Custom Frock Coats - blue two-piece

I was very pleased with how the brown frock turned out for my UK client, but out of the two I’ve done the blue one for my US client is my personal favourite.

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.

The cutting of the breast pocket welt is particularly critical.

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.

Obviously there are areas of the coat that cannot be 100% marched due to the shaping and fitting that darts and seams create, but these discrepancies have been concealed under the arm or towards the back out of sight.

There was a slight hiccup with the cloth for the coat - something my client didn't know about (until now!)

When he spotted the Shetland tweed on the W Bill website it showed a stock of 3.5 metres. From my experience they are good at managing their stock, but before ordering I did get them to check that there was enough for me to make the coat. They came back to me saying there was a measured 3.4 metres, which I asked them to reserves while my client saw a in-hand swatch. Once approved I called to order the tweed, only to discover that only 1.2 metres was left!

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 back of the waistcoat uses the lining fabric from the coat.

Being made from genuine W Bill Shetland Tweed, the coat has their special label inside. My own is concealed inside the pocket.

For this coat we stuck to the buttons and buttonhole configuration of the Matt Smith coat, though with the five-button cuff as I did on the brown coat.


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.

Custom Frock Coats - brown with a secret

This is the first of the two finished custom frock coats I have made this month.

We have used the very same pattern as the Matt Smith frock coat, keep ing the lines nice and clean, but with a couple of twists here and there.



The Matt Smith coat has an unusual arrangement of buttonholes: there are three either side at the front, as if to button the coat up - but with no buttons opposite to match up.

In fact, the arrangement of three on BOTH sides would suggest a double-breasting, but the coat is simply not cut for that. So I have added buttons, in a double-breasted style.

Matt’s coat also has an array of lapel buttonholes - three on either side too.


This arrangement apes the season 16 coat first worn by Tom Baker in the Power Of Kroll, and by adding the buttons it is a further nod to that coat too.

The Matt Smith coat has a corduroy collar in a deep purple. For this coat I used the very same chocolate brown velvet I used to make my Tom Baker coat.

As we have included buttons on the front, it goes to follow that buttons are added to the back too.


Finally, the I have made the cuffs with five buttons.

I noticed that each coat Matt wore had one more than before - the Donegal has two; the Shetland has three; the cashmere has four - so I have made this the next in line with five.


But the big secret about the coat is the lining. For this I have used something very special and unique.

It is a blue colourway of the stunning red-flame lining used in the Ultimate Sixth Doctor Frock Coat.

This is the first time I have used this cloth, so it makes the finishing something a little eye catching.

I hope the client likes it!

Custom Frock Coats - fabric selection

Once in a while, amongst all the tweed jackets, Crombie coats and knitted waistcoats, I get the occasional commission that piques my interest and gives me the chance to be a bit more creative than usual.

I have already made one or two frock coats to patterns I use, but using cloth at the choice of the client, and these have inspired my latest commissions.

Since series 7b, the stylish lines of a simple frock coat have become very popular. Barely a month goes by without me getting one or two requests for a cashmere coat. If it wasn't for the lack of available fabric I'd be making it more often!

But this month had not one, but two serious enquires for Matt Smith style frock coat, each in starkly different tweed fabrics. By contrast, one client is in the UK, the other in the US.

Both were attacked by those simple lines, lack of outer pockets, and the fitted drape of a more thoughtfully cut garment.

My UK-based client wants his in a dark brown tweed - something with some texture and visual movement to it.

He has left it totally up to me to source the cloth so I sent him a choice of swatches from W Bills and a number of quality cloth houses in London's Soho.
He's gave me a brief for the lining, which I have already found a perfect match for - a jacquard weave in a silver paisley design but to make the coat a little bit special I also included some of the custom woven linings I have in stock.

Ultimately it was one of these he went for - I’ll keep it a surprise as to which.

My US-based client on the other hand has seen a very specific Shetland tweed from W Bills, and wants me to use that.

Before you jump to conclusions, it is not the Shetland tweed used to make Matt Smith’s jacket, but a dark steely-blue with a bold brown grid pattern.

W Bills
Shetland Tweeds

Sourcing the tweed from W Bills was easy for me, as I have contacts within the company. This way I was able to reserve the remaining 3.5 metres (just enough to make the frock coat) while I sent a swatch the US for approval.

For his lining he found a fabric in the US which he sent over to me to use. Unfortunately this proved to be unstable for lining the coat, so I sourced a very nice quality blue twill fabric.

Getting the cloth for the other coat was a little more tricky as the choice ended up being from one of the Soho fabric shops, which tend to only get one-off bolts which once gone cannot be restocked. With this in mind I was instructed to buy additional material to cover either a second coat or a pair of trousers and a waistcoat.
Luckily there was enough to cover everything my client wants, so that was a relief.

Once I had all the fabric I needed,  I turned attention to cutting and making-up.

Check back very soon to see how these two coats turned out.

Fabric Friday - Cashmere tweed

This week on Fabric Friday I come to one of the most misunderstood tweeds to grace The Doctor’s back - the purple Cashmere.

This is really the one fabric that inspired my weekly sharing of Doctor Who materials, since it is the one I am asked about most often by readers.

Many come to me with alternatives or even thinking they have found the real thing at another outlet, but none have its distinctive weave, which unless you see it close-up you won’t appreciate.

For such a difficult fabric to match you’ll be surprised to find it is made from only two yarns: one is a deep purple colour, giving it the base hue; the other is an almost burgundy brownish colour, which criss-crosses in a grid.

It is the brown yarn only that is highlighted with sky blue flecks.

The fabric came in a full width 54 inches wide.

These images are directly scanned from fabric that was part of the bolt that was cut to make Matt’s screen-worn frock coats. They have then been colour-matched back to the material to give the best visual representation of the fabric.

Being a true 100% cashmere it is the softest fabric you’ll ever have the pleasure of touching and brings a smile of envy to anyone who gets to stroke it!

This fabric was an absolute exclusive to W Bills and is not available anywhere else. Only one bolt was woven in this colourway, and it sat on their storeroom shelf for a few years before it came to the attention of the BBC.

The scarify of the yarn - especially the brown with the sky blue flecks - has meant that weaving a perfect match is simply not possible, though W Bills did look into it knowing it would eventually sell out.

Day Of The Doctor - costume portraits

It’s less than ten days until the 50th Anniversary special, and the BBC have released some high resolution pictures of Matt Smith in full costume.

The cashmere frock coat gets its penultimate outing.

This is worn over a new charcoal fine Prince of Wales checked waistcoat; blue shirt; and a new deep purple and small polka dot bow tie.

The trousers are a pair of his usual G-Star RAW; and he wears the purple boots to go with the frock coat.

The picture at the top gives a good view of the boots, and how high they come up the ankle.

Must say I’m looking forward to seeing Matt in action again!

Cashmere Frock Coat - Magnoli version

Matt Smith’s cashmere frock coat is becoming increasing popular.
Personally I’m getting a lot of enquiries about it.

For the choice of fabric, the best alternative option out there is the Abby Shot coat, though their pattern leaves a bit to be desired.

If you so desire you can order something that resembles the coat from a variety of eBay sellers from the Far East, all of whom will make you a coat to measure for as little as $100.

Another option is to order one from Magnoli Clothiers in New Zealand.

Smith Frock Coat by Magnoli Clothiers

I’m afraid I don’t much care for this version.

The length of the coat is almost a foot too long. It desperately needs to be hacked back.

It’s difficult to tell from the photos, but I’m struggling to see the right number of buttonholes. There should be six on each since of the coat.

The back of the coat lacks almost everything a frock coat should have.



I can’t see the arched princess seams from the shoulders, and the skirt is in a single piece from the front edge to the back vent.

The top of the vent is too low, remembering that the coat is around a foot too long as well.
I can see why the fabric has been chosen. As well as being purple, the screen-used material has a shy-blue flecking which is very subtle.

I know this has been a sticking point for a number of cosplay fans, who seem to fixate about seeing a flecking in the fabric.

The choice, which undoubtedly has the flecking - in red and navy as well as the light blue - is at cost of almost everything else that needs to be right about the fabric. Not a very good attempt. Sorry.

AbbyShot Cashmere Frock Coat - now pre-orders

Following on from their preview pictures, I see that AbbyShot are now taking pre-orders for their version of the Eleventh Doctor’s Cashmere Frock Coat.

Eleventh Doctor Purple Frock Coat

Ladies Eleventh Doctor Purple Coat

AbbyShot frock coat - more preview pics

This week AbbyShot have released some more preview pictures of their upcoming Matt Smith Frock Coat.

This time we get to see the front and a three-quarter side view.

My initial impression is that it looks a bit broad and the lapels feel a little large.

The colour of the fabric looks great, as does the corduroy collar.

I’m in two minds about the coat after seeing these pictures.

The overall shape of the coat looks pretty good, but a lot of the details - and there aren’t many - do look a bit off in one way or another.

But once worn in a complete costume it would look great - especially since the fabric has been, for one, well matched.

The biggest surprise in the photos released is that there is a ladies version coming as well!

Cashmere Frock Coat - Ladies version

The photos of the ladies version of the Cashmere Frock Coat look pretty good too, and I can see what they have done to adapt the pattern for a more feminine form.

Ironically this version has a better waisted shape compared to the male version, but the was it level is too low.

If you look at the back of the coat, the top of the split is exactly halfway down the back.
The back of a well cut frock coat has the split above the halfway level, to about a 55/45% proportion.

Given the number of email I get from female fans looking for costumes to fit them, I can see AbbyShot doing surprisingly well with this coat.

It sounds like they will have the coats available in time for the 50th Anniversary Celebration, so I look forward to seeing them there.

AbbyShot frock coat - sneak peak

One of my readers has sent me a sneak peek photo of the upcoming AbbyShot cashmere frock coat.

All it shows is the back, but from what it shows it looks pretty good.

If I was to be picky the cuffs aren't vented and the back split is too high, but the main hurdle - the fabric - looks like a good match to the original.

It is certainly strides ahead of the amateur effort being offered from China, and out classes the cheap (but sold dear) choice of material from Magnoli Clothiers.

We await a view of the front, so I reserve judgement until that is revealed. But in the meantime, looking good!

Cashmere Frock Coat - adding a corduroy collar to a found coat

Finding an exact copy of the Cashmere Frock Coat worn in series 7b is a near impossible task.

The cut of the coat may look pretty standard, but it is to an old fashioned pattern, so try as you might you won’t find a match on any typical high street anytime soon.

Don’t get me started on the fabric used, as you really won’t find anything that comes close to matching its weave and look.

That said a number of canny cosplayers have found three-quarter length smart coats which block out the shape and style of the Frock Coat pretty well. They aren’t 100% right, but once worn with a bow tie and waistcoat and brandishing a sonic - the effect comes together!

But the one thing they rarely have is a purple corduroy collar. If they do come with a contrasting collar it is often black and nearly always velvet.

A good friend of mine has sent me one such coat and has asked me to revamp the collar with some appropriately coloured corduroy fabric I have left over from making my own screen accurate coat.

As you can see, this coat has a black velvet collar, over which I am going to wrap my purple corduroy fabric.



Applying this is actually very easy - so long as you know what you’re doing.
Here is how I did it, pulling in some of my hand tailoring skills to give it a professional finish but using surprisingly simple techniques.

All it involves is CUTTING, a bit of MACHINE STITCHING and then a little HAND STITCHING to finish it off.


CUTTING
First we need to work out how much cloth to cut.
Lay the collar out flat and measure the length, adding 2 inches for either end.
Then measure the height, adding an inch above and a good 2 inches below.

I then cut this in corduroy - 20 x 6 inches in this case, making sure the lines in the fabric run parallel the shortest edges.


MACHINE STITCHING
Next I lay the corduroy right sides up and position the collar right sides up also with the edge of the collar close to the edge of the fabric.
A coat collar often has a gentle curve to the edge. Don’t worry about this - just lay the collar flat.
I pin the collar points, and the space between. Notice the pins are at right-angles to the collar edge.

I then sew along the collar, roughly 1cm from the edge, following any curve or shape it may have.
I start on the corduroy, catch the collar, then overshoot and finish on the corduroy the other end. This helps anchor the stitching and will not show.
With the pins at the angle they were, I was able to sew without removing them and avoided the machine needle breaking if it were to hit the pins.


I then return to my cutting mat and trim the excess corduroy along the length of the collar. It’s best to leave as much fabric beyond the collar points for now. it can always be trimmed later.

Next I need to press the fabric around the collar to bind the edge.




First with the collar right side up, I flap the corduroy underneath away form the collar, pulling it tight along the stitched edge and firmly press. I am pressing from this side so the pile of the fabric doesn’t get crushed.

Then I flip the collar over and wrap the corduroy back around the collar edge, binding it. This needs to be folded nice and tight then pressed firmly. Again, I am pressing from the back to protect the public side of the fabric.

Now, this coat has a line of machine stitching along the roll line of the collar. You can see it about an inch up on the black velvet.

I am going to use this to my distinct advantage as you will see later, but first I must establish the edge of the gorge - the join between the collar and lapel leading away from the notch.

I fold the corner over to match the angle of the velvet, then cut away the excess to give me approx a 1cm seam allowance to fold under.
I do this at both ends and pin along the machined roll line, keeping the fabric flat and tight form the already sewn edge of the collar.

On the underside of the collar I can see the original line of stitching, so I sew along this, overshooting a bit at each end. I will then unpick the stitching back to the exact edge of the corduroy and tie the ends off neatly. This is easier than trying to second guess where the fabric is on the underside of the work.

That’s the last of the machine stitching needed to do the collar, and what you should have is the corduory bound around the long edge of the collar; the fabric attached along the machined roll line; the edges folded under along the gorge and caught by the machine roll line stitch; and rough fabric along the bottom edge with two points at the collar ends.

HAND STITCHING
All of the rest of the collar is now hand stitched, but it is really simple to do.

First I trim the excess along the bottom to give me a 1cm seam allowance which I turn under to match the neckline of the existing collar. I pin it in place.

This is were sewing the roll line pays off.

The public face of the collar has already been secured top and bottom and I am now only tethering the one inch or so along the neckline.

I now hand stitch the corduroy to the coat around the neck line, from notch to notch.

This is the most time consuming part of the job - but once you get going it doesn’t take too long really. You don’t need to make the stitches too close together, say around 3-5mm apart is fine.
The corduroy can be quite forgiving and you should find your stitches disappear into the pile of the fabric.

Now the simplest and cleverest part of the job. I always like how easy this is when I am tailoring a jacket.

With the collar face down, fold the excess which forms a sort of tab around the front edge of the collar and press very firmly.

Cut away the tab, leaving a 1 inch flap.
Inside the tab trim away any excess of folding to stop bulking.




Then carefully stitch the tab down to the under collar (usually a felt fabric) making sure you do not come through to the front.

One final press of the whole collar FROM THE REVERSE SIDE - don’t go pressing the corduroy or you could ruin it - and you are all done!

Hopefully you have found this quite a simple change to make, but a very effective end result.

Compared to how it looked before, it makes all the difference to cheap coat for the budget cosplayer.

Just so you can see, here is before and after.

If you gave this a go I’d love to hear how you got on and see your end result.
Drop me an email to tennantcoat@me.com 
to share your experiences.