For those corsetières who have decided not only to go into business but specifically to sell ready-to-wear (instead of, or in addition to, custom) corsetry, there is a special journey that must be undertaken. Developing a ready-to-wear style, from design through to the final graded patterns, can be an arduous task. For a ready-to-wear fit to be functional, it has to fit (and hopefully appeal to) the majority of your target audience. This necessitates a certain clarity of vision and careful prototyping. Ready-to-wear is not a euphemism for “too lazy or inexperienced to do custom fit”, it is its own speciality.

I developed the basic Pop Antique ready-to-wear line over the course of a semester of my MFA thesis (working under the tutelage of the incomparable Autumn Adamme of Dark Garden). In the process, some things went wonderfully well, but there were also parts of the process that could really have been improved.

I also highly recommend you read my previous piece on Line Sheets as you make your first foray into ready-to-wear development.

Why Ready-to-Wear

The biggest advantage of ready-to-wear corsetry is that you are not reinventing the wheel with each pattern, each corset. Turnaround is faster, it is easier to expand your production capacity, the price point is more accessible to clients, and the styles may be a bit more understandable. Not all clients have the time, money, or even interest in the full bespoke process. Ready-to-wear styles and patterns can be used as the basis for custom pieces. Executed properly, a ready-to-wear and custom corset line will work together, broadening the range of customers available to you.

Phase 1: Concept

The first step in the ready-to-wear process is the design concept. Are you designing a single new style or planning a line? I recommend spending some time doing line planning (again, check out my article on line sheets for a more detailed breakdown). Sketch loosely, narrow it down, refine your offerings and each individual style for maximum effect.

Map out your vision. Figure out how many styles you want to make, and define which traits of each style are solidified in your mind and what you're leaving open-ended. This is probably the one thing I most wish I had done when developing my own ready-to-wear line. My sketches and line drawings were pretty clear, but I had no written description or list of style points. I wasted time, going back and forth on some bottom edge shaping because I was working at such a breakneck pace that I couldn't remember what I'd wanted. If I had it to do over again, I would make a bullet list next to each style's illustration to clarify my vision before beginning to execute it. For example, the description next to the Valentine might read: “Soft sweetheart shaping, contoured bust, short hip, smooth/round bottom edge, angled and inverted curve seams, low back.”

Phase 2: Style relationships

Which styles are connected to each other and how? Make lists or diagrams and work out the order in which they should most logically be approached (longline or shortest styles for related seams, copying neckline or bottom edge shaping). Some that “read” as the same may need to be altered to achieve the appropriate fit (the Bombshell compared to the Valentine and Ingenue, on my line sheet). Contouring (hip and rib spring) should be adjusted for different lengths, as should the angles of your style lines. Don't think that just because a pattern is based on or related to an existing style you can skimp on testing the fit!

Phase 3: Fitting and prototyping – fit ideal

Prototyping and fitting are, of course, the most important step. But first you have to have a fit ideal in mind: measurements and proportion, vertically and horizontally, the shaping of the hip curve and rib compression. Know what you're aiming for. You have the option of having various styles fitted for different body types (bigger or smaller hips or bust, sway back, rib cage shape, etc.) or trying to make the fit consistent across the board (except for design choices such as a flat-front compared to a contoured bust). If you opt for the former, make sure this is communicated to your clients via consultations or descriptions on your website.

Fit models
Absolutely vital to a good fit is having a fit model, or several. A mannequin or pillow will not tell you how the corset interacts with real human proportions and anatomy - those pesky bones and organs are always getting in the way! Without a fit model, your goals for fit are meaningless. Note that a fit model is essentially an interactive mannequin in that she need not be the prettiest or most photogenic (not always the same thing!) of folks.

Your fit model does not have to be a perfect match for your standardized measurements. You want to get as close as possible, of course, but it's okay if her proportions are slightly different in certain ways as long as you are able to account for that in the fittings. For example, if her hips are too wide (or narrow), you just have to keep an eye on the irregularity of the gap and make sure it is consistent with the difference. It also really helps if your fit model is experienced with and knowledgable about corsetry so that she can communicate effectively about what she experiences in the corset. Not all fit problems are visible, such as uncomfortable rib shaping or pressure points at the back. A model who has experience with corsets will also know what to expect and what is worth sharing with you.

Personally, I like to have several fit models with varied body types but similar measurements. After all, that is a better reflection of what will become of your product when it is made. I prototyped my original ready-to-wear line in two sizes (20 and 24) and had three 24” fit models. They had varied bust sizes and shapes and very different posture. I also like to test my new RTW samples out by doing a photoshoot with them, because it clues me into how the corset fits on a moving body, which is vital. I am relatively close to my own 20” standard, so I like to use myself as a fit model once most of the development is done, which is quite handy, and I usually do the fit test photoshoot so I know first hand exactly what's up with the new style. Of course, it's really hard to do fittings on oneself as visibility is limited and it's distracting to be at both ends of the process, so I would not recommend this as a sole means of fit testing.

Phase 4: Fitting and prototyping – first pattern

There are several ways to derive your first pattern for a given style. You may draft it from scratch, or from a previous custom pattern. You may use a vintage patent. You might drape on a mannequin and carve out the reduction, or use 'the duct tape method'. You may use a contoured bodice block and build the hip spring onto it. All of this will depend on your own experience and personal preferences. No matter which method you choose, remember to approach this in a methodical manner.

Since I had been playing with patterns based on a RTW ideal for a while, I had a basis for my first round of patterning for the official RTW line, but I also tried to make a block – a basic, standard, unstylized pattern, with no seam allowance, for use in developing future patterns. For modern corsetry, your block will probably be a classic 12-panel vertical seamed overbust. My block has a high back and longline hip, even though most of my styles do not. Eventually I developed three blocks: one with vertical lines, one with angled lines, and one with four panels per side rather than six.

Phase 5: Fitting and prototyping – first mockup

Once you have your first pattern, it's mockup time! Make sure to cut on the grain, preferably in your strength layer fabric, or at least something that will behave similarly for an hour or so. And make sure the fabric is a light enough color for you to write on! You may include a busk if you wish, as closures can impact fit, particularly if you are restricted in busk lengths available to you. Grommets can be set directly into the mockup or you can make strips of grommet tape that you tack onto the edges of the mockup, making sure to align the edges. Mark the waistline on each panel before sewing. You may wish to sew with a contrasting thread, as it will draw attention to the shape of your panels and design of your style lines, particularly in photos. Label the mockup with useful information, such as “style name, 1st toile,” the size, and the date.

This isn't an article about fitting so I won't go into that much, but if you're conducting multiple fittings you may wish to color code your notes on the mockup so you don't get too confused. Aside from my notes on the toile itself, I generally scribble some thoughts down in my sketchbook with a to do list of changes. You may wish to have a checklist of things to go over for each style – for example, gap regularity, height and length appropriateness, ease at shoulder blades and back hip, bust fit, and of course, style lines, including the top and bottom edge shaping. This will help keep you focused, particularly if you do have to do a fitting quickly or on yourself.

Photographing a fitting
This is really an incredibly important part of the process. Aside from the posterity factor, you can reference the photos along with your notes whilst doing pattern corrections. The single most frustrating factor of doing fittings on myself is finding someone who will take photos exactly as I need them.

The camera should be perfectly level with the walls and floor – if your fit model stands in front of a door, this provides not only a clear background but a great reference point for the angle of the camera. You need only shoot from neck to crotch. I usually crouch when taking these reference photos; if you shoot from eye level, you will be looking down on the model/corset and entirely distorting the proportion and angles.

Start by taking a photograph with the model perfectly squared to the front: the center front of the corset should be perfectly in line with the pit of her neck, the visibility of the side-front seam(s) visible symmetrically. Then have your model rotate about 45º and lean your body slightly, if needed, to get a perfect three-quarter view. (For fine tuning, it's easier to move yourself than direct the model to the specific degree of rotation required.) Then another 45º turn for a profile shot with arms relaxed at the sides and also one with them up (for example, like a zombie) to reveal the underarm and side seams. Then a three-quarter view from the back, a straight on back shot, and back around so you see both sides. I usually double up on the front side in case of them came out a bit off. You should have a total of nine photos.

After you've made your pattern corrections you get to decide whether to do another mockup or jump straight to a prototype. Knowing when to do another mockup is important – as the saying goes, if you don't have time to do it right the first time, when will you have time to fix it? A mockup may only cost a couple hours of your time so if you're on the fence, you should probably just do one.

Phase 6: Prototyping

Your prototype is really going to tell you how your corset looks, feels, and behaves, because you'll make it exactly as you would make the final corset. This is also where you get to define construction standards. The additional layers and structure make a huge difference. Bust fit and comfort seem to be the particular victims of these changes, at least in my experience. A mockup/single layer construction may not hold up for a more dramatic waist reduction, but it will probably be easier to cinch into one.

As I mentioned earlier, even styles that are closely related will need to be fit tested before being released into the world. As the length of the style line changes, the required ease can change quite a bit: a waspie style corset needs a much sharper hip and rib spring than a standard short-hip corset in order to maintain the same level of waist reduction. You can't just cut down the pattern and assume it will continue to work.

Later in your efforts, you may feel sufficiently confident, for certain styles, to go straight from their precursor to the prototype without a mockup between. (I recently made an eight-panel underbust for my girlfriend from the corresponding overbust block, and I went straight from the pattern to the final piece.) See my note above about knowing when to make a mockup! Seriously. I recently wasted time and materials by skipping on a second mockup for a personal corset when I'd already rushed the fitting a bit and had some not insubstantial changes, and it's really frustrating to know that I will now have to do another mockup anyway AND remake the whole corset.

The first prototype is not the end of the road. Depending on the complexity of the style and whatever subtle underlying problems may exist in your pattern, you may have to prototype again and again. And that's okay, because chances are that most of those samples are at least salvageable for sale, and they'll make development of future styles go that much easier because you've either already fixed certain issues (if the next style is derived from the same pattern) or you know what to look for and what to do about it if it's an unrelated style. In prototyping, you may fix one problem but create another, or you may overcorrect. You may just want to continually refine, particular with design elements such as the exact shape of the hip spring or edge styling.

My ribbon corsets were a bit odd to pattern and construct, but I think it only took me about three prototypes to arrive on the final fit, with most of the revisions being very tiny. Another pattern I have is currently on its sixth edition, and I hope it stops there. The Valentine, on the other hand, seemed to come together even more easily than the ribbon corsets.

As you go through the prototypes, make sure you are staying on vision. If you stray, do it with intent: does something about the style need to change for it to be more marketable/make more sense in your line/work better? This is why clear sketches and notes are important. Don't rush yourself. As soon as I was done with my semester of prototyping, it seemed insane. It was pretty amazing in that I did get a lot accomplished very quickly, and it gave me time to focus on designing a collection for the second half of my thesis, but some things got lost in the process.

As you grow as a designer, you may become aware of a fit issue that had previously been a blind spot. Be willing to continually reassess your patterns as you learn and become aware of various fit or construction issues.

With all these prototypes, of course, your sewing will improve. You'll get used to the quirks of each pattern. Be sure to keep an eye on how long it truly takes to construct each style; you'll need that information for your costing.

Grading

Grading is an issue in and of itself, on which I would like to write an entire piece. Suffice to say, as the corset size grows, certain changes tend to and must occur. Models and standard size fit models are harder to find for the particularly curvaceous sizes (roughly 30”+ corset size) but you can use your skills of observation (and your measuring tape) on people you know to make some educated generalizations. Generally speaking, you should start with a common/median size, and then grade up and down from there. I originally had thought to grade all my patterns in the same semester in which I prototyped them (hahaha!), which of course was impossible. I am now glad that I didn't bother, as I have been continually making small refinements here and there as needed and it would have been an incredible waste of time and tag paper.

Prepping for sale

Now that you know what you're making, you need to assign a price and make the corset available for sale. This is mostly tying up of loose ends so I just want to touch lightly upon it. I won't go into costing beyond saying that you really need to do it. I've already written a full article on it, which you can read here. This is not optional, it's a necessity if you want to run your business like a business.

Whether selling on Etsy, your own website or anywhere else, you will need an illustration and/or photo of the style. A strong photo will sell the style much more than just a technical drawing, but the technical drawing will explain the cut more clearly. Again, Foundations Revealed has a couple articles on putting together a photoshoot. Personally, I find that photoshoots are a) great fun, b) exponentially more challenging to coordinate (and time-consuming) as the team gets larger, and c) a great kick in the pants to my procrastinating muses - with a date on the calendar, I have a real reason to buckle down and make a sample or several that represents the final product.

In Summary

Ready-to-wear corsetry can be a really thrilling and satisfying challenge. Developing ready-to-wear is a time-consuming task, which should not be rushed or taken lightly. The more time you spend on it, the more successful your line will be. Be careful and deliberate, and don't skimp on fittings and prototyping. A great fit model is a wonderful asset.