My boro-inspired top was my first-ever attempt at making a jacket. It was both easier and harder than I expected.

I already wrote about why I wanted to make this jacket, and what it means to me. Many people asked me about the making process, however, so today I want to share the technical details: the steps I followed, the many mistakes I made along the way, and what I learned from them. I hope this post will inspire you to make your own jacket!

The Pattern

I knew I wanted to make a kimono-style jacket, so I started by combing Pinterest for inspiration and patterns.

I quickly realized that classic kimonos are made out of simple rectangles sewn together. Some have narrowing sleeves, and that’s what I decided to go for. For the body, instead of the regular, straight rectangle cut, I chose an A-shaped one (also typical to classic kimonos), hoping it would be slightly less boxy.

The Measurements

For measurements, I took a few of my store-bought jackets out of my closet and measured them with a measuring tape. I was surprised to discover that although they were all the same stated size, their actual measurements varied greatly. Yet, they all fit, somehow. So I settled on a specific width somewhere in the middle (measured from underarm to underarm), and spent some time calculating the rest. My daughter suggested making the sleeves extra long, so they could be folded. I therefore added a few inches to the sleeve length.

The Foundation

I cut and sewed the entire piece out of a pretty flannel-like fabric I had in my stash, to create a foundation layer. That was my canvas.

The Patching

My sewing room wasn’t big enough for this project, and therefore for the next several days I took over our living room floor. I lay the foundation piece down, and started arranging patches over it, much like I did with my artsy pouches. I used mostly pieces from tattered pants belonging to family members, but also added a few vintage Japanese fabrics I bought in Nara, as well as matching bits from my stash. For the back, I chose a central panel I found at FabMo a while back.

When organizing the patches, I tried to balance the colors, tones and patterns as I do with a quilt or bag. Once I was happy with an arrangement, I pinned the pieces down.

I went on doing this for several days, arranging, moving, rearranging. Finally, I finished covering the entire foundation, and was satisfied with how it looked.

I moved the entire mess out from the living room and back into my sewing corner, to my family’s great relief!

The Sewing

The next stage was machine sewing the patches down onto the foundation fabric. That was when I realized my first mistake. I secured most patches on with one or two pins. When I tried to put the large mass of fabric on my sewing table, I had to fold it into a bundle so it would fit. The patches folded and moved, and the pins caught other pieces/layers creating a huge, uncontrollable blob of very heavy fabric…

Untangling the whole thing took quite some time, and was accompanied by words unfit for print…

If I were to ever do this again, I wouldn’t sew a foundation for the entire garment. Rather, I would cut and patch each individual piece separately, before putting them together in the end. Also, I would probably use safety pins, and more than one or two per patch…

I sewed and zigzagged around every single patch, much as I did with the artsy pouches. When all the patches were securely fastened onto the foundation, I embarked on the fun part of the project: hand stitching.

Hand Stitching

I used both pearl cotton thread and embroidery floss, and covered the patches with a web of Sashiko-style stitches. I took my time with this, doing a bit each day. My hands still hurt from stitching through the thick fabrics of my latest art quilt (and from lots of spring pruning), so I didn’t want to over-do it. I stitched for about a week and a half, enjoying the quiet moments, the meditative nature of the slow work…

The hard part was deciding when to stop. Which patches needed more stitching? When is enough enough? Can there be too many stitches?

The Lining

When I started this project, I wasn’t planning to make a lining. I thought that the foundation layer would function as the inside of the garment. That’s why I chose a nice fabric for that. But as I was working, I realized that the inner fabric doesn’t go too well with the outer layer. Also, it didn’t look great with all the stitches visible. So I decided to add a separate lining, and happened to have the perfect fabric for that: a beautiful red cotton with an Indian-like pattern.

Taking a break from stitching, I cut and sewed the lining. I tried it on, and … nearly had a heart attack! When my arms were up, you see, it was absolutely perfect. But when I put my hands down, the sleeves under the armpits scrunched terribly!

I calmed down only after consulting with fellow-sewists in some of my Facebook groups, when I realized that that’s just the way it is with kimonos…

Were I to do this again, I would consider a more fitted, Western-style sleeve, to eliminate some of that bulk. This is less noticeable with thin fabrics such as silk, and more so with thicker fabrics.

Putting It All Together

I could hardly sleep the night before I sewed it together. I was excited and anxious all at once. In the morning, I drank enough coffee to make sure I’m fully awake, then pinned everything together with shaking hands. I didn’t stop to take pictures. Putting the outer layer and lining right sides together, I sewed as if this were a bag. With lots of experience attaching bags to linings, I thought I knew what I was doing… I left a “birthing” space as I would in a bag, and turned the entire thing right side out.

That was when I discovered that jackets can’t be sewn like bags, and that I made a big mess out of it… I almost laughed, it was really quite ridiculous! Except I was too upset and almost cried…

Were I to do this again, I wouldn’t assume a jacket can be sewn like a bag… I would do my homework first, and learn how to attach a lining to a jacket BEFORE actually trying it…

Seam Ripper to the rescue. He was my best buddy that morning. We spent a LONG time together, he and I.

I ended up sewing the sleeve ends together by hand. I just couldn’t figure out how to do it right on the machine, and it was quicker that way. It also felt like I had more control.

Were I to do this again, I would certainly make sure I know how to do this correctly BEFORE I actually start… Spending a little time on research would have saved me the LONG time I spent unpicking…

Still, I finished my new jacket! It feels solid and heavy. The lining feels great on the skin. It’s warm! And it has long sleeves I can fold, to give it the cute look my daughter wanted it to have.

Things I’d Improve

Were I to do it again, I would change the shape of the collar to a straight line or a “v.” The collar as is sits a bit strange. I would also add a pocket or two. I decided against pockets as I was designing it, mostly because I didn’t want to detract from the patches and the Sashiko stitching. However, I regretted that decision the very first time I wore it… Lastly, I would make the jacket a little bit wider (underart to underarm). It fits me perfectly, but is too small for my daughters, who are just slightly bigger than me, eliminating future hand-me-down options…

This jacket took almost two weeks to make, but I really enjoyed the process, not to mention the end result. I hope it inspires you to make one for yourself! If you do, make sure to show me a picture!