When summer was approaching (hopefully) here in Canada, I found my thoughts turning towards sheer corsetry, and how I would go about creating this garment... I had several thoughts, and some things to think about before I made any final decisions.

1. What type of fabric is going to be sturdy enough for corsetry, but still have the sheer quality I am looking for?
2. Will the corset end up being larger than anticipated because of stretch, or maybe the stitching not being as secure, as the weave isn't tight? How will I know if it is or is not stretching out of shape?
3. Would I need to change my construction techniques from my normal way of making a corset to adapt to using a single layer, mesh fabric?
4. How do I want to deal with boning, waist tape, grommets, etc? Do I want them to be conspicuous, or blend seamlessly into the overall design?

I headed out to one of my local fabric stores, which for me, and for experimental projects, would be Fabricland. I looked at a bunch of different fabrics, and this is what I decided.

While the coppery embroidery on this was pretty, when stressed the weave just proved too weak and ended up twisting and warping. I tested this by pulling about 5 cm (2”) in a few directions to see what happened. You can see how the threads are no longer in a regular pattern, but are stretched out and lumpy-looking.

And this piece was really really sheer, but same problem. I don't want something that when put under pressure, it's going to shred and pull apart.
Both of these fabrics were found in the Drapery section of the store, and are commonly sold as lightweight curtains, or “sheers”.

I ended up using something totally “out of the box”.  It is a polyvinyl mesh created for creating shade and keeping pesky insects  out of our gazebos/outdoor spaces.

It feels sort of like plastic, but really is plastic-coated fibers woven together in a way so they form a bond at each intersection.

My concern with this fabric is that as I stitch the pieces together, the corset will end up larger than intended because of the stitching “wiggling” in the spaces of the mesh. If the needle penetrates in the center of the hole in the mesh, the thread can move a millimeter in either direction.  Two millimeters on each seam (one mm per pattern piece) could equal a change in size of 3.4 cm... I sure hope that my construction method eliminates this!

I decided that I should use a “tried and true” pattern for several reasons. One, I know it fits. Two, I have something to compare to. Three, the model will be thrilled to be a guinea pig!

This is the original mockup and final, in a layer of coutil, Italian wool, and lining, with internal vertical bone channels, spiral steels in all locations except center front and center back, and a front busk.

I don't want to deal with thinking about how to do the busk (wimp-out, I know), so I eliminated the center front seam allowance and cut the front panel with the center front on the fold. (Well, not actually on the fold, as the fabric is not really foldable. I cut one side, then flipped the pattern piece over to cut the opposite side). All the rest of the pieces I cut out the same as the original, using 1.5 cm (5/8”) seam allowances. I also removed the seam allowance at the center back, because of the construction technique I'm going to use there.

I sewed all the pieces together, right sides together. I did a bit of pulling and stretching, and I couldn't discern any measureable looseness from the machine stitching not holding well in the mesh fabric, so I continued along.

I gave this some thought, and decided that maybe the mesh would be strong enough to not really need lots of boning support. It stands up nice and tall on my work surface so I know it has some structure already. I used the bones in visible channels as an aesthetic element, instead of making vertical casings and ruining the angular seaming that I have going on. I was worried tha this might cause a problem, because they won't be straight up-and-down, but will follow the  angled seams of the corset.... I guess we'll see! At each of the seamlines, I folded the seam allowance towards the back and topstitched about 8mm (5/16”) to create bone channels for the spiral boning. This second row of stitching also helped stabilize the seam so there will be less chance of the shifting I was concerned about.

Apparently I neglected to take a few photos of sewing all the pieces together, but that is what happened next. So now I have all 15 pieces sewn and bone channels created.. Next step, center back and grommets.

My assumption that the mesh alone would not suffice proved true...

I cut the hole for the two piece grommets and installed on a scrap of mesh, and you can clearly see that there is just too much play. The shank would need to be much much shorter to grip properly. This would just rub on your back and look horrible. So, it's math time, everyone! I need to make a piece of coutil that is wide enough to have a seam allowance, hold two 1/4” flat bones, and have a 1/2” space for the grommets, fold around the center back edge, and do the same on the wrong side of the corset.

When all else fails, draw it out! 3/8" bone channel + ½" grommet section + 3/8" bone channel + 3/8" seam allowance = 1 5/8" for the right side, so my coutil strip needs to be 3¼” wide to make the grommet and bone panel at the back of my corset.

I pressed the strip in half, with the fold being the center back edge. Then very carefully I pressed under the 3/8” seam allowances on both of the long edges. You should have a strip now that is 1¼” wide...enough for the bones and the grommets.

This is a fiddly part. Lining the center back of the mesh piece even with the pressed fold on the coutil strip, as well as applying a 5/8” wide extra strip of coutil for added grommet support, stitch 3/8” from the center back edge. Make sure to catch the coutil strip in the stitching. I am stitching this with the garment right side up, so the stitching I am creating will be visible on the inside of the corset, where it doesn't create havoc.

On the inside of the corset, fold over the seam allowance that was pressed earlier, and baste it down.

Returning to the right side again, stitch the bone channel at center back using 3/8” seam allowance, then the grommet place, using a ½” seam allowance, and then fold under the remaining seam allowance, and carefully and neatly stitch it down. If all worked out right, I should be 3/8” from the last row of stitching, and right at the edge of the folded under seam allowance! Oh, look at that!

Here is a picture of the wrong side, where you can clearly see that first row of stitching that anchors the  hidden grommet support in place.

To insert grommets, I measured equal spacing along the panel, cut holes with a punch, and used two piece grommets, set with a hammer and a grommet setting tool. I am very glad for that extra layer in there, as it's still quite thin. I would be scared if it was any thinner...

Next step was to sew on the bottom coutil bias binding strip. I thought I wanted to use some satin that I had left over from a previous project, so I sewed it on, then made all my boning (from my boning-by-the-meter coil), tipping as I went. Then I realized I didn't actually like the looks of the satin and stitch, ripped it out, and applied a new binding using coutil. I used a 2” bias strip, pressed in half, wrong sides together, stitched to the right side, raw edges matching, with a ¼” seam allowance. Then I folded the strip over the bottom edge so the fold was at the wrong side, and from the right side, top stitched right on the seam (stitching in the ditch). I normally hand stitch the wrong side, but figured this would give a nice crisp tailored look to go with the waist tape idea I have. Oh yeah, a a side note, if you have already inserted your boning when you are applying the bias binding, make sure not to hit the bones with your needle! Not only is it bad for your needle, causing it to potentially bend or break; it is also bad for your machine, and a broken needle in your eye isn't good either...

I had created a bone casing at the center front and decided not to use it, so it is there to break up the visual width of the front piece. It is just a strip of the mesh fabric stitched down. The edges aren't even folded over, it is just one layer...(creative licence, that is called...)

Make sure to leave room for the top binding when making bones!

I was anxious to see how my waist tape idea was going to turn out, so I decided not to apply the top binding just yet. I didn't want the traditional grosgrain/twill tape waist tape, and had this idea to make a shaped waistband with a bow on the front to replace the waist tape. I figured that it would add just that little touch of femininity that I was looking for.  To create the shaped waistband pattern, I took all the pattern pieces and pinned them together at the waistline, matching the seamlines above the waist. Using tracing paper, I then traced the waistline, making a note which way is “up” from the waist, and for reference, also mark where the seams on the corset would be.  I added 1.5” (38mm) above the waist line to create the width of the band. Add the seam allowances around all the edges except center front (because it'll be on the fold....)

I then cut out one band of the the coutil and turned the seam allowances under and pressed the heck out of them. My sole ornamentation is 3/8” (1cm) black satin ribbon. I topstitched it onto the band, starting at the back and stitching all the way to the center front. Then I left a loop that will make the bow, and continued to topstitch from the center front around to the back. Of course, I did this topstitching on both edges of the ribbon...

Pin the band to the body of the corset carefully, remembering which edge is the “waist” edge because it is shaped to fit... The spot where the the ribbon meets should be at the center front, and the raw edges get butted up to the bone casings for the grommets.

Topstitch the band onto the corset. I backstitched once at each edge of each bone to secure that little area, and then trimmed off all the little loops that were caused by jumping over the bones.

The top edge binding is made the same way as the bottom, 2” wide, folded over wrong sides together, pressed, match raw edge of binding up to the right side raw edge of corset, stitch with a ¼” seam allowance. Fold binding over to the wrong side of the corset, and stitch “in the ditch” from the right side to get a nice, smooth, clean finish.

I'm really liking the look of the spiral boning shining through the mesh. And I love the waistband a lot.

So here is the real test. Is it the same size, when worn, as the original corset, and does the fabric hold up to the strain of lacing?

Mesh vs coutil and wool... There does appear to be some minor diagonal pulling with the mesh that isn't present in the coutil version. I think it's because of the diagonal boning not pulling the fabric taut. Cinch seems fairly comparable! I forgot to measure, but the mesh one might have stretched a bit more, or the difference might just be because of the shirt she's wearing under the coutil version. All in all, a success!

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