Stirring Adventures and Mad Mods! Saving the world one questionable decision at a time.
This entry is part of a series, Construction of Custom Corsets» Part -1
Constrution Corset, square neck brown canvas corsets
Part 2
This is part three of a living document on making custom corsets. It will be edited, revised, and have new information and links added as readers post comments. So please post your comments, questions and tips so that other can learn from your experience as well as mine.
This is one of those projects in which precision is your friend. The more precise your work is, the easier the project will be. Deviation in this kind of project seems to multiply, causing more and more problems as you work. I over build corsets a bit, so I am going to show a heave duty method, that with one modification can be used to make a corset in which the boning sleeves don’t show on the outer layer. This one’s edge will be finished with homemade bias tape, but later I’ll try to show other edge finishing methods.
It’s time to choose boning to stiffen your corset. Traditionally, wood and whale bone where common, with upwards of a hundred staves in a single garment. Today’s cheap corset, bustier and merry widow have light wieght narrow plastic boning in them, often leading to structural failure, even with the first wearing. Perhaps if used in the hundred plus numbers still they might hold up, but in truth they’re a waste of petrochemicals. You can buy corset bones in a variety of lengths and thicknesses from companies like Farthingales. While they have nice round rubber end, their lenth selection is limited, usually comes in only half inch and they are kind of pricey.
What I normal use is steel lumber-packing band, free on the floor of the lumber yard near you. It is strong, flexible, and commonly comes in 5/8 and 1 ¼ inch width. Trim to length with metal shears, round the end and cover with a bit of electrical tape (perhaps some spray paint if you’re that kind of person) and there’s your custom boning. These days, more lumber is coming in plastic packing band, so this corset is a mix of the two weights of plastic packing band I from laying around, with a double stack of the heavy weight inside of the grommet area. The heavier weight was also used as the boning between the breast. So far so good. Thus an occasional hand washable corset.
Set aside the cover layer for a while, once your have sewn it to match the tailored backing layer.
figure 02
figure 01
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Measure the width of your boning, and add and 1/8th inch for sewing variance. (5/8’ for the boning + 1/8’ variance = ¾’ inch) Now starting on a straight edge of a single layer your backing fabric, working with your grain start marking out your boning sleeves. For example, 5/8’ inch seam allowance, the ¾” for the boning, 5/8’ inch seam allowance, repeat for each piece of boning that will be in the corset. I mark every six inches up the fabric for consistency until they are about four inches long than I think I will need them to be. I also draw the cutting lines as I connect the mark in a different color, then the sewing lines around the boning. On this particular corset there is double boning in the front center, so I made a double sleeve by skipping the center seam allowance. (figure 2)
figure 03
The boning inside the grommet, under the lacing, the back edge in this corset doesn’t really need a sleeve, but the extra sleeve you cut gets sewn in to the backing layer to re-enforce the grommets. In figure 03 you should be able to see the seam allowance markings, a space for the boning and then the grommet re-enforcement strip. The rest of the sleeves are laid out on the backing layer where the boning is desired, then pinned into place. If in doubt, look at other corsets, the picture of the corset yours is modeled after, or a pattern for inspiration. Most of the time the sleeves stop at an edge, but sometime one must make an educated guess as to where to end a bit of boning. For example, when does the desire for support end and a shoulder strap begin? On this corset the boning is in a slight fan on the front. On a simple corset, most follow the seams. I often zig-zag down the edges, for strength.
Basting helps on this step. Quick and broad hand stitches not only let the seamstress precisely align the sleeves, but also do a better job of keeping the layers’ seams aligned and maintaining the position of various pieces while machine sewing. Sadly one of my sewing weaknesses is a failure to baste when it’s optional, so I have no examples to show.
figure 04
figure 05
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Instead I just preceded to sew down the sides and top of each sleeve, leaving the bottom open. Better to make the sleeve a bit too wide than too narrow. With the right sides of the backing layer and outer layer the together, sew the grommet edges, then turn right side out. Be careful to push out this seam (with a pin or a ruler from the inside), and press, to prevent making a pocket. (figure 04) Sew down the edge about an 1/8” in from the edge. Then sew a parallel seam in from the width of your boning plus 1/8”, and a third parallel seam in from that based on the width of your grommets plus 1/8”.
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figure 07
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At this point the easiest thing to do is to line up and pin the seams of the outer and backing layer across the top and arm holes . Don’t finish the bottom yet. Sew the two layers together 5/8” from edge. (figure 05) Trim to a scant ¼ inch.
A design choice for this corset was to have boning stiching show on the front of the corset. When sewing though all layers it is important that they line up. At three points along each seam a pin was pushed straight though to check the alignment before they were pinned together. It is best that the layers’ seams are with in a 16th of an inch of each other. (figure 07) Once again basting would help.
figure 08
figure 09
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Because this is a waist-altering corset, the addition of an internal canvas belt was put in for support. (Ideally this would be between the top layer and outside of the boning for maximum effectiveness.) (figures 08 and 09) It is important the belt run from grommets to grommets, and preferably has at least two grommets in each end. This was pinned at each boning sleeve. On this corset, because one of the boning stays ends where a shoulder strap starts, the stopping point of the sleeve was double checked and marked on the backside. Sewing carefully and accurately, the boning sleeves were re-sewn, through all the layers, still leaving the bottom of each sleeve open. (figure 10)
figure 10
figure 11
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Now I made matching bias strips into matching tape, and sewed them onto the top and arm holes, in order to finish those edges. Now I marked 5/8” on the inside, from the bottom of the corset for each stay sleeve. Each boning stay should be a ¼ or an inch shorter then from the top of the sleeve to this mark. Once all your boning is in place, then it is time to sew shut the bottom, being careful to not sew over the boning. Safety glasses are not out of place during this last few steps. (That’s right, time to USE those goggles!) Trim down to a scant ¼ inch and finish with bias tape. (figures 11 , 12 and 13)
Grommet Time – but first a soapbox rant. The common fabric store grommets I have found to be an abomination. Most are light duty, made out of thin metal. Typically the two parts of these cheap grommets both have a notched barrow that fit one in another. (Good grommets – one side has a solid barrow and the other side is a washer.) They don’t fit tight, once set, so the force of the lacing is not defused and fraying is not checked. Sometimes their edges are even sharp and will cut the fabric as you put them in. After all the hard work you have put in so far, don’t start cutting corners now. If you are in a hurry, maybe your local hardware store has heavy-duty grommets. Better yet plan ahead and order some and the setting tools from a corset notions supplier.
figure 12
figure 13
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The grommets for this corset were set 1” on center and just about a 1/8” in from the first stay. Mark them in chalk, double check their alignment, then punch the holes for them. A hammered punch into a piece of hard wood works better for fabric than a hand punch. Set your grommet. Lace it up with ribbon, shoe laces or parachute cord (it comes in almost as many colors as thread from online sources) and its finally done. (
figure 14
figure 14)
Some other notes, for the curious:
A modesty panel is a 2-4” wide double sided strip of fabric running down the length of the corset behind the grommets and lacing. It is sewn only down one side. You can add a ¾” modesty panel behind the button side of a busk as well.
An alternative to re-enforced boning sleeves is to sew the back and front together to form a sleeve between the out and the backer later. This is a method I would only use for a limited wear corset, and it has to have a heavy outer layer.
Another way to finish the top and bottom edges is to sew the outer and backing layer faces together at all but the grommet lacing edge and turn the piece right-side out for hand sewing and grommeting. Topstitching will crisp the top and bottom edges, but be care about breaking needles when you sew over instead of around boning.
If people are interested, I’ll posted some examples of the other finishing variations, making you own boning, or making your own bias tape. Homemade bias tape is the bees knees, and isn’t hard to make.
Farthingales is a reliable but pricey source of corset making supplies.
Folkwear Patterns has the best pattern paper I have found.
By Madame vonHedwig on Friday, November 13th, 2009
This entry is part of a series, Voyage to Antafrica» 
Bettina vs the sweeper
In which permission is asked, but not given.
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“So,” Father said, “your hypothesis is that the mythological yeti is an actual creature residing in this region. Your evidence is personal observation by Adolphus, Mirabelle, Annabelle, and Bettina.” He glanced down at his youngest, momentarily distracted by her battle with his sweeping machine.
“I saw it too, just now,” Gerhardt asserted.
“Very well,” Mother said, “what are the next steps you wish to take in your research?”
Adolphus and the twins put their heads together. Gerhardt tried to push his way into their huddle. Claire tried to look aloof, sketching the folded rock formation. Bettina finished eating marshmallows from the floor and turned around to extract her shoelaces from the sweeper.
Adolphus stepped forward. “We would like to mount a more focused aerial search, using your launch, with the possibility of ground re –…” He looked back at the twins, who hissed at him in unison. “Possibility of ground reconnaissance. You know, have a look round for tracks, and um, scat, I suppose.”
“That’s the idea!” said Gerhardt. “And while we have the launch, we can go sledding!”
He was momentarily suppressed by Annabelle and Mirabelle, but recovered quickly. “I mean to say, I concur.”
Continue Reading…
By Madame vonHedwig on Saturday, October 17th, 2009
This entry is part of a series, Voyage to Antafrica» In which parents confer.
Ulrik in the lab
Madame vonHedwig swept into her husband’s laboratory after dinner. “Good evening, Ulrik.”
The lab assistant clicked his heels and nodded to her, but did not stop writing. He was taking dictation at a furious pace, the nib of his pen a blur against the paper.
“… haphazard course and random duration of the high potential energy. Manufactured ball lightening will imminently destroy either the steam turbine, the lightening generator or the hydrogen envelope. It is these same issues that currently make ball lighting an unacceptable, but perhaps an excellent temporary deterrent, hello my darling one moment please. In all modesty, I must credit the work of Mr. Faraday for a leap in my research in this subject. With out his work I never would have…”
She amused herself with a Tesla coil until Herr vonHedwig’s stream of consciousness ran dry.
“Thank you, Ulrik, we’ll see if any of that makes sense tomorrow.”
“Dearest,” began his wife, “do you know what the children are up to?”
Continue Reading…
This entry is part of a series, Philomena Flies» 
Philomena vonHedwig smiles
“I must beg your pardon, Fraulein von Hedwig.” He sounded very serious now, and kept his eyes on the floor. “I had not considered my actions might be perceived in this way. I never meant to cause you distress. I apologize.”
“Thank you.”
“I don’t suppose you’ll be wanting the badge I brought you, then.”
I sighed. I felt quite ridiculous now, for I was behaving like a spoiled child. And even worse, I realized I would love to have one of those badges. There loomed an impassable gulf between my outburst and touchy pride, and his good intentions and impeccably wavy hair. I couldn’t think of a thing to say. The vulture was asleep, and no help at all.
“Is this your work here? What is… oh I say, they’re wings! My gears and garters! You never jumped off the roof – you flew!”
“Plummeted, actually. I don’t need your flock of jumpers to make my invention frivolous. It’s useless.”
He walked about the wreckage studiously.
“I don’t know, the concept seems sound enough. It’s a bit heavy, perhaps. Clever, though.”
“It would be if it worked.”
“So you’re not just a dashing adventuress, but an inventor, too. Or is it inventress? Inventrix?”
“Invented words should illuminate or amuse.” That was one of Father’s.
“Well said! It’s a family trait, then, inventing? You’re famous for it! Especially your father – The Fearless Fabricator. I’ve heard some outlandish stories about his school days!”
Oh dear.
“Did he really –“
“Yes. No! I don’t really know what happened. Let’s just say they are unlikely to name a new wing after him.”
“Not after they had to rebuild the old one,” he said thoughtfully. “Is it true that your mother was once a circus performer?”
I hesitated before answering, to let the ice crystallize in my voice. “You cannot suppose I would have the impertinence ask her that,” I said.
“Oh dear,” he said glumly, “I must apologize again. I beg your pardon, both for my impertinence and for making my conversation dull and repetitive through constant apologies.”
“Oh,” I said, “you’re not dull.”
“Thank you. Perhaps instead of this pin, which I am now afraid to give you in case you stick it in me, I can offer you some of my impertinence – I have it to spare.”
“I see.”
“And if you consent to be seen in public again, I’m reasonably certain I can keep the other Fliers from crowding around you and asking for autographs.”
“That would be nice.”
“If I give you the pin, are you going to stick me with it?”
I pretended to consider, then held out my hand. “No.”
He dropped the pin in my outstretched hand, with a dazzling smile.
“You are quite a fascinating girl.”
“Oh dear,” I said, “dashing and fascinating! No one will ever take me seriously.”
“I will,” Nick said, “but only if you don’t expect me to be so. I’m a ridiculous fellow – quite a slave to merriment.”
“I never would have guessed.”
“You scoff, but it’s true. I am excessively frivolous. So much so,” he laid is hand over his heart, looking grave, “that I have learned to play the piano accordion. It is dreadful of me, I know, but there it is.”
I adore the accordion. Love it.
“Really?” I gasped. “We… we’re not very musical, in my family. We sing a bit, I suppose. And Ulrik plays the violin. He practices in the envelope scaffolding, and it echoes. Very haunting, sometimes.”
“How romantic. Who is this Ulrik, one of your brothers?”
“No, he’s Father’s assistant.”
“I dislike him already.”
“No, why?”
“For playing the violin romantically near young women. The fellow’s clearly a menace.”
“Aren’t you a menace for playing the accordion?”
“Absolutely! But I never play around young women. It drives them off.”
“Do you play badly?”
“No, I play tolerably well, but it is the accordion. Most people don’t like it.”
“Most people don’t jump off castles into ravines.”
I smiled up at him, and he smiled back, and I have no idea how long that went on, but it was very pleasant. Then the vulture woke, squawking. Nick jumped.
“Listen, I’m sure I’ve been enough of a nuisance for the moment, but I was wondering – my mother is a sort of amateur folklorist, and she’s taken an interest in the vampire lore of Eastern Europe.”
“How fascinating.”
“Do you think so?”
“Why yes. I’ve always enjoyed comparative anthropology.”
“Well, good. The mater’s haring off to Transylvania when term ends, and wants Pelly and me to go with her. Father can’t get away from the Foundry, apparently. I don’t suppose you might want to come too?”
I felt a bit dizzy, and didn’t answer right away. Of all the improper, impertinent, wonderful invitations to receive under a screaming vulture at three in the morning!
“I shouldn’t ask, I know. If blood-sucking fiends don’t drain you, you’ll have to put up with my impertinent accordion playing. After a few days you’ll undoubtedly be breaking open crypts to find a fiend to put you out of your misery.”
I laughed. He smiled again, and raised his eyebrows in question.
“If your mother asks me to accompany her, and my family can spare me, I believe I might enjoy a trip to Transylvania.”
“Jolly good!”
“And now, I’m off to bed. If you wouldn’t mind letting the vulture out?”
“What?”
And I sailed out of the Fabrication Hall, no – floated out of the hall, flying at last.
This story began here.
This entry is part of a series, 12 Volt Power supply» I built this to provide current for electrolytic etching of copper and brass, but it can be used to power electronic projects as well. It is a simple procedure, for those with basic electrical skill and understanding of the safety practices needed for working with power supplies.
WARNING: If you read this and don’t understand any part of it, you don’t have the base knowledge needed to attempt this project safely.
WARNING: unplug unit before attempting anything!
WARNING: power supplies can hold a charge of electricity!
WARNING: If you don’t know or don’t think electricity can kill you dead, DO NOT PROCEED!
Necessary parts:
10 ohm 10 watt resistor
SPST switch
Electrical tape and or heat shrink tubing
Optional parts:
LEDs
Resistors (for 20 to 25 ma 84 to 100 ohms ¼ watt should work fine)
Now down to work.
Remove ATX power supple unit from computer if not all ready separate, keeping wires as long as possible but remove the connectors. The power supply has a number of checks or safeties that keep it from working at this point. Next remove the access cover, but it is not necessary to remove the circuit board from the power supply housing. Sort wires so you have set aside the following:
2 red wires (only one if you are skipping the LEDs)
1 yellow
4 black (only three if you are skipping the LEDs)
1 green
1 brown (if brown/orange pair is present)
1 orange (if brown/orange pair is present)
Clip all other wires at circuit board, if longer cover the ends with electrical tape or shrink tube.
Brown and orange are connected together permanently for the 3.3 volt sense to enable the power supply to work. (If there’s no brown/orange pair, ignore this step.)
Next the 5 volt rail needs a load for the power supply to operate properly. The 10 ohm 10 watt resistor provides this load when connected between a red and a black wire. This baby heats up a bit so it needs to be mounted in a way that dissipates that heat, like in the air flow of the fan or on a heat sink.
The power on/off is made by connecting the SPST switch between the black and the green wires. Insulate all bare connections. LED with a resistor can be hooked in parallel between a set of red and black wire.
The two remaining black wires are twisted together. Now when activated there should be 12 volts dc between the yellow and paired black.
12 volt power supply
Mount, jank, decorate, and make safe your new power supply.
LED exact resistors needed can be calculated at http://led.linear1.org/1led.wiz
Max power output can be figured with the equation Watt = volts x amps, minus say 10% (just of the top of my brain) for 5volt load, LEDs and loss. These are modifications the instructions from http://www.vonslatt.com/bus-tron.shtml
