Tibetan Panel Coat haute couture (Folkwear pattern)

I bought the Tibetan Panel Coat pattern in October, during a promotion at Folkwear. It’s an interesting pattern brand with some very unique designs. I’ve been following it for a long time, but it’s only in the last year or so that Folkwear has taken the PDF step more resolutely.

And as I already had a serious desire for a sleeveless jacket or waistcoat… well, planets aligned.

And voilà, the 1st project checked off my list of 2023 sewing projects!

The Tibetan Panel Coat pattern

The Tibetan Panel Coat is a traditional Tibetan sleeveless coat or jacket pattern with a neck band that extends to the hem.

It is made up of panels of contrasting fabrics which allows you to play with at least 4 different fabrics + the lining (as shown in the diagram)… or possibly fabric remnants. 

Folkwear is a brand of sewing patterns based on authentic vintage and folk clothing from around the world. As a result, the pattern tends towards an authenticity that does not always correspond to modern (and practical!) sewing methods.

The pattern includes a full booklet on the history of the garment, explanations of how to create the traditional stamped pattern, and notes and pattern pieces for hand weavers who would like to weave their own fabric before sewing it (all you have to do is shear your own sheep and you’re done).

Instructions and pattern pieces are also provided for making an optional simple lining. This lining eliminates the need to finish the seams.

The pattern only includes 3 sizes S-M-L and no sizing chart… So eeny, meeny, miny, moe.

The pattern sheet is available in A4 (60 pages!!! Arg.) but fortunately also in A0 version, in 2 sheets though.

＼(º □ º l|l)/

I took advantage of my visit to the CSF to have the pattern printed at Pattern For You who had a stand and a plotter on site. Convenient and almost not too expensive: 9€.

The (tedious) sewing of the Tibetan Panel Coat

The sewing of this Tibetan Panel Coat was not exactly easy peasy. Partly because of my fabrics, but mostly because of the pattern (or so it seems). 

My brains were badly overworked trying to solve the puzzle and my elbow tendonitis was back in full swing from pulling layers of fabric under the presser foot.

First, considering the Tibetan Panel Coat’s fullness, I didn’t really do eeny, meeny, miny, moe and I went for a size S by removing 25 cm of length. 

Next, in order not to lose the amplitude of the bottom and the slit on the side, I redesigned the pattern pieces by cutting and gluing.

Then I did a bit of Tetris and cogitation to choose which fabric would go where. Well, mostly which one would fit in which pieces.

And I also added pockets in the seam between the front C and D pieces because frankly… a jacket without pockets. Nonsense.

The upper waistcoat

When you see the diagram and the photos, you might think that the vertical panels stop at the velvet “waistcoat”. But they don’t.

The waistcoat is in fact intended to be overlaid on the panels that go up to the shoulder. The “waistcoat” is therefore optional. Although it is not mentioned anywhere.

As it is, the instructions call for the waistcoat to be layered with tuck-in seams that need to be sewn by hand.

As a result, on some of the other seamstresses’ versions, I could see a mismatch between the edges of the waistcoat and the seams between the panels… which I found quite curious before I saw the assembly instructions.

So I changed the order of assembly to include the edges of the waistcoat IN the seams of the panels to line everything up just right.

And for the bottom, I added a piping to finish my tucked in edge and machine sewed to secure all the layers.

Which worked except that I noticed another mismatch on the armhole where my waistcoat was sticking out by about 2-3 cm.

Yeah, still… it’s not a small discrepancy.

So I left it like that, waiting for the lining.

The lining

Although the lining is mentioned as optional, I quickly considered it essential given my fragile gold jacquard couture fabric.

But I had a slight problem understanding how and if the lining was supposed to go with or without the facings.

The pattern is quite obscure on the subject with a “and/or” to know if it sews with or without the facings. Of course, you draft a lining differently if you have to take the facings into account or not.

That’s when I seriously started to compare and measure all the pattern pieces.

Apparently, the answer is that the facings and the lining are to be used separately.

But also that there are matching problems between notches, between the lining pieces and the main pieces or even on the facings with discrepancies, different angles…

Of course, it is quite possible that I have not understood the subtleties of the pattern. I am not a professional pattern drafter.

When in doubt, I redrafted all the lining pieces… and the facing. Because yes, I did sew both ( when I tell you that I’m not being contrary).

Again, given the nature of the fabrics used, this was inevitable.

Finally, some fusible interfacing was also involved in this project, but I can’t remember where.

Conclusion

I’m quite happy with this project even if it’s far from perfect. 

Mind you, I think my Tibetan Panel Coat is super chic and I really like wearing it… but the corners are not very square and the left side is twisted… but maybe I’ll submit the problem to the talented Thread and Neddles community at the end of the month. Maybe someone will have an idea.

The jacquard is also very fragile. I’m afraid it won’t last long.

That said, it is warm (thanks to the wool and quilted velvet) so it fulfils its original purpose perfectly.

In short, I love it and, despite its originality, I find it rather easy to match with my outfits, be it dresses or trousers.

Well, I feel like I’m becoming less and less structured in my speech and every other word is on the tip of my tongue… so I’m going to go to bed and I’ll see you next week!