In last month's article, we re-created Daniel Kops' distinctive 1906 corset pattern by referring to his patent and draping the pattern on an Edwardian-style mannequin.

This month, we will use a different method of patterning and drawing to re-create the design for a specific “real life” model.

The method used was a very different challenge to last time, and has raised some intriguing possibilities.

 

Patterning for the Model

In order to re-create this design for a specific real-life model, I decided to follow option 2, as outlined last month. To re-cap, the options for patterning were as follows:

1) Work out a basic rectangular framework (of bust, waist, hips and so on, the vertical distances between them, and the front/back distribution of those measurements, from a particular model/body), sketch an idea of the pattern pieces into place, and push the proportions about with numerous mock-ups until it worked. This is my usual method of pattern drafting, but for some Edwardian styles it seems counter-intuitive.

2) Refer to antique texts to create an historically appropriate bodice block, which I would then draw my pattern pieces onto. As an alternative, Robert Doyle's book "Waisted Efforts" can be referenced.

3) Use an adaptation of the Body Contour method of drawing a pattern, by draping directly onto my mannequin.

Option 2 allows me to work directly with the model's body, whilst also exploring basic bodice block patterning and a technique that may have provided the grounding for Kops' original patent.

 

The Model

As I am making this experimental toile to fit a particular body, it makes sense to assess that body first.

"K" (my gorgeous model!) has worked with me many times before and is also a good friend. Having fit her in standard sized corsets, bespoke corsets, and toiles, I have a fairly good idea of how her body behaves. Key notes are as follows:

• Natural hourglass figure.
• Very malleable mid-section.
• Slightly slouching posture.
• Heavy forwards bust.
• Slight sway back.

What this tells us is that the S-curve corset is ideal in some respects but not in others.

Her natural cinch and hourglass figure tells us that a dramatically curving waist and rounded hips will suit her well. As you can see in this bespoke test piece that I made for "K" over a year ago, dramatic curves are definitely possible! She naturally holds, however, a rather more "Victorian" than "Edwardian" posture.

Figure 4: "K" in a bespoke test corset	Figure 5: Here you can see that dramatic curve on the side seam.

 

Drawing the Pattern in Three Dimensions

We are going to produce a closely fitting bodice block, which will act as the basic layer upon which we will sketch our pattern pieces. These pattern pieces will then be traced or cut from the block and used in the creation of a flat pattern. The resulting patterns from both this month and last will be compared so that we may decide where to take this project next.

You can follow any number of drafting methods to create a bodice block, but for this project I have chosen to use the instructions from The Scientific Tailor with some ad-hoc modification. This is a 1904 text, which places it very close to our 1906 corset patent.

Other Drafting Options:

•  A 1902 text called the Twentieth century instruction book; artistic ladies' tailor system.
•  The Keystone Jacket and Dress Cutter from 1895:
•  The directions from Robert Doyle’s Waisted Efforts.
•  Any modern bodice block, such as page 13 of Pattern Cutting for Lingerie, Beachwear and Leisurewear by Ann Haggar.

Always check whether the directions/measurements you’re using are meant to be close-fitting or have ease built in. We don’t want any ease in our block.

As we have seen when draping this design, the corset is actually more simple than it first appears. It certainly seems possible that it might have been based upon a bodice block. In the first instance, other Kops patents make use of a two-layer construction, wherein the under-layer seems to follow rather ordinary vertical seam lines, much like a bodice block that has been tightened at the waist. For example, in a 1903 patent (figures 7 & 8 below) Kops states that the corset is composed of two layers, the “single-ply light-weight fabric” (page 1, line 56) of the under-layer providing the basic shape, with the “overlying or heavy fabric b composing the surface of the corset” (page 1, lines 64–65). This also gives us another manner of constructing our corset to consider for later on (ie: two non-identical layers, with the bones sandwiched between). Our particular 1906 patent, however, states that the corset is “single-ply”, which I take to mean as being constructed of only one layer.

Figure 7: The top layer of a 1903 Kops patent, no. 12,120	Figure 8: The under layer of a 1903 Kops patent, no. 12,120

 

Now, in thinking about this bodice block I must confess my heart sank a little. Draft the block, fit it, draw the pattern, trace and true the seams, then add in the waist reduction and do numerous mock-ups… it seemed a rather lengthy process when I know that we all want to see quick progression! I was, however, given a wonderful helping hand by fellow corsetiere (and Foundations Revealed writer) Laura Loft, who suggested taking the waist reduction from the block in the first instance, ie. by making a block/corset! By doing this we are a step closer to having a corsetted silhouette and may by-pass the difficult process of taking reduction from such an oddly shaped flat pattern.

 

Drafting the Block

Now, the directions and images from “The Scientific Tailor” don’t provide the most straightforward of instructions, plus I was working with, effectively, “model-provided” measurements which I didn’t have a chance to verify. I won’t paraphrase the drafting directions here, as I did end up diverging from them due to equipment constraints, but it is a good text to look through.

Here are some key points to have in mind if working from these (or any other historical) instructions:

• The silhouette you’re aiming for is very much “of the time”. By this, I mean that the bodice block you are drafting is meant to be worn with the appropriate underpinnings. The beautiful slope of these historical drafts seems to be in no small part as a result of the corsetted waist that the measurements would have been based upon. If you wish to create your bodice block without a cinched waist, it will look rather different. Further, a bodice block from 1860 may not help if you hope to create a corset in the style of the 1900s.
• Some instructions account for differences in posture, whilst others do not. Take “The Keystone Jacket and Dress Cutter”, for example. Directions and images are provided for ordinary, stout, erect and stooping forms, as shown in Figure 9.
• Ensure you check the measurements required by the draft. The way we ordinarily take measurements isn’t necessarily the way in which your antique system will suggest you take them.
• Some methods will require particular pieces of equipment that you may not have. For example, “The Scientific Tailor” requires a curve rule marked with letters as shown in Figure 10. I do not have one of these, so I only followed the directions to a point. If equipment is a concern, try following a modern bodice block, as it will generally only require a set-square and possibly a French curve.

Figure 9: Left to right: “stout”, “erect” and “stooping” blocks from “The Keystone Cutter”

Figure 10: The equipment of the time, as required by “The Scientific Tailor”.

 

 

With all that in mind, I began by following the directions as closely as I could. At certain points such as the hips and darts, however, I decided to work intuitively. As I had taken some reduction from the waist measure, I felt it would be best to shape the lower portions as I may shape them on a regular corset pattern. I also broke up the front and back halves into two pieces each respectively, as a full-length seam made more sense to me than a dart.

Figure 11: My model’s bodice block pattern.	Figure 12: An example block from “The Scientific Tailor”. You can see where my shaping (especially below the waist) diverges from that in the book.

 

Once this was done, I took a second to look it over and try to visualise any possible issues we might have.

They were as follows:

• The block obviously comes over the shoulders. For your own designs with high-backs, attached collars, straps and so on this may be a wonderful way of creating patterns, but in this instance it is a rather moot point. As our 1906 design is a mid-bust corset, I am not especially concerned with the fit above the full bust.
• The centre-front is gently curved rather than straight. This curve begins just below the full bust, whilst our 1906 design has a completely straight front with no seam or curve at this point.
• Our seams are obviously in the wrong places. Once the drawn pieces are cut and laid out, they may not lay flat. We will need to consider this when sketching out the design.
• The centre-back also follows a curve. This may work out fine for the final pattern, but it does restrict how you may construct the corset (ie: you would be obliged to use a separate rather than an extended facing at centre-back). For my part, I intend to straighten this line out.
• Our waistline is horizontal, whilst the 1906 design seems to feature a waistline that slopes from high up in back to low in front (contributing to that Edwardian posture). Will this have an affect on the final fit and shape?
• The dart in the first panel will definitely land within the first piece of the corset pattern. The first seam may also prove a problem.

 

Figure 13: The pattern pieces with ½” (13mm) seam allowance. I traced out the bodice block pattern, adding a ½” (13mm) seam allowance throughout. (Apologies for piece 4, I cut the wrong line and so the shoulder has no seam allowance on the paper pattern!).	Figure 14: The steamed canvas with traced pieces. I then prepared some canvas, traced the pattern (adding the forgotten seam allowance!), and cut 2 of each piece. You can see that I’ve ignored the first dart in favour of a hopefully flat front.
Figure 15: The cut canvas pieces. These pieces were stitched with the seams pressed open and then stitched down to create boning channels on the side seams (not a technique I would use in a proper corset, but quick and effective for blocks and some toiles).	Figure 16: Front of block. The shoulders were left un-stitched as I figured it might be more prudent to simply pin them in place whilst on the model in case my drafting is off or her shoulders are uneven (as so many of us do have one shoulder higher than the other). You can see how the curved centre-front creates a noticeable space for the bust.
	Figure 17: Back of block. I re-cycled two strips of grommets from an old toile, and put a flat steel on the outside of the grommets. The side seams have spiral steels to help hold the shape (though in retrospect, I did not anchor them in place properly).

 

 

Fitting the Bodice Block

As we have drafted this block for 3” (7.5cm) of waist reduction, we laced it up in the usual manner to cinch in our lovely model “K”. You can see in the images below that it may have been better to bone the block more comprehensively to give a smoother silhouette, so that’s something to consider for next time. The block was laced in place, with pinned shoulders (which actually fit better than I expected), we took some photographs, and then got to work drawing the 1906 Kops design onto the left half of the corset.

For this fitting, I let K stand naturally. This was because I really hoped to see the how the different figures and postures would create differing patterns.

Figure 18: Front, side and back of block, before sketching out the design.

 

From the front we can see that the block compresses my model’s bust a touch. Depending upon the type of corset you are creating, this may be a good or bad thing. Alter your block accordingly. Also, I was very happy that despite having to abandon the drafting instructions at various points, we do have a nice fit throughout.

The side view shows how extra steels, properly anchored, would have helped hold a smoother profile. For this experiment, I simply pulled those seams taut and looked at the fit closely to ensure it was good enough to proceed.

From the back you can see that the block will lace closed as intended, but (as those with eagle eyes may have spotted!) I laced it incorrectly in my haste and had a hard time cinching it. It doesn’t really affect this stage of the process though.

Ideally, a second fitting with a refined block would have helped, but as the mock-up will no doubt require alteration anyway I proceeded. I’m also happy enough with this block (and my knowledge of my model’s body) that any little lumps and bumps didn’t worry me at this stage.

 

Drawing the Seam Lines

Once you have a bodice block that fits your model well, you can draw out the design.

Essentially, we are once again “eyeballing” the placement of the seams and altering them where we see fit.

I drew in the top and bottom style lines, trying to create a flattering line. The shaping of the sweetheart midbust is something that I adore and, crucially for this corset, you cannot raise the bustline without altering the basic pattern quite significantly, since you would need another seam or dart in order to make the corset curve backwards over the bust. You can see how I drew the line and then decided I wanted more of a dip at the centre-front of the bust. Be bold at this stage, it’s great fun!

Figure 20: The top and bottom style lines. As shown in last month’s article, I didn’t want my central heart motif to be as “squashed” as in the patent, so I drew it more rounded and plump! This is essentially only for aesthetics though, it provides no shaping to the corset.	Figure 21: The central heart and altered topline. Now, the side-front, side-seam, and side-back were a little bit more complicated. I drew in the curving side seam first. Then I sketched in the “shield” at side-front, the “shield” at side-back (which I broke into two pieces), and the final back piece (which I merged into one, rather than the two that I had on my original drape).
Figure 22: Front, side and back of the sketched out design. If you look closely, you will see that the black lines are amended by some green areas around the waist. As my model can take more waist reduction than I drafted in the block (and we would like to create a more curvy shape), I pinched various sections and marked them in green to show where the curvier seams should go. This is also why I split the back “shield” into two pieces, as it seemed the best place for a touch extra waist reduction.

 

 

Tracing the Pattern

Figure 24: The basic “corset half”, with green sections clearly visible. The difficulty with this method of creating a pattern was anticipating whether the pieces, once cut, would lay flat. Mostly, I believe this to be down to experience and practice… the more you develop your “eye”, the easier it will be to draw out shapes that will lay flat as needed.
Figure 25: The top of the seam, spread open. Firstly, the block was cut up. Then I cut each individual piece and began tracing them using grease-proof paper, exactly as I did last month. There was luckily only one point where the fabric didn’t lay flat. This was the first panel, and the bust seam created a bit of curve that we needed to eliminate. I sliced through the seam at the top and bottom of the piece. At the top, the seam automatically spread open a touch. As the bust was already quite compressed, I felt that this ½” extra space would be fine.
Figure 26: The bottom of the seam, overlapped. At the bottom, the seam needed to overlap by ¼” to lay flat (Figure 26). Again, this isn’t a big enough change that it will cause ill-fit. Indeed, that little extra flatness at front may help in creating an Edwardian-style corset.	Figure 27: The first piece, traced out. The pieces were traced with their waistline marked, and then transferred onto a rectangular framework.
	Figure 28: The traced and inked flat pattern. As the flat pattern progressed it became apparent that the different body was creating a collection of very different shapes to the draped version.
	Figure 29: The two patterns. TOP: Pattern 1, draped on the “Edwardian” style mannequin. BOTTOM: Pattern 2, drawn on our real model’s bodice block.

 

Different Bodies = Different Patterns

The two different patterns have certain similarities and differences.

1. The central heart shape has remained approximately the same size, despite the difference in overall scale. This is mostly a design choice, but it was unconsciously done. Perhaps any larger or smaller would just look silly in relation to a human body?
2. The sloping seam of the first piece and its accompanying “shield” insert is more vertical in Pattern 2 than Pattern 1. Is this caused by my model’s ordinary posture?
3. The side panel is a very different shape in Pattern 2.
4. The lower parts of the seams on the main pieces (not the “shield” inserts) are considerably straighter on Pattern 2 than Pattern 1. Is this because the waist-to-hip ratio is less dramatic in my real-life model?
5. The second “shield” insert has been broken into two pieces on Pattern 2, to provide a bit more shaping at back.
6. The final two pieces on Pattern 1 have been merged in Pattern 2, as my model did not require a shaped seam at this point.

 

Comparing these two patterns allows us to consider how the different shaping may be used when re-drafting for other bodies.

If I wish to make this design for a person with a rather firm and straight waist, looking at Pattern 2 suggests that the extra space needs to be spread predominantly across the “shield” inserts. If I feel that a tighter fit at the side of the bust and underbust is required (in order to better support a full bust), then looking at Pattern 1 suggests that skimming a touch from the top front-most side of the first “shield” is needed. Or if I have a client with a very curved spine, I may compare both patterns and decide that the back panel really does need to be split into two pieces (as in Pattern 1) to allow for more shaping along the resultant seam.

The Effect of Posture on Design

Overall, I wonder if asking my model to hold an archetypal “Edwardian” posture would have resulted in more similarities between the patterns.

Try to visualise this example: If “K’s” pelvis were tilted backwards when I was drawing the design in place, the curve of the side seam would have fallen further forward of the block’s side seam (below the waist) than it currently does. The result of this may have been that the side panel of Pattern 2 would have looked more like Pattern 1.

Figure 30 is a photoshopped image to illustrate how the seams move according to posture.

 

On the left is the sketched design as we made it, with the model holding her ordinary posture. In the middle, is a doctored version of the image, where I have digitally pushed my model into an Edwardian posture (but not so extremely that she couldn’t do the same in real life). You can see how doing so has spoilt the forward slope of that first “shield” insert. And on the right, is the same image again, but with the original sketch faded out. A new red sketch shows how the seams must now fall in very different places in order to give a similar overall effect.

At first glance, the red design appears to be quite like Pattern 1, which is interesting. By merging principles from both patterns, we may be able to find a middle-ground that gives the desired effect and look.

 

What Next?

As shown last month, with the mannequin I could follow that extreme S-curve as fully as I wished and let that be reflected in the pattern.

With my human model, however, I needed to mimic the style and shaping whilst accepting that her posture and proportions don’t automatically match the illustrations and mannequins of the Edwardian era.

As a result, we have two very different patterns. In the next instalment, I was going to make a toile from each pattern and compare them. But now I would like to open it up to you so that you can decide where we go next.

 

Would you rather see:

1. Comparative toiles from each pattern as they currently stand.
2. A toile for the mannequin only.
3. A toile for the model only.
4. Two toiles for the model (one from the pattern as it stands, and one from a pattern altered to encourage “Edwardian” posture by referring to the red design in Figure 30).

 

I would love to make the next step of this project something that you would find useful and interesting, so do please let me know - there's a poll on the home page, on the sidebar, for you to give your opinion!

Each different attempt at re-creating this distinctive corset (or indeed, any corset) gives us a bit more understanding about its shaping and relationship to the body. In short (as with all skills) the more you study and practice, the more confident you will become with your work. So far, this project has challenged and educated me in wonderful ways, which I am very grateful for. Sometimes, annoying head-scratching problems (like not having access to the original pattern!) can actually lead to exciting discoveries.

add