Brooke, how did you get started in corsetry? Where did you learn your techniques and skills?

“I started with a love of costuming, both historical and fantasy. Hallowe'en has always been my favorite day, and my family had a difficult time getting me to wear "normal" clothing when I was young. When I finally decided to take the plunge on my first historical project, I chose a full Civil-War era gown, complete with undergarments, because the shape of the dress was just as important as the style and fabric. I started with the corset because it was the most complicated looking piece. I was so in love with it by the time I was finished, I never did move on to any of the other garments. I've made corsets exclusively ever since.

As for my skills, I was taught to sew by my Great-Aunt Nellie, my Great-Grandmother's sister. She was an incredible seamstress, although far too modest about her capabilities. She made almost all my clothes when I was young, and patiently taught me the techniques I needed to start sewing for myself. My corset making skills, however, are my own. At the time when I was experimenting with the methods I felt yielded the strongest, tidiest-looking corset, there were no corsetry resources readily available to me. So, I did it all the hard way. It took me about 18 months of full-time work to come up with a corset that I felt was of such good quality that I could feel confident selling it to someone, let alone one that stood up to my own personal brand of abuse!”

How many, and which measurements do you take from each customer (for an overbust, let's say) before beginning the drafting process?

“It varies, actually. Most of the time, I ask for 8 measurements. I ask for underbust, waist, and hip, along with their cup size. I then ask for the height from the middle of the breast to where they'd like the top of the cup to fall. (This ensures they get the coverage they're comfortable with.) I then take the height from the underbust to the waist, from the waist to the hip, and then from the hip to the crotch. I generally request a client to send me photos of them in clothing that doesn't constrict or obscure their figure. If their figure is fairly proportionate, the 8 measurements are enough to produce a good mock-up of their corset. If they have some areas of their figure that will require special attention, I will ask for additional information. And of course, this process is infinitely easier on me (and the client) if they can come into my shoppe for a fitting!”

How precise are you (especially in terms of measuring)? To the nearest quarter of an inch? Half inch?

“I'm a stickler for precision, especially when it comes to corsets that are to be worn under tailored clothing or those that the client wants to fit perfectly but still have it lace all the way closed. In those cases, I'll take it to the nearest half-inch. There's a little more leniency when it comes to corsets that are stock sizes, or that the customer is going to use for waist training. When those are the case, measurements to the whole inch, or even within two inches are mostly acceptable.”

Why do you prefer twill for your strength fabric?

“I love twill for a number of reasons. Firstly, it's 100% cotton, and its breathability is more comfortable for the wearer. Secondly, it's very strong and retains its shape because of its diagonal weave, but it's quite lightweight when compared with canvas, denim, duck, or even most coutils. My construction technique requires two layers of twill in order to form the casings for the bones as well as for the overall strength of the corset, so I can build a corset with the fashion fabric, two layers of twill, and a lining (usually cotton) without added bulk.”

Why do you always choose to have four layers? I realize this makes your corsets more sturdy, but are they always necessary, and are they not too hot for the summer?

“I use a four-layer method because the twill gives great strength without unwanted heaviness, and because I love the way the casings turn out. With a four-layer construction, the main casings of the corset are eight layers thick! In the 10-plus years I've been a professional corsetiere, I can truthfully say I have never had a customer come to me because the bones of her corset have popped through the casing. As a matter of fact, I've only had one corset come back for repair. After two years of hard daily use, the laces had rubbed through the fashion layer of fabric. Everything else was still rock-solid. The two layers of twill help keep the corset cool to wear in warm weather by wicking away the heat. As a matter of fact, if you want to maintain comfort in the summer months, avoid lining the corset with silk or satin. It's like being in an oven!”

Why do you prefer your boning channel method as opposed to rolled edges or external casings?

“I never cared for methods that create casings by rolling the edges of the panel pieces, nor for those that use additional strips of fabric to create the casings. Those were the methods I started with when I was in my experimental stages, and I disliked that it seemed to make the channels bulky, or worse yet, ran the potential risk of having the bones escape. By my eye, the raised ridge took away from the aesthetics that were important to me, most notably the quality of the stitching and the smoothness of the silhouette. With my method, I double lock-stitch the seams between my panels. Then, I press open (butterfly) the 5/8" seam allowance of my panel pieces. I then pin or prick-stitch through that seam, aligning it with the corresponding seam on the inside of the corset. Finally, I top-stitch down each side of the seam, which forms the casing. It's probably one of the most taxing methods out there, but the casings are incredibly strong.”

What techniques have you experimented with or want to experiment with?

“I've experimented with every technique I could get my hands on! Some day, if you publish an X-rated version of this magazine, I'll tell you how external casings exponentially increased the boundaries of my vulgar vocabulary.”

I personally have issues with making grommet holes with my awl--they tend to come out not so perfectly aligned--any tips, techniques, or secrets?

“Nix the awl, honey! Get yourself a good quality rotary hole punch from a leather supply store. With a punch, you have more control over the alignment, and the hole doesn't wander off to the side when you set the grommet. The smallest setting is perfect for setting busk studs, and the largest for size 00 grommets. Popular argument suggests that punching out a hole in the fabric weakens it, and you risk having your grommets rip out of the corset. That's untrue, so long as the hole is the same size, or a little smaller than the shank of the grommet. If your grommets are pulling out of the corset, they're either sub-par quality, or you don't have enough layers of fabric under them.”

If there is one book you would recommend to improve one's corsetmaking and/or sewing, which would it be?

“I cannot recommend a corsetmaking book, because I'm self-taught and have never read one. However, I will never part with my 1976 edition of Reader's Digest "Complete Guide to Sewing." (UK/European readers, click here instead.) I inherited it from Aunt Nellie, and it covers a staggering amount of material in very simple terms, and with excellent illustrations. It far outstrips any other "Complete" book, and it's still being printed with current revisions, and at an affordable price.”

What do you think is the ideal spacing between grommets?

“At the waist of my corsets, I put four sets of grommets at half-inch intervals. This helps distribute the strain in that area, and gives the wearer the opportunity to move the slack of the laces up or down, depending on where it's most comfortable for them. The next few sets are at one inch intervals, and as you get to the edges of the corset you can space them out to 1½ inches. There usually doesn't need to be as much grommeting at the bust and hip, because those areas are not cinched as tightly as the waist. Also, the more boning you have on either side of your grommets, and the closer those bones are to the grommets, the fewer you need to use. Use your discretion, of course. I prefer to reinforce the back of my corsets with ½ inch white bone on the outer edge, and a double thickness of ¼ inch white bone on the inner side. It takes the stress off the grommets, and gives the client excellent back support.”

How do you accommodate for the almost inevitable gaps above and below where the busk ends?

“When I measure for a busk, I take the total length of the center front of the corset and subtract one inch. (3/4 inch if I'm feeling REALLY retentive.) My seam allowance for adding my top and bottom binding is 3/8, and this gives me the clearance I need without interfering with the busk or bones. For example, if the corset is 12" long, you want a busk that's no longer than 11". A little shorter is OK, but keep it as accurate as possible. If you fall between sizes, you can take a longer busk and grind the ends down, and dip them in acrylic paint. Assuming you're using a busk that's ½ inch on either side, you should be putting a ½ inch piece of white bone directly next to it. This helps take the stress off the studs of the busk, gives the wearer better support, and, to finally answer your question, fills in any gaps below or above the busk. When you lace the corset up, the front edges won't pull apart so much.”

What is your favorite fashion outerlayer material you have ever worked with?

“Dupioni silk is always a winner. It has a very straight grain, comes in eye watering colors, and is a dream to sew. For novelty's sake, though, I just finished a corset that was covered with the frilly ends of reproduction vintage hankies. That was a hoot!”

What is the most problematic fashion outerlayer material you have ever worked with, and do you have any tips on working with said fabric?

“Naturally, you want to avoid anything that stretches! For me, and I think other corsetieres will agree, satins, especially Oriental-style brocades, are notoriously ill-behaved. They are difficult to keep on a straight grain, and will almost always result in a wrinkly, crooked corset if you don't apply a fusible interfacing to the back before you begin cutting.”

How do you finish the binding on your corsets on the inside? Slipstitching? Catching it when sewing the binding on the outside?

“Because my corsets take so long to make, by the time I've arrived at the binding, which is one of my final steps, there's little chance that I'll have the energy to hand-sew it. Unless a customer requests that I do so, I'll sew it with the machine. I use the "stitch in the ditch" method, where you stitch exactly on the seam between the corset and the outside of the binding, and it catches the edge of the binding on the inside.”

Why do you prefer historically accurate silhouettes?

“I love corsets in almost any shape or incarnation, but I feel that corsets that are of a historical silhouette have shapes and proportions that are time-tested for success; especially those from the Victorian/Civil War and Edwardian eras. Corsetmaking is a highly creative process, but I don't believe in reinventing the wheel.”

Lastly, for our readers who are or are considering going into business in corsetry, do you have any small tips in building or maintaining a business?

“Firstly, be honest with yourself about your skills. If you're unsure if your corsets will withstand the abuse your customers are going to inflict on them, ask a tightlacer to "road test" one over the course of a few months, and then ask a professional corsetiere for their critique. Be open to the feedback, both positive and negative, and be ready to make changes. Some corset makers are quite snooty because of the high-end nature of the market, but keep asking around until you find one who will really take the time to evaluate it. Secondly, your corset might be like Fort Knox, but the aesthetic of your sewing and the crispness of the finished product is just as important. Neatness counts, and it drives me insane to see a lumpy, lop-sided corset with a $400.00 price tag. Lastly, built your reputation on your quality, not your image. If you produce a superior product, your skills will speak for themselves and worthy, long-term clients will follow.”

Many thanks for your time, Brooke! You can find Brooke's websites at Dragontown Corsets and Dragontown Corset Supply.

Do tell us what you thought of this interview in the "Comments" section below. Did we ask the right questions? Were Brooke's answers useful? What questions should we ask next time, and who else would you like us to grill for the details?