Don't tell anyone.
I have some much nicer wool for my next version of this jacket. As for this fabric, well, let's just say that a crochet hook to pull the most egregious of the nubs and loose threads through to the side I've deemed to be the wrong side is The Sewing Lawyer's best friend.
Murphy was in the sewing room, however. I did 3 perfect practice buttonholes yesterday, and 3 perfect ones today. Guess which ones were not perfect? That's right, the last 2 I tackled, the ones closest to the top, and therefore the most visible.
|Fixed the top buttonhole|
I thought not.
A few more bits of information about V8804.
If you are worried about the printing error in the undersleeve, I don't think it's necessary. Apparently the piece was supposed to be graded for the different sizes, but in the first printing the piece is a straight one-size (14, I believe). The differences must be very minor because I have had no problem with the ungraded piece.
The back neck interfacing is marked with a bias grain line but in the printed instructions, it says that this piece (unlike the sleeve and body hem interfacing pieces) should be cut on the same grain as the main piece, i.e. not on the bias. Claire Shaeffer herself (via FaceBook) says it doesn't really matter. Really? Then why so specific in the instructions? I cut it on the straight grain.
The shaping in the fashion fabric is done by steam so that the outer layer mimics the inner one, in which darts are actually sewn. By hand. After the two layers are attached with the lines of machine quilting. I haven't done this step yet. I'll let you know if it's physically possible.
The only shaping done before the quilting step is the side seam bust darts, which are not actually darts, in the fashion fabric. You do a dart stay in interfacing, and then ease the fabric to conform to it.
I secured the dart stay with machine stitching along the grain of the fashion fabric, figuring that it would be invisible. It is.
Finally, please admire the constructed sleeve. See the crazy grain placement?