It's been challenging to make, as the brown grid pattern demands that it is matched and balanced across the seams wherever possible.
The placement of the lines running parallel to seams have to be carefully pre-planned. If they sit close to the seam it will make he pattern look irregularly spaced; if they fall into the seam there will be a gap in the pattern repeat, which also will look odd.
If you look closely I have matched the grid lines vertically AND horizontally, plus also ensuring that the welt has grid lines passing through it both ways. If the grid missed the welt it would look like a separate piece of blue fabric, disjointed form the rest of the coat.
The waist seam at the front is carefully cut so the spacing of the horizontal lines is not interrupted or distorted.
There was a slight hiccup with the cloth for the coat - something my client didn't know about (until now!)
The cloth was already on re-order and due in within a couple of weeks, so luckily all was not lost. But through the inconvenience I get them to supply 4 metres for the cost of the 3.4 metres I was expecting to pay for.
As a result, there was enough fabric left from cutting the coat so allow for me to make a matching a waistcoat - an opportunity my client jumped at.
I used the same pattern as the Matt Smith waistcoat from Day Of The Doctor, which naturally goes with the frock coat.
To tie the two garments together, I used the navy blue velvet from the coat's collar to make the welts for the pockets.
This made things a little easier for me, as I didn't need to pattern-match across the welts from the body of the waistcoat!
The same top quality brown horn buttons were used on the waistcoat. This picks out the colour of the grid, and the thread used for the buttonholes themselves match too.
I must admit I wasn’t 100% sold on the choice of fabric to start with, but now it is all made up and together, I think it is a stunning outfit which I hope the client enjoys wearing.