Making the Corset

Hello everyone, corset update here that I've been meaning to do for a while!

 After sourcing some nice linen from Leon's Fabric shop in Chorlton, I was able to cut out the pieces fro the corset. Using the the toile pieces, which were adjusted during the fitting process, I cut double the amount of pieces out that I had done for the toile. This is because you need to make two corset shapes up, which are then attached together, forming a shell for the boning to be inserted inbetween.

 Before I attached the two pieces together i needed to make and attach a pocket to the back layer of the corset for the busk. This is because, unlike the boning pieces, which are constantly attached to the corset, the busk would have been able to be removed when desired. Once this was completed, the two layers were pinned and together, very carefully, making sure all the seams were parallel to each other, so that I could begin the boning process.

Originally, corsets of this period would have been boned using whalebone, or baleen, as its also known. However, due to modern legislation surroundion the farming of whales the use of this material is corsetry is now unheard of. Most modern corsert use rigilene or steel, for more high quality corsets. I was going to use steel for this corset until I came across flat oval reed on Vena Cava's website, a well know corsetry suppliers. In their description they describe it as,

 "Closely approximates the flexibility and malleability of baleen, the keratinous "feeders" of whales that came to be called "whalebone". Terrific for boning 17th, 18th and early 19th century stays."

As I'm trying to keep this corset as authentic as possible I decided to give it ago. Ever since it arrived it the post I have been over the moon with it, it is so much nicer to work with than steel and it looks so much more authentic when its in the corset. 

 Once the boning had arrived I was able to mark the boning channels up following the original pattern (see the second picture above) and stitch them in place. Next was to measure the length of each channel, cut a piece of boning the the required length, file the ends, cover the ends with a small amount of masking tape and the insert them into the boning channels, untill I ended up with a fully boned corset...

Just a few more steps to go now and the corset will be complete!

Busk

Hi there! Sorry I've been away from the blog for a couple of weeks, I've been so busy with the costume I haven't found time to write about it!

As I said in the last post I have been wanting to incorporate a wooden busk into the center front of the corset I am currently making. Although I am by no means an expert on all the functions of these busks, I do know they help the corset to create a very flat front, which looks to be the shape shown on there portrait of Vere Egerton.

After lots and lots of searching on the internet, I was really struggling to find somewhere to buy a wooden busk from, as there aren't used in modern corsetry making anymore. Even when I did find some, they would be to long for the corset I am making. However, on the brink of giving up on the busk completely, I came up with the idea of trying to make one myself. I didn't think it would be too hard as all it is, is basically a rectangular shaped piece of wood, which tapers in towards the bottom. 

With this idea in mind, we took a trip to B&Q to get supplies and then we got to work. I have to admit that I had a lot of help from my boyfriend whilst making this busk because my skills at wood cutting are zero! I drew out a template for the shape of the busk in paper, which was then traced onto the wood. We used MDF wood, although defiantly not accurate to the time period, it was the most suitable wood for us to work with. After lots of sawing and sanding, all done by Matthew, with me stood next to him wincing, we finally achieved this...

The next day, after some more sanding, I dabbed some wood stain varnish onto the busk using cotton wool pads,to give it a bit more of a period look.

And here is the final product! I'm really happy with how it has turned out and quite pleased in the end that I couldn't find one to buy online!

Gallery of Costume

Taking a break from sewing I visited the Gallery of Costume in Platt Field park along Oxford Road, just south of Manchester city center. This is a fantastic museum for costume and fashion, and having been countless times regarding various projects I'm always so grateful its on my doorstep. And its free entry!

Having known the museums collection pretty well I tend to just head towards the pieces I want to see for research purposes. In today's case I wanted to see their corsets and obviously pieces they have from the 17th century. Although their corsets are from the 18th cenury (see above) they are still a nice example of period underwear. I was particularly interested in their busks as I will be incorporating one into the corset I'm making. These are the wood panels (see picture two) that would be inserted into the center front of the corset.

Upon entering the room containing the majority of the 17th Century collection, the first piece to catch my eye was a girls jacket/bodice dated from 1610-25 (above). New to the collection, this is a linen garment is heavily embroidered with coloured silks, gold metal thread and sequins. Obviously the embroidery style is simillar to Vere's bodice, but it was also nice to see the lace/sequin detail at the bottom of this jacket which also seams to be present on the armseye of Vere's bodice (see below)

This woman's coif from 1600-10 (below), also use very similar embroidery motifs as Vere's bodice. I will defiantly be revisiting these when I come to start the embroidery.  

Another nice piece was a woman's bodice from 1630-40 (below). Here is a part of the description given next to it at the museum, Shown from the back, this bodice of white linen is embroidered over the whole ground in silver thread chain-stitch and metal spangles in a formal scrolling design.

Apologies for some of the poor quality photos!