Introduction

In our last article, we paused at the “shell” stage of the corset... with seams stitched, waist tape placed, and exterior casings about to go on, we considered how many varied decorative ideas could be explored at that point.

Fig 1: Where we were up to

If you've been following the process along, I hope you've had fun making the design more personal to yourself at this stage! Now we can proceed with our “simple” corset.

To remind ourselves again, these are the six “rules” or guidelines that I would like you to keep in mind when reading/following these two articles:

The Six Rules of Good Corsetry (for the classic contemporary-Victorian design):

1. It must create or enhance a flattering feminine silhouette.
2. The corset must have a front busk and rear lacing.
3. Seams must be reinforced and a strong, non-stretch fabric (cut with the grain either parallel or perpendicular to the waist-line) must be used.
4. The corset pattern must be cut to reduce areas of stress by having the corset work hard only at the waist.
5. The corset must feature a waist tape and two-part reinforced eyelets/grommets for lacing.
6. The fabric and shape of your corset must be supported with vertical strips of spiral or flat steel.

Exterior casings

First we need to trim down those seam allowances. Using duckbill applique scissors (if you have them), trim the seam allowances after double-checking that the corset is measuring true at this point.

Figure 2: Trimming the seam allowances using my beloved “duckbill” applique scissors.

Because this is a single-layer corset, exterior or interior casings are the two methods available to you when adding boning channels. Exterior casings are a popular design feature and spot broche coutil is so splendid that it makes perfect casings with the greatest of ease. We have stitched our seams to the outside and so are using exterior casings for this piece.

The most secure exterior casings tend to be “tubes” such as shown in Laura Loft's recent article. But spot broche coutil is strong enough to allow us to take a simpler path if we wish which, for the sake of variety, I will demonstrate here.

Firstly, I cut a couple of strips on the bias. The bias strips create casings that can be pressed into nice curving lines - especially useful if you're adding decorative casings.

Figure 3: Bias strips of broche coutil.

After pressing using a bias-maker, the strip has crisp edges and is ready for stitching (figures 4 and 5, below). I find that thicker fabrics like broche often need to be cut slightly thinner than the bias-maker suggests. Experiment with a few scraps, as you also want to be careful not to cut the strip too narrow. If the pressed-under edges aren't wide enough, they can pop out when stitching.

Figure 4: Inside of the bias casing. Figure 5: Outside of the bias casing.

I then cut strips to the same width on the straight-grain. These will form the exterior casings for the steels. You can cut these on the bias also, but I personally prefer sticking to the straight-grain for most designs as the casings behave better when stitching (bias casings can wiggle about a bit).

For this piece I want to use two steels per seam for texture, so the casings are reasonably wide. It also allows for the casing to cover more of the seam, which makes concealing those raw edges of the seam allowance simpler.

Figure 6: Straight-grain strips of broche.

You can certainly, however, use single or triple-width casings as per your preferences. For example, I sometimes like to use single-width casings throughout with triple-width casings over the side seams, or double-width casings over the bust, to reflect details that I have seen on a few antiques.

Note: Alternatives to “Open” Seams: Another option, if pressed-open seams worry you, is to press the seams to one side, grade the seam allowance, and lay the casing over this. You will be creating bulkier seams, so it is a compromise. Alternatively, you could create felled or lapped seams, then place your exterior casings butted up against them (or abandon casings entirely and use the seam allowances to make your boning channels). Don't forget to plan the order of construction to avoid problems attaching your waist-tape, etc.

With the casings ready, I decided upon placement of the decorative curved casings. You can probably see in figure 7 how the casing holds a curved shape even before stitching. This is because I have decided upon placement and then gently stretched and pressed the casing into the required shape. This makes stitching the bias casing in place much smoother.

Figure 7: Figuring out placement for the decorative casings.

Figure 8 shows my decorative casings stitched in place (you can also see some of the dye irregularities quite clearly). Most of these casings will be concealed by the vertical exterior casings, giving just little hints of those downwards diagonal slopes, which I'm hoping will emphasise the hourglass shaping in an interesting way (inspired by Katarina Vukšić's articles on the Y&N Diagonal Seamed corset.).

Figure 8: The decorative casings stitched in place.

I then stitched down the CF casing (figure 9) and checked the layout of my remaining vertical casings (figure 10). You may wish to baste your casings in place prior to stitching. It is possible, however, to simply ease them into place as you stitch. There are merits to both approaches and I think it is worth practicing both with different fabrics to find your preferred methods. Personally, I think that stitching without basting (especially with fabrics like broche coutil) is a great way to improve your machining skills, as it challenges your co-ordination and accuracy.

I am using one double-width casing per seam, but you may also place casings between seams if you wish, dependant upon the overall size/scale of the corset and your preferences. The joy of broche coutil, however, is that you can get away with a minimum of steels if you want to.

Figure 9: Applying the CF casing.

Figure 10: Checking the layout of the casings.

Each casing is then stitched down each edge and once through the centre (figure 11). When choosing width for your casings, make sure there will be enough room for your preferred steels. In my experience, broche exterior casings need an extra millimetre or two, compared to sandwiched channels.

Figure 11: Stitching the casings down.

Continue until your casings are complete!

Figure 12: Completed exterior casings.

Binding, Steels and Eyelets

The most obvious choice, perhaps, would be to make broche bias bindings for this corset. But the easiest choice for beginners is certainly to use a pre-made bias binding. Satin, cotton, faux leather, etc. can all create different effects and for this corset I decided to use black faux leather (Ebay can be a good source). Faux leathers, PVCs, etc. respond best (in my limited experience of those materials) to machine-finishing rather than hand-finishing. On a personal level, I don't really like binding in this way, as I don't like the aesthetic of visible stitching on the binding, inside or out. But that is in fact precisely why I decided to use this method for the article! Trying to practice this technique and make it neater is a constant challenge for me, so it seemed worthwhile.

First we need to sort out those ends. Many antique corsets have binding ends that have been chopped off and left raw. A perfectly valid option, but one that does not appeal to me I'm afraid! Ready-made bias binding is thin enough to fold under, so a neat edge is an easy option.

Leather and faux leather do not recover from stitching, so we cannot baste or pin our binding in place. Instead, we can tape it. Figure 13 shows a small bit of clear water-soluble dressmaking tape placed at the bottom outer corner of one of the CB panels.

Figure 13: Clear dressmaking tape.

The faux leather binding is pressed onto the tape (figure 14) and folded and taped to the inside (figure 15).

Figure 14: Placing the binding. Figure 15: Folding the edge around.

The binding is then folded and taped (figure 16) to hold it temporarily in place. At this stage, you can either tape the entire length of the binding, or you can start stitching, folding the binding around the lower edge of the corset by hand as you go (figure 17). You can also purchase feet designed to make this process easier.

Figure 16: Folding the bias under. Figure 17: Stitching the binding in place.

Continue around the corset, folding and taping the final edge under in the same way that you started off. Secure your stitching.

Figure 18: The completed lower binding.

Cut, tip and insert your steels as required. Preparing steels is really simple, but for beginners it can be a good idea to buy in a range of lengths of spiral and flat steel which you can use over and over again in toiles and your first few experiments. I have used spirals throughout (with flats at CB and CF) to give a corset that will mould into its desired shape quickly and smoothly. As the broche holds such a sturdy shape, only a minimum of steels are needed, illustrating details of the Sixth Rule, ie: use as many (or as few) vertically placed steels as is required for your particular corset. The number of steels can alter dramatically depending upon the desired effect and chosen fabrication.

Once your steels are in place, you can apply the top binding as per the instructions above.

If you have access to an eyelet press, use it. Alternatively, two-part eyelets/grommets are perfectly functional and can be inserted following the directions on the pack (try to avoid eyelets that contain nickel if at all possible). Within the UK and Europe I can  recommend small packs of Pryms 5mm two-part eyelets. Use a rubber mallet when hammering the eyelets in place (I find that the vibrations/rebound of a regular hammer can be trickier to get consistently good results with), placing them 2cm apart down the length of the CB except at the waist, where four to eight pairs can be spaced more closely together (1.5cm) to help disperse the extra strain found at the waist (figure 22).

You can also vary the spacing of your eyelets for decorative purposes, eg: creating a longline corset or corset dress where the lacing accentuates or controls the wearer's bottom more effectively depending upon how concentrated the lacing is in that area. You may also vary the style of lacing, depending upon your aesthetic preferences and end-use of the garment. I have here used “shoelace” style lacing with “bunny ears” at the waist. When trying your corset on for the first few times, lace up slowly to prevent any excessive strain or potential damage to your corset.

Conclusion

Upon completing this corset and lacing it onto a friend for some quick snapshots, I remembered why I had abandoned this pattern... the shaping isn't quite what I like. But none-the-less, the broche is giving the texture and support I wished to demonstrate, and I hope you can see how this simple construction technique could be “dressed up” for more decorative results... A lace applique, embroidery, decorative casings, contrasting casings, flossing, trims, unusual top and bottom style lines... Construction does lead design in certain directions, but there is still a lot of scope for creativity within this simple method. 

Figure 20: The final corset, front. Figure 21: The final corset, front.

Figure 22: The final corset, back. Figure 23: The final corset, back, side.

Ultimately, corset construction does not have to be excessively complex. As you progress with your corset-making studies, you may find that your focus becomes one of complexity or of simplicity. Perhaps you will endeavour to develop swift and simple processes that result in exceptionally strong, lightweight, beautiful corsets. Or perhaps you will become enthralled with the difficulty of the numerous processes required in certain construction styles...

Either way, by beginning with a swift and clean construction method I hope you will kick-start your studies. After all, the best way to assess fit and shaping is to make numerous corsets and toiles, for lacing onto your friends/models/self. Having a reliable and quick construction method can really speed up and enhance that process. Don't wait around, hoping to make a perfect corset first time... Even those of us who've made hundreds still have the odd failed or unsatisfactory attempt. It's best just to get working and experimenting as soon as the inspiration hits you!

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