Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This is a plus-sized Victorian overbust corset I made for a friend. It has drab green dupioni silk cover material, flossing, lacing panel, and split metal busk.
Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This is a bespoke 1800′s style Victorian sweetheart overbust corset. It has cream dupioni silk cover material, blue flossing, blue lace edging, lacing panel, and metal busk.
Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This is a bespoke sweetheart overbust corset. It has red dupioni silk cover material, contrast black stitching, flossing, lacing panel, lace edging, and split metal busk.
Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This is a quilted gore Victorian overbust corset I made for a friend. It has peacock dupioni silk cover material, contrast quilting on the gores, flossing, lacing panel, and split metal busk.
Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This is a quilted gore Victorian overbust corset. It has peacock dupioni silk cover material, contrast quilting on the gores, flossing, lacing panel, and split metal busk.
Overbust corsets are non-conical, non-bra overbust corsets popular for modern wear. Historic periods of use range throughout the Victorian and Edwardian, and include all manner of piecing styles involving panels and gores.
This corset is a bespoke custom commissioned Victorian overbust corset. It is made with gore piecing, a white cotton cover, contrast black quilting and flossing, black lace edging, a lacing panel, and split metal busk.
These corsets are styled after the fashion profiles of the late Victorian and Edwardian. Underbusts come up to right under the bust, or just a bit below. Waist cinchers usually just cover from the bottom of the rib cage to the top of the hips.
This corset is an underbust corset I originally made for myself, but have since gained too much weight to wear so it is modeled by a friend. It has a black linen cover, pink boning channel stitching, pink flossing, and a split metal busk.
These corsets are styled after the fashion profiles of the late Victorian and Edwardian. Underbusts come up to right under the bust, or just a bit below. Waist cinchers usually just cover from the bottom of the rib cage to the top of the hips.
This corset is a light lacing underbust I made for myself. It uses two layers of unbleached corset coutil, covered along the waist and at the front and back with leather, grommeted in place. It is also edged with leather, is flossed, has a lacing panel, and is front lacing.
This is a wa-loli creation I am calling a ya-ta. The top is based on a traditional kimono, but with the top of the sleeve left open instead of the armpit. Also, instead of leaving the back side of the sleeve open, I left the front side of the sleeve open. All fabric edges are french seamed or fully rolled for a clean finish inside and out.
The bottom is a six-gore, bias cut skirt, with bias binding on the hem, an elastic waist band, and french seams between the gores.
Both pieces are made from linen blend material and pre-washed in hot water for easy laundering.
The outfit is finished off with a black linen corset flossed in pink, a five-tier crinoline. The only parts of the outfit I did not create are the black lace top, tabi, geta, mask, or necklace. The mask was created by Tom Banwell.
