Fabrics Tools and Materials
Rachel Haggerty discusses the techniques used to work with metallic fabrics like taffeta and lamé to create a bodice worthy of Wonder Woman herself!
Alison Kannon demystifies the construction and recreation of “bodies”, the stiffened supportive layer of clothing that later came to be called a corset or stays.
Practising making corsets in preparation for selling: what exactly should you practise, and what's the most effective way to use your time and resources?
Continuing discussion on the home sewer's approach to leather corsetmaking, one part professional technique, one part broke college student ingenuity.
Marianne discusses the tools available to aid corsetieres - outlining the options available for you to choose from in each area of the corsetmaking process.
Mark shares with us the secrets of working with stretchy powernet, and shows how to make a vintage corselette of the 1950s or 60s.
Izabela gives us a simple, yet historically accurate construction guide for the non-expert that offers the maximum number of fitting opportunities.
Michelle tackles C.L. Olmstead's 1912-13 corset patent and learns a lot about good corset making, especially about fabric selection...
Kelly discusses the home sewer's approach to leather corsetmaking, one part professional technique, one part broke college student ingenuity.
Sandra Stuart shares what she's learned about how to use stretch velvet in corsetry. She discovers that it has its advantages, as well as its own special challenges - and it looks stunning!
Rossanne explores decorative ways to change the perceived shape of the body through corset design, to best flatter yourself or your clients.
A tricky skill to master: Laura details a few techniques on how to do it right first time, every time - and how to keep your stitching straight.
Three awesome questions & solutions: fitting 1770's stays for curvy figures, changing overbust corsets to underbusts, and corsets for apple shape figures.
Mark takes the basic corselet further by adding shaping or control panels to it. He also shows how to adapt the corselet blocks to make other foundation garments.
Leather is considered to be one of the most difficult materials to work with, but it doesn't have to be. Marta shows us a few simple ways to make it easy.
The hugely talented artist behind Sparklewren Bespoke Corsetry goes into detail about her embellishment processes.
Knowing how stays were really made allows us to imitate those techniques and produce an accurate garment. We study the genuine article in detail.
Marta continues her exploration of the ‘difficult materials’ field and describes the advantages and disadvantages of using fake leather.
What are the correct tools for corsetry, when some swear by tools that others avoid? I'll share what's in my toolbox, what has been relegated to the scrapheap, and why.
Many corsetieres would have you believe that a "real" corset is only made from coutil. However, other fabrics can be used, if they pass a series of tests.