In the first part of the series, I showed you how to make and fit the pattern for the U-plunge corset dress and how to prepare the outer (fashion) layer for the 'Invisible Seams' method. That means that the bones will be placed in the coutil layer, but the seams or bones will not be visible on the outside of the dress, to achieve a smoother and cleaner finish.

This is the first time I have used this method, so I can't tell you if it would work with other materials. I am definitely planning to use this method in my further work as I found it very interesting. It is a bit complicated and takes some extra time though. I do not recommend it for beginners as it also requires more precise work than just sewing on the boning channels.

To apply this method, you need to have at least two layers of fabric for the construction - the outer layer and the basic layer - so if you decide to make a corset dress in a single layer coutil variation, you will not be able to use the 'Invisible Seams' method.

You can also use any other method to finish the corset dress; the 'Sandwich Method', or make inner or outer bone casings

For a clear explanation of the 'Invisible Seams' method, I will demonstrate it on a canvas example. Before you try it on the coutil, I suggest you practice it on some canvas scraps too.

 

Step 1 – Adding seam allowances on basic (coutil) layer panels

The first thing to start with is adjusting the seam allowance for the boning channels on the coutil panels. To make a seam allowance which can be also used for a bone casing, you need to measure bone casing width + 3mm (0.1") from the sewing line. Add that seam allowance on each seam of each panel of basic (coutil) layer.

That seam allowance is enough to make one bone casing per a seam.

 

Step 2 – Making the coutil tape for the second bone casing

To make another bone casing for the second bone, you will have to insert a coutil tape you will cut in the following way:

Again you cut the bone casing width + 3mm (1/8") from the sewing line to create the bone casing. On the left side is the seam allowance that would be cut out anyway to decrease the bulk on the seams.

This method shows how to put double bones at each seam using the invisible seam method. You can also put one bone per a seam and in that case, you only make a single bone casing per a seam using the seam allowance, no need to cut out and sew the tape for another bone casing.

You can also make bone casings by inserting one wider bone casing for both bones. The technique I described is a bit more complicated but also the seams are less bulky than putting one bone casing for both bones. You can test both techniques on the scraps and check which one is more suitable for your fabric.

 

Step 3 – Aligning all layers and stitching the sewing line

Now align all three layers so the sewing line matches on each layer. Note that the seam allowance on all three layers is bone casing width + 3mm (1/8").

Machine-stitch down the sewing line you have marked.

 

Step 4 – Cutting the excess of seam allowance and creating the bone casings.

Cut out the excess of the material on the inside seam allowances, as the outer layer you will use for creating the bone casings.

Press it open and as you can see you have now two seam allowances from which you are able to make the bone casings.

Press the channels to form but do not sew the stitches yet.

You will make only three seams on the created bone casings, and the last seam will stitch the coutil layer together and also form one side of the bone casing. For better understanding, I have shown it on the following diagram:

Constructing the Basic (coutil) Layer of the Dress

Now you need to try to implement the 'Invisible Seams' method described above. 

Cut out all the parts, adding the seam allowances as wide as the bone casing + 3mm (1/8") (Step 1). Also cut out the tapes for the bone casings, and you will need exact half of the total number of the spiral bones on each seam. For the 12 piece pattern, double bones go at each of eight seams (16 spiral bones in total); one bone casing will be made from the seam allowance and other from the added tape so you need to cut out eight tapes (Step 2).

Stitch together all the panels at the sewing line and include the tapes for the second bone casing (Step 3). It is easier to do it if you firstly stitch two panels together and then make another stitch to attach the tape. Those second stitches will also lockstitch seams of the coutil layer and make them more secure.

Now you have four layers on each seam, cut the excess of the fabric on the outside of the each side (Step 4).

It is easier if you mark with a pen 3mm (1/8") from the edge, then press with the iron and stitch the bone casings. Now remember when you pressed the outer layers seams to one side. That side of the pressed seams is the only stitching that will be visible on the dress. That stitching will also form one side of the boning channel on the coutil so you need to skip it, as you can see on the photo. That is the seam that goes the last, after you baste the outer layer and coutil layer together.

This is how the bone channels look from the outside. Two bone casings and three stitching lines.

After all casings are finished at each seam, you can finish the bottom edge of the coutil layer, before it is sewn on the outer layer. It would be more sophisticated to finish it with a thin bias tape, but I finished it with the overlock machine. Also, sew a line 1cm (3/8") from the edge to secure the bone casings. As you can see, the bones will be inserted from the top of the dress.

Now pin both layers wrong sides together and try to match the seams. Bone casings are between those two layers.

Baste through each main seam - as I said, this technique requires a lot of precise work, as the layers need to fit perfectly to have the seams matched.

Turn the dress to the right side and make that last stitch through all the layers about 2mm (1/16") from the each main seam. That stitch will also form the one missing side of the boning case you left unsewn. Looking from the center front panel, you are stitching at the right side of every seam on the right side of the dress, and at the left side of every seam on the left side of the dress (over the pressed seam allowances of the outer layer).

This is how the stitching looks from the inside:

The bones in the side panel's casings shouldn't be too long. In fact, no bones should be crossing into the bottom part of the dress, where the dress is widening into pleats. You might be even tempted to insert the bones all across the seams till the bottom of the dress but I don't think that would be a good idea, as the wearer wouldn't be able to sit and the dress would possibly look like an "umbrella" as you would loose the natural fall of the pleats.

Hand-stitch through the layer of the coutil and through the bone casings, so the bones will be secured at that point and will not go deeper inside the casing. You need to make that stitching really firmly so the bones don't break the tread and slip down through the cannels while wearing. If you will do that by the sewing machine, do this step before the coutil layer is attached (basted) to the outer layer.

You can then use the 'sandwich' method to insert the bones on the center front. It could be made with the invisible seams method too, but as I said, I do not know how will the corset behave and I wanted to avoid possible wrinkles, especially on the center front. This looked more secure to me.

Insert the bones in every channel. This is what you see from the outside with all bones inside the dress.

Clean finish with no additional stitching - you wouldn't even guess that the bones are inside.

For comparison, this is how the seams look on other dress, where is no used invisible seam method.

Flossing could be one of the options of finishing the ends of bone casings and securing them inside the cannels.

After the basic layer is attached to the outer layer, and all the bones are inside the dress, sew the center back bottom seams together to complete the bottom part of the dress. The length of the gap left with the eyelets needs to be enough you can slide the dress over your hips.
When you are inserting the flat steel bones in the back panels, make them as long as you are making a usual overbust. The last few eyelets at the bottom will not be secured within the bones, but they are just for closing the dress anyway and they will not be under any pressure. If you stick in bones that are too long, the wearer would not be able to sit.

 

Binding and Attaching the Modesty Panel

I have finished the edges with bias tape and it really looks nice combined with the invisible seams method.

 

The bottom part can be finished with the seam allowance, or you can make a bias binding and finish it the same as the top part. Note that the bottom circumference is around 3m, which can be time-consuming for a hand finishing. I finished my dress hem using seam allowance, folded two times and machine stitched it.

After you have finished top and bottom edge, make the eyelets on the back panels. I have inserted 16 eyelets on each side, which are 32 in total. They don't need to be set too closely as it would make harder to lace in the dress, but I keep the space between them less than 3cm. I made both dresses for a person shorter than 160cm (63") but you might possibly need to insert more.

Mark the position of the eyelets on the plunge as shown on the photo, so you have equal space between them. They don't need to be as close as the ones on the back lacing, I found out that eight eyelets (four per each side) works the best. After you set in the eyelets, lace the satin ribbon. The ribbon I used is about 1.3cm (1/2") wide. You can also use the wider ribbon if you want to cover more of your cleavage (what is a good thing as you can change the ribbons for different occasions to make the dress more appropriate).

Cut the modesty panel as it is described in the first article. Note that the modesty panel should be at least an inch longer than the length measured from the top of the dress to the lowest eyelet positioned, as you don't want to end up with a gap or a hole on the back.

Baste the modesty panel to the seam and machine-stitch it carefully to the left side of the dress.

 

Finishing and Embellishments

I decided to embellish the corset dress with the black lace appliqués. Pin the appliqués at the desired position and hand-stitch them using a fell-stitch.

You can also make soft foam inserts to give additional support for small breasts.

After you have sewed on all appliqués and foam inserts, lace the laces in at the back panels, and the dress is complete.

 

Results and Fit

I am actually content with the final result of the invisible seams method applied on this piece. The finish I got on the outside is clean and there aren't any additional wrinkles compared to "usual" methods.

As you can see the deep U-Plunge looks good even on the A-Cups. Although the foam inserts don't help to create the cleavage between the breasts, the dress isn't flattening the breasts as happens to A- and B-Cups in most overbust corsets.

To be honest, I am not happy with the twill I used for the construction. It is a bit too soft and you can clearly see the trace where coutil layer ends on the hip area. This is the longer version of the dress:

The back fit is good with no muffin top and what is most important is that the dress can be fully-closed at the back. The "bunny ears" on the back lacing are set a bit too low, so the lacing needs to be re-laced.

As it was the first wearing, it left an inch to tighten the dress completely.

This is the shorter version of the dress I made first, in a slightly sturdier cotton fabric. It doesn't show any traces of the inner layer at the outside and it has a bit better fall than the twill fabric used for the second dress.

The back is also fully closed and it is without any muffin top.

 

Conclusion

Now after some experience in the pattern making and the construction of the corset dress, there are some things to improve for the next corset dress I am going to make:

• Better choice of fabric,
• Finishing the seams visible at the inside with a more sophisticated method than using overlocking machine,
• Experiment with the new patterns (different shaping of the top front, underbust corset dress, etc.),
• Possible inserting of floating lining…

I was concentrating more on fighting with new technical and constructional challenges, rather than on giving the best possible finish to the inside of the dress. But as I said at the beginning, there is always a room for improvement and perfection is something we should all strive for.

I am content that I have mastered the new construction technique and making a pattern for a well-fitting corset dress was a challenge itself.

It is good every once in a while to challenge yourself and go beyond your usual limits. It will keep the motivation for your work and also give you the opportunity to learn something new or improve your skills.

The new skills I adopted/improved through making the U-plunge corset dress were:

• Drafting a pattern for the overbust corset dress,
• Fitting the mock up for overbust corset dress,
• Shaping the deep U-Plunge applicable on any overbust corset/corset dress,
• Invisible seam construction method, applicable on any two-layered corset/corset dress.
  
  

I really hope you will find this article useful and inspirational, and I am looking forward to see photos of your creations inspired by this article at the Foundations Revealed forum.

 

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