Case Study: Charlotte Raine

When did you start sewing?

I started sewing when I was a little girl, maybe five years old, with my mother teaching me to embroider little flowers. Everything I know is because of her, although she tells me I'm much braver than her with the things I make. My grandmother was a talented dressmaker, too. My mother often told me about coming home having seen an outfit in a shop window and describing it to my grandmother, who then just replicated it.

Sadly, by the time I was old enough to talk to my grandmother about sewing, she had been badly affected by two strokes and died when I was 16. I have so many questions, but I am sure she is looking over my shoulder. My grandmother had worked long hours in poor conditions as a machinist, often coming home with needles though her fingers, so she was determined that my mother wouldn't suffer in this way and sent her off to train as a court embroiderer and dressmaker. It was great going to the Fashion Museum in Bath with my mother recently. She was pointing at all the displays saying, "worked for him", "had one of those", "wish I'd kept that".

When and why did you get started in corsetry?

In about 2002 a good friend encouraged me to join the Sealed Knot, a reenactment society for the English Civil War. Having reluctantly gone along, I soon became hooked, and one of the biggest drives was learning about the period clothing. I had only ever made historical clothing for stage productions at university, but this opened up a whole new world of interest. As anyone knows, you don't just get hooked on one era, it snowballs.

I was struggling to find a corset that was comfortable and started making my own, researching them and then looking at different periods and the array of styles and shapes. I think what ultimately interests me with historical clothing is the human story behind each piece. Corsetry is a focussed extension of this interest, a view of women's lives and literally what shaped them; the ingenuity into the universal and timeless issues that woman have breasts that need supporting or enhancing.

How did you start your business, and how did you become involved with the Jane Austen Centre?

When I started Charlotte Raine Corsetry, leaving my perfectly good teaching job, I knew I had to just go for it. I developed my range and had a clear mission statement for my business; the next step was to get out there. I knew my website alone wouldn't be enough so I approached the Jane Austen Centre to sell my Regency corsets on their website and they accepted. They said they'd be interested if I could develop further clothing for the site and it went from there really, complimenting my business.

They have exposed me to a level of publicity and kudos that would have been difficult on my own, not to mention my worldwide client base, all attracted to the idea of Jane Austen world. I do love her novels but what first attracted me to the period was as an English student studying Keats. I absolutely love the costume in the recent film about his life, Bright Star, simple but so beautiful.

Where do you find most of your customers?

Most of my customers come from historical reenactors either finding my website or meeting me at events. I have developed a reputation for quality, which I am very proud of because that's what I set out to do. However, this all started with word of mouth. I also have customers who are burlesque dancers, theatre groups and women who just like corsets and have always wanted one.

How many corsets do you create per month?

About four to six, and then there is the historical clothing as well. It really does depend on what's on, no two weeks are the same. Currently I have a large order for boned bodice petticoats for a theatre production of Pride and Prejudice, so I can turn those around relatively quickly as I'm making the same garment.

How long did it really take you to get going? How long before you got your first sale?

I had already made sales amongst friends before I gave up my full time job to start my business, and I knew there was a bigger market. It has gradually expanded over three years but it has only been in this last year that I have become established in the market. There is still more to be done. I could have possibly expanded quicker but I was determined not to get into debt. There was no funding available anywhere for what I was doing, so I had to supply teach to make a bit of money and buy a bolt of coutil and so on. I couldn't have done it without the support of my friends, family and my lovely fella.

Do you have a favorite Regency undergarment that you like to make?

That's tricky. I love making the longline corset, mainly because I was so elated when I really "got" how to insert bust gussets. However, the wraparound brassiere and the many variations thereof interest me the most. It is so like a modern bra - how did women come across this idea after hundreds of years in stays, and then move onto another hundred years of some of the most tightly fitting corsets ever? I understand there to be evidence of bra-like garments in Ancient Egyptian hieroglyphics, but having found the brassiere again, why didn't it stay? Fashion, I suppose, is the answer.

About your typical client: does she come in for measurements and fittings, or is it all done remotely?

The majority of my orders are done remotely. I have spent a long time developing my patterns and perfecting the fit, and I am yet to have a corset ordered remotely that doesn't fit. Ideally, it would be great to see all my clients, but that just isn't practical when I'm in Northampton and they are in America. Some clients come to me, or more often will come to be measured at historical fairs where I trade, which I advertise on my home page.

Any customer relations secrets you'd care to share?

Keep your client informed. If you are unable to meet a deadline, know far enough in advance and keep them up to date. However, to prevent this from happening, set realistic time frames. Mine is 6-8 weeks. It doesn't take that long to make a corset, but it allows for ordering materials, other orders and life in general. I am quite personable, so keeping a good relationship with customers has meant future business through word of mouth. Don't let customers walk over you though - I have had one or two cheeky ones, but by having clear terms and conditions and asking for full payment before I start work, I ensure the customer is serious.

As a business owner, what's the biggest challenge you face?

Staff. Finding skilled staff that have the same eye for detail and finish as I do. I have had fashion students work for me before, but as in most fashion courses, they are not taught to sew, often making one-off pieces. I have two girls who help with my cutting and at trade shows. I am trying to train them up but it is hard when I am so busy. I have approached local dressmakers but they don't want to take on corsetry because it is so specialist. I have a very talented friend who will soon be joining me in the business: I just know I can give work to her and she knows how to make it, that the finish will be perfect and most importantly, that her heart will be in it.

I have clear goals for my business, but without manpower this is difficult and I really look forward to soon being able to take the next steps. I am often approached by young girls who say "I want to do something like you, what should I study?" My advice is to sew and keep practising and challenging yourself. If you are going to do a course, make sure there is a high content of sewing tuition and not just drawing, or do as I did get a good profession you can fall back on and sew in your own time. It isn't an easy business and it can be feast or famine, especially when you get started, so having other skills to make money is important.

What are you working on now?

A Regency Ball dress for a client in Australia. It is in red silk based on a piece in the Kyoto Institute. I just have to add embellishment to it.

What techniques do you want to experiment with in the future?

Bra cups: bra making and adding bra cups to corsets. I am extending my silhouette collection into the twentieth century. I have 1902-1920 covered, but I'm developing 1940-1960s. I have just bought an original bullet bra, still in its packaging, to look at construction.

What's next on your list?

17th Century corsets for re-enactors, ready for the season. This really has been a case of word of mouth from clients that someone is making authentic, yet comfortable stays out of linen with handsewn eyelets.