One of my favourite aspects of corsetry has always been shape. I’ve always loved playing around and experimenting with different shaping over the waist and hips. I’ve always seen myself as rather daring – I’d rather play around and alter quite freely than be very technical and true to the original pattern. Someone once came to me with the argument: “They made perfect corsets in history, why not stick to the old techniques?” Well, my personal view is the opposite of that: we live in a modern world with technology, why not attempt to improve on already established techniques? This adventurous side of me has driven me to tackle one of the aspects of antique corsetry that I have always found very intimidating: gussets. Being a bit of a perfectionist, I have always felt that there is no possible way that I will be able to put in a gusset neatly enough to suit my personal standards. My personal preference is also a floating lining, which further complicates the construction process since it means another set of gussets will have to be inserted. And matching the all those gussets up seemed to my own personal hell. And so I asked myself the following question: isn’t there some way of editing them out? I decided to search for a suitable pattern and start experimenting with different methods to find a way to retain the original shape but get rid of the gussets altogether.

The pattern I decided on was the Ref Y from Atelier Sylphe’s antique pattern collection. It is an S-curve pattern with eight panels per side, including a bust gusset as well as a hip gusset. Since the measurements seemed pretty suiting to my figure I decided to keep further alterations to a minimum. I did however decide to make it an underbust corset rather than a mid-bust, since I was not quite comfortable with the middle-of-nowhere fit on myself and have a personal preference for underbust corsets. The seam allowances on the pattern were all pretty much a different size, so I decided to standardize that at least to 1.5cm. I did not touch the seam allowances of the gussets because I didn’t want to make alterations that might influence the final shape of the corset.

The first experiment I tried was flat pattern drafting, so to speak. I took Panel 1, which was the centre front with a bust gusset, and cut it into two pieces down the bottom of the slit of the gusset. The plan was to rather turn it into 1 combined pattern piece than a gusset insert. I wanted to make the gusset part of Panel 1. The problem I ran into with this was that there was already seam allowances of different sizes present, and everything seemed way too confusing to figure out. I ended up with some rather strange looking pattern pieces that did not quite add up. And as a friend of mine would say “work smart, not hard”. There had to be a simpler way than having to cut and alter the centre front panel completely.
Secondly, I tried to paste the paper bust gusset into its slit on pattern piece 1 (in the same position it would be in had it been sewn), so I can trace it down on pattern paper as one single new pattern piece. But since paper is not as flexible and easily shaped as fabric, the curve didn’t quite want to work with me and I ended up with a funny bubble.

I then decided to cut the pattern pieces out on canvas and basted the gusset into place. I would then sew the bust gusset into pattern piece 1 and draw down the pattern piece with its gusset as a new pattern piece on the paper. There was still a slight funny bubble to the curve, but at least the now the gusset matched the slit that it was made for. I decided to pin the bubble flat in order to smooth it out and to make it easier for me to trace it down as a new pattern piece.

I was unsure whether I had inserted the gusset correctly, so I tested the shape on my dress form. There was still a slight bubble to the curve just below waist line, but I decided to write that off as a problem with the canvas since it was also rather rigid and not that easy to shape. I decided to pin the bubble flat in order to smooth it out and to make it easier for me to trace it down as a new pattern piece. I was hoping it wouldn’t influence the final shape too much.

Next I had a look at the paper patterns of the hip gusset and pattern piece number 5 into which the gusset should be inserted. I pasted the gusset into place and there were no bubbles as had been the case with the bust gusset. For the sake of unity (as well as testing the fit by using it in a mock-up) I decided to also cut out the hip gusset and its matching piece out of canvas and sew it into place.

I traced down both the panels with their inserted gussets on pattern paper. I then cut out the rest of the pattern pieces (number 2, 3, 4 and 6) out of canvas and sew it together to the canvas pieces I had inserted the gussets into. I then cut out the newly traced pattern pieces without gussets out of canvas and sewed it together as well. I made sure to match up the waist line throughout the pattern, any difference in length between different pattern pieces was trimmed down. I then sewed the two halves together so I could compare the shape of the right side (which had the gussets) to the shape of the left side (with no gussets). It is the same fabric just with different sides facing upwards.

I was pressed for time when I was making this corset so I decided to take a chance and not bone the mock-up - since it was quite rigid on its own, anyway. I also didn’t fit it on myself, since the measurements seemed correct to start with. I did, however, test the shape on a pillow with the seam allowance facing outwards for a smoother fit.

The shaping of left and right seemed pretty much the same to me. I was pleased with the overall shape and decided to move on to construction. Since this was an antique pattern, I decided I wanted to use very modern materials to create a contrast between old and new. The fabric I decided to use for this corset was three different types of upholstery PVC. One was a deep purple with a metallic sheen, one was black with silver polka dots on it in silver glitter and a slight texture, and the last one was black with embossed patterns on it. I chose to put the lighter colour on the hips to make it look bigger and the darker colours on the waist and ribs to make it look smaller.

I doubted whether or not it would be strong enough on its own, since PVC may have the tendency to tear where it had been sewn, so I flatlined it against herringbone coutil for strength. I also used a second layer of coutil as a lining on the inside, and sandwiched the waist tape and boning between the top layer of PVC and coutil, and the lining. For a front closure, I also decided on something a bit more unconventional: a lace up front. I used very sturdy lacing bones in order to keep the front flat and straight. A lacing bone also places less stress on the PVC around the grommets so the friction from the lacing does not damage the top layer of the fabric. I also placed lacing bones at the back for the same reason and bent them slightly to match the curve of the back. For some extra detail, I riveted lacing loops into the hips and handstitched lace motifs onto the front of the corset.

For binding, I used black grosgrain ribbon to create a contrast with the texture of the PVC. I also made a boned modesty panel out of the embossed PVC for the back and a boned modesty panel for the front of the corset out of the metallic purple PVC. I used flat steels on the front and back of the corset, and spiral steels on the side, even though someone suggested that spiral steels might not be strong enough. I was very pleased with the end result - considering I didn’t do a proper fitting - and the corset suited my shape very well.

Things I’ve learned from this experiment:

• Personally I think the shape was retained pretty well despite of the alteration to the pattern. I’d consider this experiment a success since it was my first time working with any kind of antique pattern.
• PVC and antique patterns do not mix so well. It was rather difficult pinning and stitching the first three panels together due to the curve.
• Canvas was not such a good choice for the mockup. I should rather do a proper fitting with a boned toile if I have the time. I can’t count on good luck every time. I dreaded resizing it to start with since I had no idea where I would start since the pattern pieces do not fit like those of modern corset pattern pieces.
• There is a slight asymmetry to the front of the corset. I struggled quite a bit with the curvatures of the front panels so I attribute it to that.
• The measurements came out slightly larger than stated on the pattern. I attribute this to the editing of the seam allowances, possibly my cutting and my lack of experience with Edwardian corsetry. The angle of the pattern pieces might also make a difference since it can give a slight stretch.
• The slight bubbling on the upper ribs was sorted out after I broke the corset in. Next time I will make the pattern slightly shorter since I have quite a short torso.
• The shape of this corset was very comfortable and suited my body type very well. I will definitely use this pattern again.

Photo courtesy of Terence Coleman