By Madame vonHedwig on Tuesday, February 9th, 2010
When on the track of an exciting botanical discovery, I cann0t be burdened with bags, nor do I generally wear the sort of outfit that includes pockets. (What’s in my bustle is the topic for another day, if ever.) Therefore, my dear vonHedwig has been kind enough to construct a series of belt pouches to hold everything I might need.
The top two hold tools and my observation notebook. The bottom, from left to right, hold communication device and visiting cards, digital daguerreotype device, tea, and various botanical substances I may require (including milk for the tea).
Here is a detail of the botanics: 
And me, ready for adventure!
By Madame vonHedwig on Saturday, February 6th, 2010
Update: Here is the very handsome cap of Mr. Kevin C Cooper Esq, made based on my instructions below. What a dashing fellow!
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This past Yule I made vonHedwig a smoking cap to match one of his smoking jackets. Here’s how I did it.
fabric – I started with 1/2 yard and had loads left over
stiff fabric – I just used a sheet of stiff felt
needle, thread, pins, and scissors
tassel – try the upholstery area of the fabric store. I couldn’t find a tassel significant enough for my husband, so I made my own.
To make your own tassel: yarn, piece of cardboard 2″ wide and as long as you want the tassel to be
1. measure the circumference of the wearer’s head mid- to high-forehead, wherever looks right, and measure or estimate how high you want the cap to be. I made mine 4″ high. It shouldn’t be too high, as it is a smoking cap, not a fez. (besides, a fez is traditionally felted.)
2. cut your stiff felt to those measurements, with 1/2″ or so overlap for seam allowance
3. cut your fabric so that it will entirely encase the brocade (leaving yourself seam allowances
4. connect the ends of your stiff felt and pin. Holding it in the shape of the final hat, lay it on the wrong side of the fabric and mark the top of the hat. Add seam allowance and cut it out.
5. fold the felt into the fabric cut to encase it and sew the wrong sides together along one long end.
6. Pin your fabric-covered felt into a circle, then pin right side of the hat top to the inside of the hat seam you just made, and sew it. 
7. Turn the cap right side out. Fold under the cut edge on one side of the fabric join and hand sew it shut (inside and outside of the hat), using stiches that don’t show.
8. Sew tassel on the top center, and an interesting button on top of that.
To make your own tassel:
Cut a piece of cardboard (just grab something out of the recycling) and cut it a quarter inch longer than you want your tassel and 2″ wide with indented ends.
Wrap yarn from end to end until it’s as fat as you want it.
Slip another length of yarn under one end and tie a knot around the bundle.
Slip your open scissors into the other end and cut the tassel open.
Take it off the cardboard form and return it to the recycling. Tie a second knot an inch or so down from the tied end to make a ball at the top. (you can even put a small ball inside to round it out)
This entry is part of a series, Construction of Custom Corsets» Part 1 was the custom pre-pattern
Part 3 adding-structure-to-the-back-layer-finishing-and-boning-in-a-corset/
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
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 4
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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
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 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
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
In part three I’ll show you how to finish up the custom corset.
For all of you asking about P. Phinneas latest creation in men’s fashion’ here is the new waistcoat.
Waistcoat
