on the pedal to reach the end of a seam.
  • I’m getting used to using the knee lift feature, and the more I use it the more I like it.  It does make handling the fabric easier and quicker.
  • I love the single button access to the common stitches on the front panel of the machine, and the dials to set stitch length and width.  The engineer in me loves being able to see numeric values for these things.
  • Feeding fabric on this machine is sure and smooth, and in general it’s a joy to sew with.

But I have one “getting started” experience I’d like to share.

I’ve resumed the task of fitting the Thread Theory Jedediah Pants pattern (you can see the earlier entries in this series here, here, here and here). This time around, I purchased some actual muslin to prepare fitting muslins, and I’ve sewed up several of them at this point. (More on this topic in a future article).

I’ve been using primarily the straight stitch set to max length as a basting stitch for joining the pieces. And I’ve also been using the overcasting stitch to finish the edges of the muslin pieces.  This may be overkill, but I hate dealing with fraying fabric and I wanted more excuses to use the machine.

My love affair with the new machine tarnished fairly quickly after the machine started shredding the top thread.   Individual filaments unraveled, leaving the outer filaments of the thread bunched up in the thread takeup, and the single central filament in the needle.



The first and even second times this happened, I dismissed it as a fluke.  The third time it happened, I knew I had a problem on my hands.

With a brand new machine, your first thought is, “is it me or is it the machine?” It’s hard to answer that because you don’t have a history with the machine and aren’t familiar with its quirks. My big concern was that machine had a manufacturing defect in the thread pathway somewhere, meaning a trip back to the dealer or to Juki for warranty service.

Still, I stuck with it.  I kept putting in thread to see if the problem was repeatable. It was, happening randomly but about twice per sewn musllin. I tried changing thread, tension and needle but the problem remained. I use Gutermann thread most of the time, so unless their quality has gone downhill I didn’t have a reason to suspect poor quality thread.

I got the bright idea to note where the bunch-up was occurring each time the thread jammed.  Every time, it was in the final column of the thread take-up right before the thread goes to the needle.

Then I noticed the thread bunching up right in the final guide right before thread feeds to the needle. The arrow highlights the bunched-up thread.


I moved the thread back and forth, and noticed that the thread catched in this guide. Further inspection with a magnifying glass showed that Juki put a groove there to intentionally catch the thread. Maybe this was the source of the problem?

I sewed some more.  Listening to the machine while sewing, it made odd tick noises at random intervals.  I had the overcasting foot on all this time, so I switched back to the regular zigzag foot but left the machine set to overcast stitch.  The odd ticking noises stopped.  And with the zigzag foot, I sewed through an entire bobbin’s worth of thread without a problem.

I put the overcast foot back on again.  It has a little metal flange on it.  While sewing, I noticed the machine sinks the needle perilously close to that little flange.


I suspect (but am not sure) that the little metal flange is a bit to close to the needle, causing both the ticking sound and shredding the thread filaments.  Once the thread is shredded, the filaments bunch up earlier in the thread takeup mechanism.

I put on a different overcasting foot than the one supplied by Juki (subject of yet another article), selected the overcast stitch once again, and ran the machine through another bobbins’ worth of stitches without a hitch.

Problem solved, much to my relief.  I’d rather replace a $10 overcasting foot than deal with a defective machine.

Three Tailoring Classes at Craftsy

I have a peacoat project, to be based on Vogue 8940, that’s been simmering in the background for a while now.


The project hasn’t yet made it past the pre-planning stage, but I have been slowly putting pieces in place. Earlier this year, I picked up a remnant of black Melton wool from Britex Fabrics.


Also from Britex, I’ve picked out some beautiful silver lining fabric, and some buttons. This past week, I purchased some hair canvas interfacing from Fashion Sewing Supply, which may also find its way into the project.

But aside from supplies, I’m missing another important piece: tailoring skills. I’ve never produced any sort of tailored garment before, so I want to learn more about what tailoring is, and what’s involved in producing a tailored garment.

As a self-taught sewist, I learn from all sorts of places, including books, magazines, TV shows, YouTube, and internet classes. I especially like video-based instruction since you can actually see the techniques demonstrated, rather than try to interpret a textual description from a book, or fill in the missing details from a photo.


I enjoy the sewing classes from Craftsy. Their courses have high production values. The user experience is pleasant; it’s available in your browser or on mobile devices (iOS or Android), it’s easy to navigate the lessons, you can repeat sections, take notes, and ask the instructors questions.

Craftsy has several video courses that cover introductory tailoring in some form or another. I’ve purchased and watched three of them. I recommend each of these courses, but each has its own focus and strengths, and which one you pick depends upon what you’re looking for.

I’ve learned there’s two different approaches to tailoring.  The “classic” approach involves lots of careful hand-sewing, including hand-stitching layers of canvas and interfacing to shape the fabric but still give it movement.  The “modern” approach uses fusible interfacing in place of canvas and hand stitching in order to mimic the classic approach to shaping with less work and time. Both approaches are represented in these classes.

Finally, it’s worth noting that all three classes assume you already know how to fit, and have a fitted pattern ready to be constructed. Steffani Lincecum is up-front about that, and she directs you to other Craftsy courses if you need help on the topic. Pam Howard offers a companion class on jacket fitting,

 The Carefree Fly-Front Coat with Kenneth D. King

Kenneth D. King_Craftsy

The Carefree Fly-Front Coat, with Kenneth D. King, is a good introduction to the concepts of tailoring.  The class garment – a partially-lined, semi-structured coat with a fly-front facing – is streamlined in terms of tailoring principles, yet it has some interesting challenge details such as the fly-front, on-seam pockets, and cuff latches.

There’s quite a lot of pattern alteration going on – King shows you how to add princess seam lines, draft a yoke, a fly-front facing, a cuff latch, and an on-seam pocket.  He discusses the difference between a pattern, and its draft (no seam allowances).  He shows how to turn a pattern into a draft by subtracting the seam allowances, alter it, then turn it back into a pattern piece by adding the seam allowance back in. A full video session is devoted to the altering the pattern for the style changes King adds to the garment.

One thing I liked about this course was the coverage of the necessary equipment, and how to use it. I bought a pair of tailor-point scissors after watching this course, especially after hearing his detailed description of how they’re designed and intended to be used.

In terms of tailoring, King’s approach with this class is best described as “Classic Tailoring Lite”. The class project doesn’t involve tailoring skills such as catchstitching, taping, and padstitching, as would be used for a more structured garment. But King uses only sew-in, hair canvas interfacing for the project. He is a proponent of sew-in interfacing over fusible for most tasks because it has a much longer wear life and will lead to a much longer lasting garment.

Instead of padstitching in the undercollar, King uses some quilt-like lines of machine stitching to hold things in place.  A lot of the basic tailoring concepts are still covered, including:

  • Shaping fabric by stretching with the steam iron and use of the pressing ham
  • Constructing a collar and rolled lapel
  • Setting in sleeves
  • “Favoring” turned seams with the iron
  • The Hong Kong finish for seam binding in unlined garments
  • Installing an on-seam pocket including the pocket bag
  • Installing a lining. (The garment is partially lined).

King offers some great hints and tips in this class.  I was especially grateful for his tricks on how to get sharp turned points, and he has excellent instructions, with nifty tricks, for attaching a button by hand. His method of hand-attaching buttons is the one I now use for all my sewing work, and I might even give it a try for attaching shirt buttons in future projects.

Finally, King is a fantastic instructor.  He’s breezy but always to the point, he’s casual yet authoritative, he’s never dull to watch. He explains concepts clearly, and his demonstrations are easy to follow. I’ve watched another of his classes, Jeanius!, and found him to be a consistently good instructor.

In summary, The Carefree Fly-Front Coat is an excellent introductory tailoring class packed with lots of info. But it may not necessarily answer all the questions you might have for the specific project you’re planning.

Classic Tailoring: The Blazer with Steffani Lincecum

Steffani Lincecum_Craftsy

Classic Tailoring: The Blazer with Steffani Lincecum is a good overview of the “classic” tailoring style. It goes into more depth on some aspects of tailoring than does The Carefree Fly-Front Coat. Some of the classic techniques it covers are:

  • Working with hair canvas and wigan. No fusible interfacings are used in the class.
  • How to draft your own pattern pieces for internal muslin pieces to add structure the garment.
  • Hand stitches, for attaching interfacings and linings solely by hand.
  • Taping roll lines, for proper shaping of collars and lapels.
  • Sewing a bound buttonhole.
  • Setting sleeves, including sleeve assembly techniques that are more typically used in menswear.
  • Adding sleeve vents, with mitred corners.
  • Attaching collars and lapels.
  • Lining the jacket, including a hand feather-stitch to secure the center pleat.
  • Favoring, and “turn of the cloth”.

Patch pockets are the type of pockets demonstrated here. King’s class covers on-seam pockets, and Pam Howard’s class (below) shows you how to create welt pockets.

Pressing techniques are also covered well, though I think Kenneth King displays more fancy iron shaping techniques in his class.  And though Lincecum shows you how to attach buttons by hand, King’s technique is better.

I was impressed also by several good tips and tricks, for tricky items such as:

  • Sewing notched collars
  • Adjusting sleeves to accomodate padding
  • “Fitting” flared hems to eliminate excess fabric in the hem area
  • Clipping curved seams
  • Pinning techniques for favoring seams in patch pockets

What impressed me most about Steffani Lincecum as an instructor is that she makes everything look doable, even intricate, multi-step procedures such as sewing bound buttonholes.

As much as I did get from this class, there were some things which bothered me. Near the end, there was less sewing and more demonstration of completed samples. A pet peeve of mine is sewing videos where people don’t actually sew, and there was some of that going on here.

I felt that sleeve construction could have been described a bit better. I admit to having a bit of a mental block when it comes to sleeves, since I can’t picture how to do it even after watching all three classes. But this course in particular breezed over some of the steps, and presented some others as fait accompli – already done, instead of doing the work on camera.

I also would have liked to see the differences between mens and women’s sleeve construction in detail, since Lincecum mentioned in passing that the two of them were different and the method she presented is more typically found in menswear.

Occasionally, there is also some annoying camera work with a long-shot when you really want to be seeing the closeup of what the instructor is doing.

In summary, Classic Tailoring: The Blazer goes more in-depth than does The Carefree Fly-front Coat and will give you a good feel for what “real” tailoring is about, albeit with a few minor flaws in presentation.

Modern Jacket Techniques with Pam Howard

Pam Howard_Craftsy

I would purchase Modern Jacket Techniques sight unseen, because of Pam Howard as the instructor.  I watched through her earlier Craftsy course, The Custom Tailored Shirt, and found her style to to be calm, clear, and methodically step-by-step. You never get lost following Howard’s instruction, and she anticipates the mistakes newbies are likely to make and warns against those pitfalls.

By “Modern Techniques,” Howard aims to produce a garment like high-end ready-to-wear, rather than couture/custom tailored garments.  She shows you how to use fusible interfacings to structure the garment.

Some of the topics covered by the course include:

  • Fabric choices, including which fabrics work well with fusibles and which don’t
  • Interfacings
  • Grain lines, and marking
  • Welt pocket construction
  • Sleeve attachment
  • Mitred sleeve vents
  • Collars and lapels
  • Attaching Linings
  • Finishing techniques, including buttons, buttonholes, hems
  • Pattern modifications, including a back neck facing (as seen in high-end RTW)
  • Hand-stitching, including the catch stitch and the felling stitch (for the hem and sleeves).

Two types of interfacings are used in the class project. All-bias (stretch) interfacing, and a weft (heavier) interfacing (Armo weft).  The class notes indicate where each pattern piece is interfaced, and also what type of interfacing to use in a given place.  Howard points out special ways to use interfacing. In one case, she fuses two layers of the same interfacing for extra body.  For the undercollar, she applies one layer each of different interfacings, to mimic the effect of pad-stitching for shaping the rise of the undercollar.

In the course, most of the fusing and the basic seam construction is done off-camera.  It’s assumed you know that stuff, and are here for the tricker things. That said, I would have liked to hear more about how fusibles are used for shaping, and how they mimic the work of hair canvas and pad-stitching.  She does demonstrate the dark side of fusible interfacing – what bad fusibles, or fabrics that are not appropriate for use with fusibles, can do.  The bubbling you get from incompatible fabrics can irreparably ruin a project.

Like the other courses, this one is chock-full of tips and tricks. Some of her tips:

  • Use strips of brown paper to protect fabric from impressions when pressing seam allowances
  • Make your pocket flap first, then size your welt pocket to fit the flap
  • When setting in the sleeve, fold it inside out, and out over your fingers so that you arrange everything in a convex rather than concave way
  • Attach button holes top down, button each buttonhole before sewing the next, to ensure they are aligned and there are no crimps from misplaced buttons
  • Use a pinking shears around curves to emulate the effect of clipping with regular tailors point scissors

Again, as in Lincecum’s class, I found some minor issues in presentation. A few of the shots demonstrating certain types of work (attaching sleeves, collars/lapels, lining) left me a bit confused understanding what part of the garment was being shown while the technique was demonstrated. Backing up and rewatching the segment cleared up the mystery pretty quick, though.

Also as in Lincecum’s class, Howard started glossing over some techniques near the end, such as sewing the sleeve hem.  In most cases, she had shown the technique before.  She showed how to mark buttonholes but didn’t sew them, on or off camera – she demonstrated a sample instead. I wanted to see the finished result.

Compared with Lincecum’s Classic Tailoring course, Howard’s approach offers more streamlined techniques, and also less “couture” stuff. There are no instructions for a bound buttonhole, but you do put in a welt pocket with a flap.  Howard’s method for sleeve construction is a bit different from Lincecum’s, as is her method for sleeve hems. Howard puts the buttons on the sleeves before attaching the lining, so that button attachment stitching is fully contained within the lining.

Overall, Modern Jacket Techniques complements the other two courses well in showing another approach to tailoring that will appeal to many.

Pam Howard offers a companion course on Craftsy, Jacket Fitting Techniques, that I have purchased but not yet watched. I’ll post a review once I’ve completed it.

Which one to choose

I’m happy I purchased all three classes. Each one has a different perspective and focus, and so they complement each other nicely.  I got something unique and valuable from each one.  If there’s any downside, it’s reconciling the different approaches in my head.

If you’re considering a single class, here’s my thoughts on how to choose.

  • For an easy, non-threatening introduction to tailoring, you can’t go wrong with Kenneth D. King’s class.
  • To understand classic techniques like padstitching and taping, and how to work with non-fusibles, your best choice is Steffani Lincecum’s class.
  • If you aspire to produce tailored garments that are like high-end ready-to-wear, and have an aversion to lots of hand sewing, you’d benefit most by choosing Pam Howard’s class.

Black Friday Sale

If you’re read this far, you should be aware that Craftsy is currently holding a Black Friday sale, with all sewing classes, regardless of original price available for $19.99. You should never pay full price for a Craftsy class – always wait for a sale – but this sale is incredibly good even by their standards.

Update: The Black Friday sale for 2014 is now long over, but Craftsy does put their classes on sale from time to time. If you don’t have an account with Craftsy, sign up for one of their free mini-classes just so you start getting their emails.

More Craftsy Tailoring Classes

If you’re looking for even more tailoring instruction, here’s some more Craftsy classes on the topic.  I haven’t seen any of them.

  • Tailoring Ready-to-Wear with Angela Wolf
  • Tailoring Ready-to-Wear: Beyond the Basics with Angela Wolf
  • Tailoring Ready-to-Wear: The Jacket with Angela Wolf
  • Inside Vogue Patterns: Coatmaking Techniques V9040 with Steffani Lincecum
  • The Iconic Tweed Jacket with Lorna Knight

I’m probably unlikely to purchase any of the classes involving altering Ready-To-Wear, because I don’t have any RTW tailored garments to alter and likely never will.  The Inside Vogue Patterns class is also taught by Steffani Lincecum, but I don’t know how much overlap there is with her Classic Tailoring: The Blazer course.

What I really want

These courses were all valuable, but they all focus on women’s wear.  Though many of the principles are the same as for men, some of them are different.  After hearing Steffani Lincecum touch on the differences between men’s and women’s tailoring, I’d like to know more.

I’d love to see Craftsy offer a series of menswear tailoring courses.  One on trousers, one on vests, and one for jackets.