how to » By Sidney Eileen

How to Make a Corset Using the Welt-Seam Method

Dedicated with unending gratitude to everyone in the corset making community who has been incredibly supportive and encouraging as I seek treatment for advanced lyme disease. Thank you!

This tutorial will walk you through the process of making a basic, boned Victorian underbust style corset from beginning to end. It is written with the novice corset maker in mind, providing start-to-finish instructions using a method that is much more straightforward and forgiving of imprecision and errors than most of the methods described in my tutorials.

The method described is often called a “welt seam” method, but I have also seen it and variations of it called “folded seam”. The principle idea is that you build the corset from front to back, adding each panel as a complete unit. This makes construction relatively quick and easy by eliminating repetitive tasks and lessening the impact of imprecise cutting and sewing. It can be very strong and durable, and relatively lightweight. It is easy to include one boning channel per seam during construction, or to add boning channels with boning tape after the body is assembled and before edging.

The disadvantages are lack of design flexibility and the quick build-up of bulk at the seams. It is difficult to use with gores because of bulk where multiple seams meet, although gores inserted into a slash can avoid this problem. It can also be difficult or impossible to create extra adornments and features that span multiple panels. However, for the beginning corset maker the advantages far outweigh the disadvantages, and this method and other similar variations are mainstays for many experienced corset makers.

You will need:

A Sewing Machine – It doesn’t need to be fancy or expensive, but it does need to be of decent quality. If you are making your corset on the cheapest sewing machine on the market, you may run into some problems with tension, consistent stitch length, or simply overtaxing your machine when sewing the thicker parts of the corset.

Assorted Notions – You’ll want to have a good stock of basic sewing notions like scissors, pins, pin cushion, measuring tape, cutting board, fabric chalk, thread, etc.

Strength-layer Fabric – Ideally, you will want to use corset coutil. However, this fabric can be very pricey so suitable alternates include cotton drill and canvas. Alternates will not hold shape as firmly as coutil and generally will wear out faster. It is also much more likely that your boning will wear through less expensive core material unless you use bone casing. Most people will need less than a yard of material for each layer.

Fashion-layer Fabric – This can be just about anything. Avoid stretchy materials. If you are using an alternative strength-layer fabric, using heavy-duty upholstery fabric for your fashion layer can help extend the life and durability of the corset. Most people will need less than a yard of material, so search the remnant bins at your local fabric store.

Boning – Ideally, you will want flat spring steel and spiral steel boning. What lengths you will need depends upon your pattern.

Grommets – Split metal grommets (with a flat lip around the outside) will hold the best. You will also need a setter for the grommets, a mallet, and a tapered awl. I like using O size grommets. Many other corset makers use OO grommets. Either works well.

Lacing – Something to lace up the corset in back, like corset lacing, parachute cord, or double-face satin ribbon.

Pattern-Making Supplies – Even if you start from a commercial pattern, you will need some pattern-making supplies to modify the pattern. On the cheap end you can use a pencil, tissue paper, tape, any ruler, a length of string, and a basic calculator. On the expensive end you can use a pencil, butcher paper or pattern drafting paper, tape, a large clear ruler, a flexible ruler, and a graphing calculator.

Optional Supplies:

Busk – A split metal busk, 1” shorter than the center front of your corset pattern.

Bone Casing – Ribbon-like material with a pocket through the center, specifically made to hold boning.

The Pattern

Option 1: Purchase a commercial corset pattern and use these instructions instead of the instructions that come with it. If you do this, purchase a pattern with vertical panel piecing as close to your measurements as possible. Expect to alter the pattern if you want a perfect fit.

Option 2: Use duct-tape over a t-shirt to create a 3-D model of your body, drawing the pattern pieces directly onto the tape on your body and then cutting them out. If you do this, you will still want to reduce the waist slightly before actually making your corset, and expect to alter the pattern for a perfect fit because it may not take into account ideal waist placement.

Option 3: You can scale up one of the patterns from my scale pattern tutorial. Again, expect to alter the pattern if you want a perfect fit.

Your Body Measurements

Measuring accurately is very important to achieve the best fitting pattern from the start. Even if you have never taken your measurements before, all that is required is a little time and care and a friend who is willing to help. When in doubt double-check, or even triple-check. Take the extra time, because if the measurements are not accurate you can spend all the time you want on the pattern and your corset won’t fit when you’re done.

For detailed instructions, see How to Measure for a Corset.

Mock-up

To make certain the pattern fits you will want to make a mock-up. However, if you use mock-up materials that are weaker or have more bias stretch than your final core fabric, you will not get an accurate fit from your mock-up. Thus, ideally you will want to use the same material for your mock-up as the core of your finished corset. If you use an alternate material for your mock-up keep that in mind when you are fitting, and consider using two layers of alternate material to help it hold shape.

To make the mock-up use the instructions for making your final corset. Boning does not need to be secured in place, but it does need to be present. To try it on use fewer grommets or use eyelet tape. The mock-up does not need to be edged or finished in any way.

Mark alterations directly onto the mock-up and then alter the pattern pieces accordingly.

Pick Your Cover Material

Just about anything can be used as cover material for a corset, but some materials are easier to use than others. For a first corset try to pick a material that is crisp, can’t be seen through, and does not fray easily. If you do pick a material that frays, immediately after cutting out your pieces stitch the outside edges of each piece using a small stitch length and slight zig-zag. This will help prevent the cover from unraveling while you work. If you choose a material that is very supple, you may want to stabilize it with iron-on interfacing before cutting out your pieces.

Another consideration in cover material is pattern. Corsets with bold patterns or bold strips can look stunning, but they usually require very careful cutting and pattern matching to achieve a fantastic finish. This takes extra material, extra time, and extra precision. A bold pattern corset that lacks pattern matching is as obvious from a distance as a bold pattern corset that is perfectly matched. If you choose a subtle stripe or a small pattern, imprecise or nonexistent pattern matching will be hard to see, if it’s noticeable at all.

For the illustration corset I chose a solid brown herringbone drapery fabric. It is slightly supple, impossible to see through, and frays slightly. The herringbone pattern creates the visual appearance of vertical stripes without needing to worry about pattern matching.

Cut Out Your Materials

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You will need at least two layers of material for this method to work. In most cases, that will be one layer of core material and one layer of cover material. You can add in other layers, like a second layer of core material, lining material, or a second layer of cover material. The only limitation is bulk at the seams. If your core material is thick and your cover material is thick, like most upholstery fabrics, you may find that if you add in more layers your seams are too thick to fit in your sewing machine.

For the illustrations I cut out one layer of core material (coutil), one layer of cover material (drapery fabric), and one layer of lining material (white muslin).

I included a busk, so for the core and cover materials I cut one Panel 6 on the fold and two Panel 6 with seam allowance. There is no lining for Panel 6. If the front was solid (no busk), I would cut two Panel 6 core on the fold, one Panel 6 cover on the fold, and one Panel 6 lining on the fold. If a solid Panel 6 has two core layers you can stitch boning channels directly into the center front of the corset to give it stability. If only one core layer is used in a solid front, boning tape must be used to hold the boning.

For Panels 2, 3, 4, and 5 I cut two core pieces, two cover pieces, and two lining pieces.

The lining for Panel 1 does not include the extra allowance for fold-over. I cut two cover pieces including allowance and two core pieces including allowance.

Be sure to transfer all marks to your pieces, including waist point, waist matching marks, and top indicator. On Panel 1 also be sure to mark where the fold-over allowance starts.

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How to Make a Floating Lining

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This tutorial describes how to create a floating lining for your corset. A floating lining is when the lining is only attached around the edges, and not at each seam. The advantages of a floating lining are reduction of bulk at the seams while sewing and it can be replaced at a later date if needed.

To create a floating lining cut your corset pattern out of lining material. Usually this is something lightweight and natural fiber, like muslin, cotton broadcloth, or poplin. If you have scrap cotton laying around, this is a perfect use, because it will never be seen when the corset is worn.

Stitch your lining pieces together, matching seams as you did for the body of the corset.

Welt-Seam Method Assembly - 19

Press the seams open and clip where appropriate. The lining is not under stress, so there is no need to worry about strength.

Welt-Seam Method Assembly - 20

Edge stitch the corset along the raw top and bottom edges, being sure to match up the seams and keep the lining even with the edge of the corset body. Fold under the front and back edges, but leave them open.

Welt-Seam Method Assembly - 21

Bind the Edges of Your Corset

After the outside edges are finished, the lining can be finished by hand.

Use an embroidery needle, thimble, and the same all-purpose thread you used to sew the corset. Cut a length of thread a few inches greater than the seam you are stitching.

To hand stitch, put a thimble on your middle finger. The eye end of the needle is held against the thimble, which is used to finely control the tip of the needle and to push it through the material.

Welt-Seam Method Assembly - 28

Start by running the thread about 1/2” through the edging of the corset. Pull the thread through until the tail just barely disappears into the material, hiding from view.

Welt-Seam Method Assembly - 29

At the edge of the lining, make three small stitches in the same location. This will secure the thread without using a knot. I like to avoid using knots for corsets because they can create a small burr-like point that digs and wears into your corset and your body.

Welt-Seam Method Assembly - 30

Use a hidden running stitch or a whip stitch to secure the lining to the body of the corset. Either will work.

To create the hidden running stitch, make each stitch alternately through the body of the corset, and inside the fold of the lining. The finished appearance is very similar to a machine stitch.

Stitch - Hidden Running

To create the whip stitch, run single slightly slanted stitches through both the corset body and the lining material. It creates an angled ticked appearance on the surface.

Stitch - Whip

When the seam has been stitched along its entire length, again make three small stitches in the same place before running the needle through the edging of the corset. Trim the end of the thread right next to the corset, hiding the tail completely within the edge of the corset.

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Drafting an Underbust Corset from Scale

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This tutorial walks you through the process of taking a scale underbust pattern and transforming it into a full-size pattern, altering it as needed to fit your measurements. Included are four vertical-panel underbust patterns you can use to create your own pattern. The alteration information in this tutorial can also be used to help you modify a commercial pattern to fit.

I use inches in the description because that is the measurement scale I work with the most often. The scale patterns are marked with a grid, not with specific measurement marks, so you can count the squares in centimeters instead of inches. If you are working in centimeters, when in the instructions it says to round to the nearest 1/4″, or add/subtract in 1/4″ increments, instead round/modify by 1cm or 1/2cm increments.

By Sidney Eileen >> Drafting an Underbust Corset From Scale

Pattern-Making Supplies

Whether you self-draft, work from scale, or start from a commercial pattern, you will need some pattern-making supplies. On the cheap end you can use a pencil, tissue paper, tape, any ruler, a length of string, and a basic calculator. On the expensive end you can use a pencil, butcher paper or pattern drafting paper, tape, a large clear ruler, a flexible ruler, and a graphing calculator.

The Pattern

In this tutorial I have included four scale patterns for you to work with, or you can work from a scale pattern from elsewhere. Many books on corsets will contain scale patterns and photos of finished corsets. Scale patterns can also be found on the internet from time to time, and in patent databases. No matter where you start for your pattern, expect to alter it if you want a perfect fit.

Your Body Measurements

Take your measurements. Be sure to take the measurements described on my How to Measure for a Corset page. The instructions in this tutorial assume you are working from the same measurements I use.

You want your finished corset to be barely snug at the top and bottom, thereby avoiding muffin-top or looking like an overstuffed sausage. You will need some waist reduction or the corset will shift and chafe when worn, but exactly how much is comfortable will vary from person to person. 10% is typical for a light-lace corset, and a safe number for a first-time corset. I also strongly advise leaving a 2”-3” gap in the back for fit adjustments when wearing.

The waist of your corset should fall somewhere between your natural waist and smallest waist. If you place the waist of the corset lower than your natural waist, as you move around the corset will have a tendency to try and travel to your natural waist. However, if the waist of the corset is at your natural waist and your smallest waist is significantly smaller, the uneven compression can cause discomfort and the corset may travel towards the smallest waist. In general, favor the natural waist unless the smallest waist is much smaller. If you can’t decide, put it half-way between and reduce the waist measurement based on the larger waist. After wearing your creation a couple times you will have a better feeling for how your body wears a corset and what might help your next corset be more comfortable.

To figure out your waist reduction, take your waist measurement and move the decimal place to the left by one number. That means if your waist measurement is 30”, you will reduce by 3”, making your corset waist 27”. If your waist measurement is 25”, you will reduce by 2.5”, making your corset waist 22.5”. If the number you get sounds scary, add back a bit. The lacing gap in the back will allow you to cinch tighter or let it out as needed for a more comfortable fit.

Corset patterns usually show ½ of the body, expecting your left and right halves to be symmetrical. To find out what the measurements of the pattern are, simply add up the width of the pattern pieces at the height you want to measure. Be very careful you do not measure the seam allowance. Add 1”-1.5” to allow for the lacing gap. Multiply the total by 2. Compare that number to your measurements and choose the closest pattern for your starting point.

Sample Patterns

For simplicity, I am describing underbust corset patterns for four generalized body types: Square, Ample Hips, Curvy, and Men’s. All sample patterns are scaled to the same waist measurement for easy comparisons between the types, and so if the upper shape from one pattern and the hip shape from another work for your shape, you can combine them.

There is no seam allowance on the scale patterns given below. Read on and you’ll find out how to alter the patterns and add seam allowance.

I based my draft on a scale of 5 squares = 1 inch, but one of the wonderful things about scale patterns is you can use whatever marker you want. If you are making a larger corset, you can use 3 squares = 1 inch, resulting in a waist of 33″-36″. If you are making a smaller corset, you can use 5 squares = 1 inch, resulting in a waist of 20″-23″. If you are working in metric, making 2 squares = 1 cm gives you a waist of 50cm-58cm.

Square

This body type is characterized by very slight differences in circumference measurements along the torso. This proportion works well for straight or slight figures, and many plus-sized figures. This type of corset shape will also work for most men, but unlike the specific men’s pattern the curves are intended to give a feminine silhouette. The measurements for the sample pattern are underbust 28”-31”, waist 25”-28”, hip 30”-33”. The smaller measurements are with no lacing gap, and the larger with 3″ lacing gap.

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Ample Hips

This corset type is for women who have no visual smallest waist, resulting in a reduced waist measurement that is very similar to the underbust measurement and a hip measurement that creates a plentiful curve. This will work best for many pear-shaped and plus-sized figures. The measurements for the sample pattern are underbust 26”-29”, waist 25”-28”, hip 32”-35”. The smaller measurements are with no lacing gap, and the larger with 3″ lacing gap.

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Curvy

This corset type is for women who have a naturally curvy figure, where even a small reduction in the waist measurement creates dramatic curves both above and below the waist. The measurements for the sample pattern are underbust 29”-32”, waist 25”-28”, hip 36”-39”. The smaller measurements are with no lacing gap, and the larger with 3″ lacing gap.

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Men’s

This type of corset is shaped to give a more masculine silhouette while cinching in slightly and ensuring a flat abdomen. The measurements for the sample pattern are underbust 28”-31”, waist 25”-28”, hip 30”-33”. The smaller measurements are with no lacing gap, and the larger with 3″ lacing gap.

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How to Make a Corded Regency Corset

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This tutorial will walk you through the process I used to create a full-length corded Regency corset with a busk pocket and period style fan lacing. This is one type of support garment worn during the Regency period, roughly 1800-1815, and a common choice for modern costumers seeking to reproduce the fashions of the Regency and early Victorian. Other options for the Regency era include short stays, transitional stays with bust cups, and a wrap-around similar to a modern bra. The Oregon Regency Society has posted an excellent article giving an overview of the different foundation types used historically, as well as a lot of other excellent information.

For ideas on how to shape and decorate your corded corset, I have a Pin Board on Pinterest specifically featuring Women’s Regency Undergarments. Other excellent sources of information and inspiration are regency-specific blogs, and online museum collections.

This particular corset was not based upon a single extant corset, but instead drew upon aspects of several different extant corsets. Most corsets made in this general style will have a solid front panel, two back panels, and may or may not have a side panel as well. All the examples I saw had gores for the bust, and shoulder straps. Most examples I saw had a little boning, but most of the structure was provided by cording. In an effort to make this corset machine washable, I decided to use ONLY cording, with no actual boning. If you want to make your corded corset machine washable, be sure to pre-wash all the materials in hot water and avoid using steel boning.

This corset is plus sized, made with five panels total (one front, two side, and two back). The outside cover is cotton drill (a finely woven twill fabric), the core layer is coutil (not historically accurate, but works very well), and the lining is cotton muslin. The cording is cotton twist cord (linen cord also works nicely). I also used buttonhole thread for detailing, and silver-colored grommets.

Scale concept sketch of the regency corset, showing shape and piecing.

This is a self-drafted corset. There are a number of different commercial patterns available, and scale patterns showing the piecing may be found in books and online for those seeking to draft their own pattern. If you use a commercial pattern, pick on that is as close as possible to your natural measurements, especially at the hip and bust. The waist will need to be a little smaller than your natural waist. Typical light-lacing is a 10% reduction of the waist measurement, and will be comfortable for most people.

Note that in the sketch above it is marked with the vertical placement of hip, waist, underbust, and bust. Take note of these distances on yourself and modify the pattern vertically so its bust, underbust, waist, and hip match up to your own. If these are off, the corset won’t fit and won’t be comfortable.

Make a Mock-up

Create a mock-up of your corset to make sure it fits before going to the trouble of making a finished garment. There are people who can successfully size corsets using a muslin mock-up, but I honestly have no idea how they do it. I can’t get a proper fit off a muslin because of the difference in fabric stability. Muslin may not be “stretchy” fabric, but it does have give, and if put under tension it will pull out to a greater diameter than coutil or even cotton duck. Cotton duck will work, but be aware that it has a lot of bias stretch, so if you have a lot of hip spring (added circumference at the hip compared to the waist), that bias stretch will give a false fit compared to coutil. I found this out the hard way. If you do use cotton duck, I recommend two layers to help combat this problem.

Ideally, I recommend making the mock-up out of the same or an equivalent material to the core material you intend to use on the finished garment. I understand coutil is expensive, but this is the only way I have found to ensure an accurate fit without dozens of mock-ups.

If you have another method that works for you, by all means use that method. There’s more than one way to make a good corset.

Cut out all your pieces. Since I am using coutil, it will be one layer, and I won’t be finishing any of the edges.

First, insert the triangular gores into the bust of the front panel. I have a separate tutorial posted about how to do this.

How to Insert a Triangular Gore into a Slash - Will open in a new window so you can return here when you are done with that step.

Stitch together all the panels.

Either grommet the opening, or use grommet tape. I prefer grommet tape because it’s so much faster and easier.

Corded Regency Corset mock-up.

This is a photo of the mock-up, after it was returned by the customer. If you ever get a mock-up for a custom item, keep this in mind. I have never received back a mock-up so well modified and descriptive. Safety pins are holding folds of fabric to make the corset smaller where needed. It’s drawn on or folded back where it needs to be shorter, and where the armpit needs to be a little larger. Extra material is pinned on at the bust and the back of the hip to show where the pieces should be extended. To top it off, she very boldly marked the part of the shoulder strap which she would like padded out for more comfort.

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Modify your pattern as needed by the mock-up. If you have made a lot of changes, you may want to do another mock-up before proceeding to the real garment. Despite the apparent severity of the modifications to this mock-up, they are so clearly marked that I was able to modify the pattern with complete confidence and proceed to the next stage.

Account for width lost to cording

You WILL lose some width in the pattern to the cording, because the fabric must go around the cords and will not be laying perfectly flat. If you are doing very little cording (little waist reduction or mostly quilted), or are petite, this isn’t a problem. However, if you are doing a lot of cording like I did on this corset, it can be a significant loss. Horizontal cords will shorten the height of the corset. Vertical cords will shorten the circumference. Basically, I lost about 1/4″ of fabric width for every 20 cords. In the case of this corset, it made the bust slightly tighter on each cup, and I had to add 1/4″ to the width of the side panel and 1/4″ to the width of the back panel. Add the extra width where there will be lots of cording, but be sparing. If your corset is small, the difference may not be significant enough to worry about even if you plan to cord the entire garment.

How to Add a Bust Ribbon to a Corset

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The bust ribbon is a small ribbon along the top of the bust which can be tightened to cinch in the top of the bust slightly, or just tied into a nice little bow for decoration. This tutorial shows the bust ribbon added to a corded Regency style corset, and I used narrow silk taffeta.

Edge the entire top edge of the corset before adding the bust ribbon so pulling the ribbon will not create friction and potentially fray the raw edge of the corset inside the edging. By doing this the bust ribbon can also later be removed or replaced without causing any harm to the corset.

This is an easy detail to add to a corset which is otherwise already finished.

Regency Corset - Assembly 50

My edging ribbon is not quite wide enough to cover the existing edging, so I stitched two lengths of ribbon edge to edge. Ideally, you will want an edging ribbon or bias tape which is naturally wide enough.

You need to leave a small hole at the center of the bust where the ribbon will emerge, so, following the same procedure as for normal edging, start just to the side of center and stitch until you are under the armpit. Leave roughly one inch of edging ribbon loose under the armpit.

Repeat the procedure on the other side, leaving a hole about 1/4″ or 1cm wide. This photo shows two silk taffeta bust ribbons threaded through the hole.

Alternatively, you can make two small holes with a small stitched area between, threading the ribbons each through one hole. If you do this, the knot for the bow will stay outside the edging. If it emerges through a single hole, the knot will pull back into the edging when it is tied, leaving just the loops and tails of the bow visible.

Regency Corset - Assembly 53

To secure the outer end of the bust ribbon, stitch it to the loose end of the edging ribbon. I used a zig-zag stitch and went back and forth several times to make sure it will hold.

This photo shows the silk bust ribbon stitched to the cotton edging ribbon and threaded through the hole.

The new layer of binding around the edging ribbon is finished exactly the same as normal edging, but be careful not to catch the bust ribbon in the stitching. The outer ends are folded under, but not stitched. That way if the bust ribbon needs to be replaced, new ribbon may be threaded in from the armpit area and secured by hand.

This photo shows the bust ribbon pulled slightly, so there is some gathering along the top edge.

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How to Make a Simple Busk Pocket

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This tutorial was created using photographs from the corded Regency corset. It shows how to make a very basic busk pocket, applied to the front of a corset which does not have boning in the busk area. If you are adding a busk pocket to a fully boned corset (like fully boned stays), it must be added after boning, which cannot be stitched through. That means you must either leave unboned space where the pocket will be stitched down, or attach it by hand.

The pocket on this particular corset opened on the bottom of the corset, and laces hold the busk in place. If you are orienting your pocket to open up, just reverse the orientation when you attach it to the corset. The busk pocket can also be added on the inside of the corset instead of the outside.

I highly recommend finishing the edge of the corset where the pocket will open. The pocket does add some bulk at that area, and it can make it more difficult to smoothly attach the edging unless you are edging entirely by hand.

To make the busk pocket, cut a rectangle of cover fabric longer than the front of the corset is tall. The width is 2x the width of the busk, plus 2x seam allowance, plus 1/4″. That will give you a pocket which is about 1/4″ wider than the busk, providing room to stitch it down without making your pocket too small to fit the busk.

Regency Corset Assembly 33

Fold the piece of fabric in half lengthwise, right sides together. Stitch the open sides together.

Press open the seam, placing it at the center of the panel.

Regency Corset Assembly 34

Stitch it closed at one end.

Regency Corset Assembly 35

Turn it and press. The closed end is to the left in this photo

Regency Corset Assembly 44

Mark the body of the corset and the busk pocket cover for eyelets. Make sure they will match up when finished. The bottom edge is bound before creating the eyelets, so there is no fear of the eyelets or pocket creating bulk too close to the bottom edge.

For the bottom of the busk pocket I decided to make hand-worked eyelets using a looped buttonhole stitch. You can use any buttonhole stitch you want, or use metal eyelets.

Looped Buttonhole Stitch Eyelet - 2

The first step when hand-stitching eyelets is to define them. Then create a running stitch just outside the circumference of the hole size you want. The running stitch will help the eyelet hold its shape, and provide a guide while you create the buttonhole stitches.

Looped Buttonhole Stitch Eyelet - 2

Open the eyelet hole with an awl. Depending upon the material, you may need to slash the material inside the eyelet hole so that it will evenly fold back away from the hole. I had to do that for the busk pocket because the material was too thick to nicely open with just the tapered awl.

Looped Buttonhole Stitch Eyelet - 3

Each stitch starts from the back side of the eyelet, pulled through to the front. These stitches define the outer edge of the eyelet hole, so try to keep your stitches an even distance out from the circle of running stitches.

Looped Buttonhole Stitch Eyelet - 4

Next drop your needle down through the eyelet and have it emerge to the front next to the prior stitch, maintaining your distance from the circle of running stitches. Make sure the tail end of the previous stitch goes around the outside of the needle before dropping through the eyelet hole. It is that loop which creates the border edge. To finish the stitch just pull the thread tight (as tight as you can) and you will be back at the photo above.

If you do not want to create the edge border to your eyelets, just leave out the loop around the needle.

Looped Buttonhole Stitch Eyelet - 5

When you have completed the eyelet, instead of dropping the needle through the eyelet hole, run it down through the same place the very first stitch emerged. This will create a loop to complete the edging. As you can see, it’s been a while since I’ve done this and the circle is not even. Practice is the only way to fix this problem.

Regency Corset Assembly - 46

The busk pocket cover, with both eyelets stitched.

Regency Corset Assembly - 47

Pin the busk cover in place down the center front of the corset.

Regency Corset Assembly - 48

Topstitch the busk pocket cover, staying as close as possible to the sides.

Regency Corset Assembly - 49

Close the busk pocket on the unfinished edge with a narrow zig-zag stitch. The photo is from the outside of the corset, but I actually stitched this with the lining up so I could see the border edge of the corset.

Trim it to the edge of the corset, and you’re ready to continue with the next step of your project.

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How to Make Regency Period Fan Lacing

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This fan lacing tutorial is based on two reference photos showing a Regency period example of fan lacing. In the photo it appears that the lacing is sewn directly into the fabric used to pull the lacing tight. I opted to change this detail so the lacing could be adjusted or changed out if needed, without having to completely re-make the tie. I am including the photos here for educational purposes, so you fine folks can see exactly what I’m talking about.

One of the wonderful things about this method of fan lacing is that it doesn’t require any of the expensive accessories required of modern fan lacing. That means it’s more economical for the corset-maker on a budget, and there’s no reason you can’t fancy up your ties by making them out of pretty material or embellishing them.

Fan Lacing Construction - 1

Each tie consists of two layers of cotton drill fabric, one short length of cotton taffeta ribbon, and one longer length of silk satin ribbon

Fan Lacing Construction - 2

The cotton ribbon is pinned into the wider end of the fabric, right sides together.

Fan Lacing Construction - 3

I used a 1/2″ seam, and when I got to the narrow end, I sandwiched in the silk satin ribbon.

Fan Lacing Construction - 4

I left a large hole along one side of each tie so they could be turned. You may trim your fabric if desired. I did not trim.

Fan Lacing Construction - 5

The ribbons make it fairly easy to turn the ties. Just pull them out to fully turn the points. I then stitched the holes closed by hand using a hidden running stitch. If you want, you can top stitch around the edges with a sewing machine instead.

Hidden Running Stitch

To create the hidden running stitch, make each stitch alternately through each folded in fabric. The finished appearance is very similar to a machine stitch.

After that, lace the back of the corset, running the laces through the loops on the ties.

Click for Larger View

In this photo there is quite a bit of extra length where each section of ribbon is tied off, creating the extra muddle of loose ribbon on the left of the photo. This is so I could adjust the lengths once I laced it on something and could see exactly where the ribbons were too long or too short. Each ribbon length ties four grommets (two rows of grommets), except for the very bottom grommets, which are alone because I have an odd number of grommets on each side of the corset.

How to Measure for a Corset

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Measuring accurately is very important to achieve the best fitting pattern or corset from the start. Even if you have never taken your measurements before, all that is required is a little time and care and a friend who is willing to help. When in doubt double-check, or even triple-check. Take the extra time, because if the measurements are not accurate you can spend all the time you want on a pattern and your corset won’t fit when you’re done.

Most custom corset makers will use their own set of measurements, so if you are purchasing a corset look for the directions provided by the maker or retailer. I am providing these instructions to show which measurements I use for my own sewing and why, in case they will be helpful to others, and as a reference for anyone drafting or modifying patterns based upon my tutorials.

Wear clothing that is skin-tight so the measurements will match your body, not your clothes. Also wear a comfortable brassier. When you are taking the measurements stand with your feet square to your body and in a straight, relaxed posture. Your posture does change your measurements, as does twisting the torso. This is why it is critical that a second person take your measurements.

You will need a measuring tape for sewing or tailoring, available at any fabric or craft store, and most drug stores. If you wish to mark the locations where you take the measurements, masking tape usually works best. You’ll also need a pen and paper to write down the measurements.

For all measurements the tape should be held barely snug, not tight. Vertical measurements are taken relative to the underbust because it is usually an easier level to keep track of than the exact position of the waist.

Click for Larger View

Bust Circumference – This measurement should be taken at the fullest part of the bust, which is usually across the nipples. This measurement is only used on overbust style corsets.

Underbust Circumference – This measurement should be taken directly under the bust. If your bra has an underwire, you may want to remove the bra for this measurement.

Lowest Rib Circumference – This measurement should be taken at the height of the lowest part of your rib cage. To find the bottom of your rib cage, run your hand down your side and follow your ribs down towards your kidneys. If you are plus-sized it might be difficult to find, so take the measurement roughly where you think it is or ignore it altogether. This measurement is important on thinner individuals, because it helps prevent uncomfortable pinching of the rib cage.

Smallest Waist Circumference – This is the place where your torso is smallest in circumference. Depending upon your body type and weight, it is possible that the smallest waist will be anywhere from just below the underbust to a bit below the lowest rib measure. If you have no visually definable waist ignore this measurement and just use your Natural Waist instead.

*) Natural Waist Circumference (not on diagrams) – To find your natural waistline stand straight up with your feet shoulder-width apart. Lean to the side and put your finger where your torso bends. Do the same to the other side, and repeat until you are certain of the location. Take the circumference and distance measurements at this height on your torso.

Hip Circumference – This is not necessarily your full hip measurement. When standing, lift your leg and place your finger where the leg articulates into the pelvis. Take the hip measurement at this height.

Bust-to-Underbust Distance – This is the vertical distance from the bust to underbust, taken to the side of the bust or under the armpit. This measurement is only used for overbust style corsets.

Underbust-to-Rib Distance – This is the vertical distance from the underbust to where the lowest rib measurement was taken. Along the side is usually the easiest place to take an accurate measurement.

Underbust-to-Smallest-Waist Distance – This is the vertical distance from the underbust to smallest waist.

*) Underbust-to-Natural-Waist Distance (not on diagrams) – This is the vertical distance from the underbust to natural waist.

Underbust-to-Point-of-Hip Distance – This is the vertical distance from the underbust to the highest part of the pelvis.

Underbust-to-Hip Distance – This is the vertical distance from the underbust to the articulation point of the hip joint.

You want your finished corset to be barely snug at the top and bottom, thereby avoiding muffin-top or looking like an overstuffed sausage. You will want some waist reduction or the corset will shift and chafe when worn, but exactly how much is comfortable will vary from person to person. 10% is typical for a light-lace corset, and usually a safe number for a first-time corset. I also strongly advise leaving a 2”-3” gap in the back for fit adjustments when wearing.

If you are making your own corset, after wearing your creation a couple times you will have a better feeling for how your body wears a corset and what might help your next corset be more comfortable.

Corset Drafting Notes – Gores

Corsets, Free Clothing Patterns, Sewing No Responses »

Mar 292012

Modified gored corset pattern from historic Victorian pattern

Today I received an email asking if I have a tutorial describing how to draft a corset pattern with gores. I don’t have a tutorial written for drafting overbust corsets of any kind, let alone gored corsets. It’s a tricky endeavor, and when I do create that tutorial it will require extensive writing and illustration. It’s a lot of time I don’t have right now for that particular project.

That said, I can give some tips which will probably be most helpful to people who already know how to draft their own basic corsets, or at least already have a vertical panel corset pattern they know fits. The least technical way to go about it is to base your gored pattern off a vertical panel pattern, cutting off and reshaping parts of the vertical panels into gores. Make your mock-up, try it on, and have a friend help you pin (or baste) the hell out of it to adjust the shaping. Alter the pattern, make another mock-up, and go again. Look at as many gored corset patterns as you can (especially if it is accompanied by a photo showing the final shape), paying particular attention to the shapes of the curves of the gores in different places and the curves of the panel pieces they attach to. Look at and how those curves affect the shape of the final corset.

For example, if your panel piece is curved and the gore piece is straight, the gore will stick outward from the panel. If the panel piece and gore piece have the same exact shape, the two will meet flush without any variation in the shape of the corset at the seam. Most gores are somewhere between the two extremes, generally being straighter where they should move outward from the body piece, and curved more similar to the body piece where the transition should be smoother. When the gore piece is curved more dramatically than the body panel, it will cause the surface of the gore to pull or curve towards the part of the body which meets the greater curved gore. This is most easily seen on bust gores, where they are curved more dramatically than the body piece so the cup of the bust will curve back in towards the body. A gore at the front of the hip will usually be straight (or nearly straight) along the top so it will arch out from the body and the curve of the panel piece around the body will pull the entire panel towards the side with it.

This image is an adaptation of an 1890′s corset pattern I made a couple years ago, and it shows one way that gores can be shaped to create all the curves of the human body.

Modified Historic Gored Corset Pattern

Regency Corset – Assembly Day 1

Corsets, Sewing, Tutorials, Work in Progress No Responses »

Mar 282012

I spent the afternoon and evening working on the regency corset. There will be absolutely no metal boning anywhere in the corset, and all the materials, including the cording, have been pre-washed in hot water so the finished corset will be machine washable. I’m taking advantage of this fact and using pencil to mark the corset. I will be washing it when finished to remove all pencil marks before sending it to the customer.

Following the marks and modifications on the mock-up, I was able to modify the pattern with complete confidence.

There are going to be three layers to this corset. The core layer is white coutil. The cover is white drill, as is found on many extant regency corsets. The lining is white muslin. The cording is white poly twist intended for the core of piping. Stitches will be in white, and the edging will be white cotton taffeta.

Before doing any actual sewing, I first did some testing with scrap core/cover material and the cording. I made channels of different lengths until I figured out a width I could just barely get the cording into. You want the cording to be as snug as possible so it will be more effective for stiffening the corset. If the cording is sloppy in the channel it will have little effect other than decorative. Since this corset is plus-sized, it is especially important that the cording be tight, and that there is a lot of it.

The first step was to add the bust gores to each layer of the front panel.

Then I just grabbed the cover layer, front panel. I marked where the busk pocket will go, and then marked out my cording design. Since this is plus-sized, it will need a fair amount of cording throughout to hold shape nicely. Extra cording is also important if there is very much waist reduction. If the regency corset is very light-lacing, small, and just for bust support, very little cording is necessary. However, it can look very nice.

I looked to extant pieces for inspiration and placement. Almost all of them I saw had some sort of support arching down to the bottom of the corset a short distance from the busk, so I figure there is probably a good reason for it. Even if it’s not necessary for support, it looks nice.

The one thing I did here which I would caution against (now that I’ve corded a bit) is having squiggles with a lot of sharpness to them. It’s extremely difficult to get any cording material into them, so much so that it’s really not practical. I think this explains why so many extant pieces have diamond patterns rather than squiggles.

Once the pattern is drawn, formulate a plan for how to sew and cord. In order to insert the cording, you need to be able to get your hand to both ends of the channel. That means if a set of channels end at the broad side of another channel, you will need to sew the terminal channels first. In this design I have four areas which terminate in the broad side of another channel. Each bust, and the sweeping channels extending from below the bust towards the bottom of the corset. Since the bust is the most hindered by other channels, and the least hindering to any other channel, I will start there.

Before sewing the cording, I lined up the core and cover layers, wrong sides together. I then pinned them together to stabilize while sewing. They are pinned with bent pins so the material can lay flat without puckering (I keep a pin cushion with bent pins just for this purpose). You can also baste by hand if you prefer. The point is to keep the two layers from moving about while sewing, or you’ll end up with ugly distortions.

Stitch the channels in an order where you can make adjustments if needed based on actual channel width. I first sewed the center channels, and then the side channels starting closest to the gores. For the channels alongside the gores, I used the pencil marks as general guides, and used my presser foot for precise guide. I want the channels to be harmonious with the gores, so the outermost stitches are lined up with the edges of the gores via the presser foot edge. Then each successive channel was spaced using the presser foot as a guide so the widths were totally even.

As you can see in the photo, the actual channels are placed a little different from the drawing, so the squiggles need to be adjusted to look right. I used a fabric eraser (yes, a specific fabric eraser – it works much better on fabric than a normal eraser and can be purchased in the notion section of many fabric stores) to erase parts of the squiggle and redraw it before sewing.

When the section is ready to be corded, the next step is to prepare the cording. I am using tape to keep the end of the cord tight so it will go through the channel. My channels are tight enough that there is no room for the cording to bend back on itself and still make it through.

I am using buttonhole thread because it holds up better under heavy tugging. I still had it break every couple channels while working. It is tied tight around the cording just below the tape, and then the needle is run through the tape and out the end so the pressure is direct on the tip of the cord. I am using a very dull and large needle so it will go through the channel instead of poking through the fabric.

Be sure to have enough length of thread that you can get the needle entirely through the channel and have some thread to grab hold of when pulling the cording through. If you do this, it will save you a lot of frustration.

As I worked, I found that I only needed half that much tape on the end, and it was actually a little easier with a shorter tape bit. Also, when your needle is entirely through the channel, guide the tip of the cord into the channel before pulling hard. It sometimes takes some coaxing while tugging, or between tugs, to get the cord started through the channel. Pull it most of the way through, and then tug the fabric so it’s not compressed and the cord is settled in the channel. You don’t want your cord to be shorter than the fabric. Then, while holding the cover material at the start of the channel, slowly tug the cording until it’s just barely visible. Cut the exit end flush as well. If the cording is tight in the channel, it will stay there all on its own.

As I mentioned earlier, I should not have put in squiggles with such deep curves. The first problem was just getting the needle through, which I discovered needed to be done before adding any other cording. The second problem was getting the cord to go around the turns. The pull was towards the edge of the corset, but the cord needed to go sideways, so I ended up having to split the cord in half and run a smaller cord through just to be able to do it. It’s not much good for support, but the presence of some cording material at least makes it look consistent with the rest of the channels.

So, I got the cording into one bust and called it a night. I spent about eight hours working on this today, but it should go faster from here out now that I have some idea what I’m doing.

Project: Regency Corset

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