Tunic, the last stages.

Keeping to the blocking, now that the skirt is finished the treat of my time shall be dedicated to the tunic. Below are the following notes which need to be taken into account whilst making the tunic and altering it to the specifications of the designer:

Before alteration

• Only lace the sides of the tunic slightly to create shape.  (follow pins)
• Under sleeves need to be let out 3 cm each
• Top sleeve needs to be shortened by 10cm
• Fit of the sleeve is now correct
• Lower sleeve must length must come down to the hand. Lace up the sides for a tight fit.
• Lower the neckline more to a boat neck shape, mimic cut of left side.
• Centre front cut open to placed pin
• Add channel around the neckline and put a cord through to slightly gather.
• Add draped shawl around the collar area and tack in place.  
• Add brown leather thronging to the lace up arms, tunic sides, centre front gap and belt. (Being sourced)
• Belt size, 85cm with lace up back. (re-make as this is being replaced with real leather)

Under sleeve once sewn up

I began the afternoon by dealing with the sleeves. It was decided that the under sleeves needed to be let out by 3cm as well as changing part of the structure. My tutor gave the advice that if I cut the sleeve in half and create the top half from lightweight calico and the lower half from the sleeve material, the actress will have more freedom to move as well as dealing with the issue of the bulkiness at the armhole. I slit the side seam of the sleeve and opened out the sleeve so it was a flat block again. Using the original paper pattern as a guide I traced off the top section of the sleeve and placed this onto the lightweight calico. Once the top section was cut out I replaced the first half of the sleeve with this (place see above) and created a central seam which is to be overlocked in the same coloured thread as the lower half of the sleeve. Another part of the lower sleeves were the facings which had to be placed at the bottom of the under sleeves. This is so the eye's for the lacings may be inserted and not tear when being tugged on. The fundamental studies folder was used again and by following the instructions for facings each side of the sleeve was reinforced so that each eyelet can be tugged and not tear the fabric. Just to keep on the side of caution I also placed stay flex inside the facing to give extra support. I was concerned that even though the adjustments had been made and the sleeve corrected, the actress would still have issues with movement, so to rectify this issue and put my demons to rest, Katie, the Canterbury Tales supervisor took me down to the rehearsal room. The actress was unavailable at the time and due to wanting to keep a professional demeanour we decided that as I had the same measurements par one where i was 1cm out we could conduct a quick arm fitting on me and then check later on placing the sleeve on the actress. Once this was sewn on I continued to sew the side seam back together to create a final full sleeve. This along with the shortened velvet sleeve (which now sits at the elbow) were sewn back into the arm holes and bound using bias binding 

Quick arm fitting

The neckline of the tunic has been an issue from the start, however to support the actresses bust a channel shall be placed around the boat shaped neckline which shall have black leather thronging running through. This can be pulled on and secured at the front. The cut of the neckline has been duplicated to the right side from the left hand side which was cut on the actress to the correct length. This has also been neatened up and turned to make the channel for the neckline.

Tomorrow shall be the day where I tackle the front of the tunic's neckline and the opening. Working to a shallow square neckline shall be something I have not yet experienced and a challenge which will take a bit more time. However once this is complete  the tunic shall be ready for the final additions which shall be placed on at the dress parade.