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Figure 1

Figure 1

This is part two of a living document on making custom corsets, as it will be edited, revised, have new information and links added as readers post comments.  So please post your comments, questions, and tips so that we can learn from your experience as well as mine.

For this step you can you have some options for the pattern material.  For years, I used newspaper because it was free.  It has many drawbacks, beside the whole smearing ink issue.  Notes written on the pattern can be hard to read, it does not hold up well and just ages poorly in general. Pattern tracing paper is another option.  The stuff I have found in the fabric stores is wretched stuff, because it is flimsy, weak and hard to write on.  Now, I use the pattern tracing paper stocked by the people at Folkwear.com.  It’s not expensive and doesn’t have the drawbacks of the other pattern materials. For simplicity’s sake, no matter your choice, I’ll call it “pattern paper”.

If you are making an heirloom, a garment for a paying client, or a single layer (such as an undergarment) corset, coutil is prime choice for corset backing fabric. It is pricey, and Farthingales seems to be the only reliable source of it I have found so far.  However, canvas or heavy canvas duck will work just fine for multi-layer or limited wear corsets. You will need about a yard to a yard and half for the under-layer, stay sleeves and grommet re-enforcing.

Corset can be built one layer fabric, two layers or three layers.   Common retail is the two layer corset, with a cover layer and a backing layer.  For this description we are using a backing layer, a cover layer and sleeves for the boning.

Figure 2

Figure 2

Start by marking some alignment notches, double notches, etc at different levels on both sides of the various seams.  Mark the top, grain line and also label the panels (front, front side, side, rear side, rear, etc.)  Now cut the duct tape pre-pattern apart on the seam lines you drew on it while it was on the client.  Think about how the seam will work as you sew the (eventual) fabric back together. (figure 3 & 4) Make sure to remove the reduction curves from the pre pattern.  The individual pieces should at this point lay out fairly flat.

Figure 3

Figure 3

Figure 4

Figure 4

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Figure 5

Figure 5

Now you are ready to make the pattern from the pre-pattern. You can work on the floor, but a table is better.  Banish the cat. Lay out your pre-pattern pieces on the pattern paper, leaving about an inch minimal from any edge, and an inch and a half between any pieces. (figure 5) One at a time, press each pre-pattern piece flat while you trace around it.  A clever seamstress can shift the pieces a bit to deal with curve in the pre-pattern, however the less experienced should probably trace them as they lie.  Transfer notches, tops, label, etc to pattern.  Set aside the pre-pattern. You shouldn’t need it again if all goes well, but it can be helpful for thinking your way out of a problem.

Figure 6

Figure 6

Once all parts are traced out use a ruler or a hemming ruler to make a consistent seam allowance around each pattern.(figure 6) For a 5/8” seam allowance I mark a ½ inch, to compensate for tracing expansion from the pre-pattern to the pattern. I use a different color marker for my seam allowance than my pattern tracing to avoid confusion.  If the seam allowance overlaps from one pattern piece to another, make sure to mark the area that is going to be a bit shy and try to make it obvious.  Transfer your notch marking out to the seam allowances lines.  Finally, cut out the pattern on the seam allowance line.
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Figure 7

Figure 7

Figure 8

Figure 8

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Take a moment to look at what you have. Experiment mentally or physically with the pieces just to double check how they will work.  For example, in figure ??? I have marked for a seam to end in a dart.  For ease of fitting, I have decided to make this into two separate pattern pieces instead.  After cutting them apart, because I used quality pattern tracing paper, I was able to sew on some scraps, add seam allowances, and then trim them.(figures 7 & 8 )
You are ready to start on the backing layer.  Lay out and pin down the pattern piece on your coutil or canvas, being conscious of how the grain will minimize stretch and straighten the garment. DON’T CUT OUT THE COVER LAYER YET. Remember to include your notches.  Once it’s all cut out, you’re ready to sew the pieces together.  With contrasting curves you need to pin frequently and to pin a small gather of fabric where the seam will be, if you want a tidy seam.( figure 9 ) If you want to use a busk in the front, heavily but temporary baste that seam to gether. Do not sew the lacing / grommet edges together, however you can zig-zag stitch the edge to minimize fraying.  Just keep in mind none of these seams are set in stone yet.

Figure 9

Figure 9

It’s fitting time. These next two fitting step are important to the process, so pay attention.

Step one is the fitting itself, and you are going to wish you had six extra steam-powered hands, and could sew the backing layer on the Client.  Try the corset backing on the client.  (Client here – as in the pre-pattern, wear whatever you intend to wear under the corset, if anything, and hold still! Or get stuck with pins.) Pin the top and bottom closed at the lace/grommet area. The waist will not stay pinned closed if you are making a corset with any shape to it whatsoever.  Use your hands to pull this area closed as you look at the shape of the backing layer.

It should just fit at the top and be a tad loose on the hip so as not to bunch up the Client’s skin or cut in.   I use pins when I can to fit, if not I use chalk marks and sewing by matching seams, removing old seams, and refitting, until I am happy.   Once the top and bottom are correct move to tailoring the belly.  The stomach of a corset should be flat or slightly concave if the client’s body allows.  The chest is next, perhaps with some adjustment to get the cleavage where and how you want it, to allow tailoring to keep the desired position.

Then, on to the waist.  It is amazing how much one can safely, and with minimal discomfort, compress the side of the waist between the floater ribs and the top of the hips.  The floater ribs can only take a little compression and the rib cage itself is best to avoid, unless the client really knows what s/he is getting into.  A good rule for corset beginners is, if you can just pull the back closed with your hand, the corset should be comfortable for the client.  Ask to make sure.

Step two is to transfer any new seams to both pattern pieces that each new seam affects. ( figure 10 ). Measure new seam allowances off of these new pattern lines, remembering to transfer notches.  Trim the pattern on the new seam allowances.

Now, you’re ready to cut and sew the cover fabric to match the backing layer.  Lay pattern pieces out on the fabric so the cut out pieces will look their best when sewn, paying attention to grain and design of cover fabric.  Also you can clip the seam allowance to help curves lay flat, and zig-zag stitch all the seams on the backing layer down flat, which also helps re-enforce the seams.

Figure 10

Figure 10

In part three I’ll show you how to finish up the custom corset.

Entries in this series:
  1. buying carisoprodol
  2. The Custom Construction of Corsets – pt 2 – Pattern Making, Fabric under layer, and Tailoring
  3. ordering carisoprodol online
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