There are many embellishment techniques which are commonly used in fashion, but rarely seen in corsetry. Here are some basic techniques to get you started. Explore! Experiment! Be sure and make lots of small samples of your chosen technique to work out any issues before you start on the larger garment.

Weaving

Decorative weaving can be done using a very wide variety of materials. For use in corsetry, however, a little bit of stretch is very helpful when going over curves so it’s best to use bias, leathers with a bit of stretch and trims that contain Lycra such as used in lingerie.

I will start by using my Loki corset as an example. I started by drawing the placement lines directly onto my mock-up for future reference. (My hand is so I could see how high I wanted to raise the bust in mock-up #2 in addition to my scribbled note.)

 

After perfecting the pattern, I cut out the fashion layer, interfaced, and sewed it together as usual for the sandwich method. Using tailors basting thread I transferred the weaving placement lines onto the corset. Next I made a million yards of 1” continuous bias using a pin stuck into my ironing board as a guide. Pull bias under pin, press, repeat etc.

Next the actual weaving began. For the bust I started at the bottom CF and wove outwards to the armpit. I then repeated on the other side and adjusted both sides until they matched. At the hips I started at the front and wove towards the back, again adjusting both at the end so they matched. Once I was satisfied I basted the weaving down along the placement lines.

 

Because I was feeling paranoid about things catching on the edges of the strips, I tacked them all down. Coming up from the wrong side, I caught the folded under edge of each section of bias tacking it down.  At this point I trimmed the ends of the weaving very close to the placement lines.  The raw ends were then covered with another piece of bias, which for an extra touch I manipulated into little snakes and top-stitched.

 

Later on the matching skirt peplum, I only tacked the intersections, which gave a slightly more pillowed look.

 

 

At this point the fashion layer was ready to be joined with the coutil layer (Which had bone casings in it already) at the center front and back. I hand basted along the seam and bone placement lines, then machine stitched through all layers stopping at the weaving areas. The woven areas I went back in and stitched through all layers but the strips. The corset was then ready for boning, binding, and grommets.

 

The method above is useful if you want uninterrupted flow of embellishment. Weaving can just as easily be tucked into a seam if the piece is interfaced or stitched onto a backing. (Let's pretend this is a hip panel.)

 

If you are thinking of using leather, be sure to check out the back color of prospective hides. Occasionally you will find some that have a dramatic color change from front to back and it can be a pretty detail to keep the cut edge visible instead of folded under.

Vary the size – ¼, ½”, ¾”, 1” etc. strips will give you different looks, take different amounts of time, and require different amounts of yardage. Do a few samples to find what you like.

Vary the weave – In addition to the very basic over/under, you can do twills, stripes, chevrons, dots and much, much more. A basic book on loom weaving will have plenty for you to choose from; and if you are making a corset with a larger woven area such as Sparklewren's lovely corset dress - it’s a perfect chance to show off a fancier pattern.

 

And finally, consider an open pattern as well (Strips not touching) or a knitted one!

Bias is one of my favorite things to use as embellishment, as strips and manipulated into texture. The possibilities are endless with experimentation, as no two fabrics will  stretch or fray the same. Here are a few to get you started:

Layered Strips

For this corset/bodice I cut bias strips of silk charmeuse, plain organza, silver netting and organza with glitter “balls”. Layering the strips directly onto the bodice I curved them around the body and into the points of the skirt. The strips were then all hand tacked onto the bodice and the skirt sections backed to finish the costume.  Making a faerie costume? Leaving the strips hanging down can make for a lovely long skirt over a few layers of tulle.

(FIDM Debut 2012 – Phantom of the Opera Masquarde – Model Asha Lannin)

 

“Fur” - Cutting your bias into strips, pinch one side between your thumb nail and the side of your finger and pull to fray the edge. It will often work better going in one direction depending on your fabric. I love using dupioni for this, partially because of its lustre, but also because it frays like a champ. Once you have enough frayed strips you can layer them to create a furred effect.  For use in a corset, the strips will need to either be sewn directly on a corset (like the weaving on the the Loki Corset) or top-stitched onto a backing. Start at the bottom and hide the stitching of each layer under each other.

 

To make long fur, cut bias strips that are the width you want the length of the fur, plus 1”. Starting at the bottom edge, every ¾-1” cut up the width of the piece stopping 1” from the top.  The piece will now look fringed. Take each finger of fringe, and carefully unravel both sides leaving ¼” solid in the center. When you layer the strips you can get the illusion of long fur. Fair warning it will probably be messy (as was the case when I helped friend and conspirator Lindsey Vaniman fray her fabric for her monkey Fancy Dress costume.).

Stand Alone Trims –  A piece of bias (frayed or not) can be pleated, gathered, section into poofs or twisted to create a multitude of self trims. Doing a quick Google search of trims on 18th century garments will produce a wealth of inspiration.

 

Painting and Stamping

Can’t find a fabric print you like at the store? Want to create the effect of staining, distressing, or something very fantasy or Steampunk? Some really amazing effects can be created with basic supplies from your local craft store.

About fabric paints - Just like when painting on paper or canvas, not all fabric paints do the same thing. For my purposes I tend to use acrylic based fabric paints from Jacquard, the metallic paints are especially pretty. Preferably they need to be heat set (Ironed) but for something like a corset that is not going to be machined washed it is less of an issue. They can be applied straight from the pot for an opaque look, or watered down. Also handy is airbrush fabric paint (More water like, will spread when applied directly onto fabric unless thickened) and high quality glitter in clear acrylic medium. Avoid cheap glitter paint, it’s worth the extra $1 to get the good stuff.

 

Basic mixed color/roller effects – If you have a roller, it is very easy to create all over texture/mottling, ombre and border effects. Additionally, the surface that your paint is on can change the texture of the paint once rolled on. A completely smooth surface like a glass plate will look different than crumpled and flattened aluminum foil.

 

You want to pull the roller back and forth on the palette until you have a thin even layer. It will be easier to work with if it seems slightly tacky. Add a little bit of paint at a time to the palette, too much will make your stamps messy or roll on unevenly.

 

To make striped fabric, apply masking tape to your fabric (You can get ¼”- 1” ) and paint. Let dry and peel off. You can also layer different colored and sized stripes, and change direction to make plaids.

And you can paint trims just as easily to create hard – to- find and unique color ways (maybe add a little contrast metallic top-stitching as well?) On the left I have dry brushed silver onto the white, and on the right dry brushed the gold glitter paint. Natural sponges are great when you want to make a garment look dirty or distressed.

 

Making stamps - You will want to buy a carving tool, preferably one with different sized nibs and a built in storage (bottom opens up) so you don’t loose them. Small stamps can be made with magic (white) erasers. For larger stamps you will want to buy a linoleum block.  The easiest method is to draw your design on paper, then use graphite paper to transfer it onto the block and carve. If it applies to your design, remember to mirror the design on the block, so it ends up the right way when you print it. In theory, with large enough blocks, you could carve them to be the exact shape of your pattern pieces; allowing you to create a print design that flows perfectly around the entire corset.

And remember always carve AWAY from yourself, these little suckers are sharp.

 

When designing your stamp, think about whether you want it to be a stand alone (like the gears above) or tiled. Scale patterns are a particular favorite of mine. Here you can see two design samples on paper, and finally on fabric.

 

If you want your stamp or pattern to be multicolored, you will need to carve one for each color/layer. Here is an 18th century inspired print. All of the black was carved onto one block, and the red the other, with all remaining linoleum removed to show the dyed fabric underneath.

 

 

Netting, Fringe and Macramé

If you do a quick Google search of these, you will find a dizzying array of patterns and styles to choose from. The styles of fringe alone currently available for purchase is pitiful in comparison (cut chainette, looped chainette?).  Many of them are very easy to make, just very labor intensive.

Making Knotted Fringe -  Depending on your needs, you can create the fringe first on a tape, or directly onto your corset. Using embroidery floss also allows you to color match the fringe to your fabric, or multi-colored for brocades. The knots shown bellow are about 1/4” apart. In place of knots you can also put beads (secure with a drop of glue) or wrap the intersections. Remember to start with more length, as you work the fringe will get shorter.

 

Netting - Similar to the fringe, it is easy to make out of floss and embellish. Because it is easy to vary the size of each section, you could in theory cover an entire corset in netting (it would be denser at the waist) or coming up from underneath apply patches of netting at interesting points of emphasis.  

 

You can also make netting out of leather, and similar non-fraying materials by slicing it with a rotary cutter. For this piece I offset 2” cut lines with a 1” between them, ¼” apart. For the second sample I shorted the 1” to ½”. By playing with the ratios, you can change the visual effect of the net.

 

Faggoting

Several historical examples exist of corset with faggoting between ribbons. AtelierSylphe even has a pattern for one.

Heat Press Sequins and Crystals

Often sold for t-shirts, jeans, and dance costumes, there is a multitude of styles and colors available. The trickiest part is finding one that you like.

 

The kind pictured above is in sheets of a waxed paper that is slightly sticky. Cut the backing into the desired size (All over, or strips for a sprinkling) and press onto your fabric. This is the basic method, if the kind you purchase has different direction, follow those for the best results.

A Second Look at Edge Treatments, Findings and Other Ideas

Most corsets are clean finished with self bias, or ribbon, maybe with some pretty lace as decoration. Prior to making my Loki corset I can honestly say never gave edges above average thought to unusual edges. Now every time I enter a hardware or jewelry store I find myself wondering what I can use…

Zipper Stops And Zipper Tapes - When I first decided to make a lady Loki costume, I brainstormed a few ways I could possibly make the edge detail (I have a friend who worked on the first Thor film, and she remembered it being a trim.). Attempting to find a similar trim quickly proved fruitless. My second thought was to use one side of continuous zipper tape as piping, but ultimately I just didn’t like the look of it. The final and most time consuming was individually applying zipper stops to the edge. I choose size five antique bronze ones from WAWAK Sewing Supplies.

 

Using a seam gauge and pins, I first mapped out the spacing of the stops, them applied them using flat nose pliers, ones with teeth will scratch the stops. If you want to use stops on a project, plan ahead time wise to apply them a little each day. Zipper stops weren't designed to be applied en mass, so it can be physically stressful on your hands.

Piping - Either buying pre-made or making your own, why not spice up your piping with some handwork? Embroider dots, add stripes, beads, pull it into tufts etc. The piping can then be sewn into seams, binding, and decorative details.

 

Findings - This is a little harder to talk about, since it generally means any jewelry, or decorative bit you “find” and apply to your corset. Most often these will need to be hand sewn, or glued into place. Depending on what it is, you may want to make it removable for dry cleaning.

 

While looking at the Instagram of designer FireFlyPath. I noticed this lovely corset top.

See any resemblance to the mask above? I think what she may have done was carefully cut apart and apply the mask onto the corset cups. And since these metal filigree masks come in a million colors and styles there are a lot of design options without needing to recolor them. If you do need to recolor them, there is always rub’n’buff, and gilder's paste. Both are waxed based “paints” especially useful for metals. Both are easy to apply with make-up sponges (use only in a well-ventilated area). If for some reason it doesn’t seem to want to set/rubs off even after drying, you can spray over the piece with Kryolan sealer or similar high quality sealer. DO NOT use clear nail polish as some cosplay blogs suggest, as it cracks and turns yellow over time.

 

When My friend Lindsey made her “Thorset” to go with our group costume, she could only find Celtic style disks in a gold tone, and Thor’s disks are always silver. A little rub’n’buff and problem solved.

What can’t you put on a corset? I am quickly finding the answer to be nothing.
I hope this article held some new ideas for you, and got you interested in exploring and experimenting with decoration. And remember, samples are your friend!  When trying out new decorative techniques, I always do a ton of samples, and buy a little extra of whatever supplies I plan to use in case I mess up. The extra time and effort will always be worth it when you are looking at your finished piece.

 

Reference

• The Art of Fabric Manipulation by Colette Wolf
• Fabric Painting and Dying for the Theater by Deborah M. Dryden
• A Twill of Your Choice by Paul R. O’Connor
• Pattern Magic by Tomoko Nakamichi - I didn’t touch on pattern drafting in this article, but if you want to draft sculptural or unusual corsets I recommend you look into this series.

 

Supplies

• Dharma - The Mecca of dyes, paints and related craft supplies. They are usually the cheapest as well as long as you aren’t buying one item.
• Wakak - For applying to edges, you will only want the “top” stops. For the top and bottom of a corset you should be safe with 3/100 boxes.
• Etsy - Really great way to see what is out there, are far as weird and unique findings. Simply type in key words like “celtic, snake, gold” under supplies.

 

 

add