Introduction A corset is a garment worn to hold and train the torso into a desired shape, traditionally a smaller waist or larger bottom, for aesthetic or medical purposes. Both men and women are known to wear corsets, though this item was for many years an integral part of women’s wardrobes. Since the late 20th century, the fashion industry has borrowed the term “corset” to refer to tops which, to varying degrees, mimic the look of traditional corsets without acting as them. While these modern corsets and corset tops often feature lacing or boning, and generally imitate an historical style of corsets, they have very little, if any, effect on the shape of the wearer’s body. Genuine corsets are usually made by a corsetmaker and are frequently fitted to the individual wearer. History The corset has been attributed to Catherine de’ Medici, wife of King Henry II of France. She enforced a ban on thick waists at court attendance during the 1550s. For nearly 350 years, women’s primary means of support was the corset, with laces and stays made of whalebone or metal. Other researchers have found evidence of the use of corsets in early Crete. In the past, a woman’s corset was usually worn over a chemise, a sleeveless low-necked gown made of washable material (usually cotton or linen). It absorbed perspiration and kept the corset and the gown clean. In modern times, a tee shirt, camisole or corset liner may be worn.
Fig 2: Woman’s corset (stays) 1730–1740. Silk plain weave with supplementary weft-float patterning, stiffened with baleen; Los Angeles County Museum of Art. Construction Corsets are typically constructed of a flexible material (like cloth, particularly coutil, or leather) stiffened with boning (also called ribs or stays) inserted into channels in the cloth or leather. In the 18th and early 19th century, thin strips of baleen (also known as whalebone) were favoured for the boning. Plastic is now the most commonly used material for lightweight, faux corsets and the majority of poor-quality corsets. Spring and/or spiral steel is preferred for stronger Fig 1: A drawing of a luxury hourglass corset from and generally better quality corsets. Other materials used for boning have included 1878, featuring a busk fastening at the front and ivory, wood, and cane. (By contrast, a girdle lacing at the back. is usually made of elasticized fabric, without boning.) Corsets are held together by lacing, usually (though not always) at the back. Tightening or loosening the lacing produces corresponding changes in the firmness of the corset. Depending on the desired effect and time period, corsets can be laced from the top down, from the bottom up, or both up from the bottom and down from the top, using two laces that meet in the middle. In the Victorian heyday of corsets, a well-todo woman’s corset laces would be tightened
In sewing and fashion design, a pattern is the template from which the parts of a garment are traced onto fabric before being cut out and assembled. Patterns are usually made of paper, and are sometimes made of sturdier materials like paperboard or cardboard if they need to be more robust to withstand repeated use. The process of making or cutting patterns is called Patternmaking.
Introduction
A costume or garment is constructed by cutting the fabric. into parts according to a pattern which fits the human form; then the different parts are joined together by sewing.
Since the late 20th century, the fashion industry has borrowed the term “corset” to refer to tops which, to varying degrees, mimic the look of traditional corsets without acting as them. While these modern corsets and corset tops often feature lacing or boning, and generally imitate an historical style of corsets, they have very little, if any, effect on the shape of the wearer’s body. Genuine corsets are usually made by a corsetmaker and are frequently fitted to the individual wearer.
In this book, we will explore the pattern making and garment construction of a corset, jacket and trousers. by her maid, and a gentleman’s by his valet. However, Victorian corsets also had a buttoned or hooked front opening called a busk. If the corset was worn loosely, it was possible to leave the lacing as adjusted and take the corset on and off using the front opening. (If the corset is worn snugly, this method will damage the busk if the lacing is not significantly loosened beforehand). Selflacing may be very difficult where the aim is extreme waist reduction. The type of corset and bodice lacing became a refined mark of class; women who could not afford servants often wore front-laced bodices.
Types of Corset
A corset is a garment worn to hold and train the torso into a desired shape, traditionally a smaller waist or larger bottom, for aesthetic or medical purposes. Both men and women are known to wear corsets, though this item was for many years an integral part of women’s wardrobes.
Underbust corsets The classic underbust corset starts just below the breasts and ends at the hips. This classic style cinches in the waist without pushing up the breasts and is ideal for improving the figure underneath clothes. From longline to bodice varieties, these also make the perfect, jaw-dropping lingerie outfit.
Fig 3: Underbust corset Fig 4: Overbust corset Fig 5: Bustier
Overbust corsets Overbust corsets start below the arms and end above the hips. They lift the breasts, slim the waistline, and are ideal for wearing under clothes or as formal wear. Indeed, many wedding gowns utilize the overbust corset as a bodice, with a long, flowing skirt. Bustiers Compared to traditional underbust or overbust corsets, bustiers much more gently lift the breasts and shape the waist. These are often worn under the clothes for an alluring lingerie look, but these days, they can be worn in a variety of everyday or evening settings. Wear them under a blazer, a leather jacket, or with a pair of jeans or skirt for a sexy, edgy look.
Pattern making
Corset and Torso block o 0-1: Nape to waist = 15 o 1-2: Hip to waist = 8 o 0-3: ¼ scale + 3” = 4 ¼ + 3 = 7 ¼ (for sleeveless) ¼ scale +4 ” = 4 ¼ + 4 = 8 ¼ (for sleeves) o 0-4: Mid point of 0-3 o 0-5: 1/6 scale – ¼ scale, square out from 0, 1, 2, 3, 4 o 5-6: ¾” up (for all sizes) Join 0-6 in a curve (with a French curve) for back neck o 4-7: 1/3 scale + 1”. 5 ¾ + 1 + 6 ¾ Square up to point 8 on line 0 and point 9 on line 3 o Point 8-9 1” down
o Point 6-10/10’ Back shoulder Pin point 2 5/8 on line 8 and starting from these measure up to point 7 inches on tape. That point is 10’ o Point 9-11 at 1” 45 degree. o Point 12 = ¼ bust = 8 ½” Square down to 13 on line 1 (waistline) Square down to 14 on line 2 (hipline) o 1-15: ¼ waist + 1” dart intake – 6 ½ + 1=7½ o Point 16 midpoint of 1-15 o Point 16-17 and point 17-18 = ½” towards center back Square down from point 17 to point 19 on line 3 Square down from point 17 to point 21 by 4 ½” o Point 19-20 2” down Join point 20, 18, 21,16 as back waist dart Join 12, 15, and 22 for side seam o Point 2-22 ¼ hips + ½” = 9 ½” o Point 3-33 ½ bust to 1 ¼” ease = 18 ¼ 11 ½ - ½ = 11” o Point 24-25 1/6” scale = 2 7/8 o Point 23-26 = ½ od apex to apex = 3 ¾ o Point 25 square up to point 27 on line 0 o Point 27-28 ½” up Join point 4-28 in a diagonal line o Point 29-28 measure 6-10 o Point 24-30 = 1 ½ up Square up from point 26 to the diagonal line point 31 o Point 33-34 = 1/6 scale Square out for front neck and draw the curve o Point 31-35 ¼”, square down from point 26 o Point 35 to bust = Mid shoulder to apex = 9 ½” o Point 36 CF at waistline
o Point 37 at waist (squared down from point B) o Point 37-45 = ½”, point 37-46 = ½” (front dart) o Point 40 = ¼ down from point 29 o Point 41 is ½” in on line 4 and on line 29-30 Shape the front armhole from 40, 41, 30, 12 o Point 36-44 ¼ waist + 1” (dart intake) 7 ½” + 1” = 8 ½” o Point 38 is ½” down from point B o Point 37-47 = 4 ½” Join for front dart – 38, 45, and 47, 46 points o Point 43-48 ¼ hip = 9”
Fig 9: Cutting the shell fabric. Fig 6: Flat patterns of my 10 panel corset with a zip on the center front.
Fig 10: Muslin Toil of 9 panel corset.
Fig 7: Muslin Toil.
Fig 11: Muslin toil of 10 panel corset with a zipper on the center front.
Fig 8: Shell fabric sewn with body fusing to give structure.
Garment construction
Fig 12: Cutting the lining.
A jacket is a mid-stomach–length garment for the upper body. A jacket typically has sleeves, and fastens in the front or slightly on the side. A jacket is generally lighter, tighterfitting, and less insulating than a coat, which is outerwear. Some jackets are fashionable, while others serve as protective clothing. The variations in design, cut, and cloth, such as two- and three-piece, or single- and double-breasted, determine the social and work suitability of the garment. Often, suits are worn, as is traditional, with a collared shirt and necktie. Until around the 1960s, as with all men’s clothes, a hat would have been also worn when the wearer was outdoors. Suits also come with different numbers of pieces: a two-piece suit has a jacket and the trousers; a three-piece adds a waistcoat (known as a vest in North America); further pieces might include a flat cap made from the same cloth.
Finishing Final + Photoshoot Jacket
entirely from the customer’s measurements, giving the best fit and free choice of fabric; Made to measure, in which a pre-made pattern is modified to fit the customer, and a limited selection of options and fabrics is available; Ready-to-wear or off-the-peg (off-the-rack, in American English), which is sold ready to be tailored or finally as is; suit separates where jacket and trousers are sold separately, allowing a customer to choose the size that is best for him and limit the amount of alterations needed.
Originally, as with most clothes, a tailor made the suit from his client’s selected cloth; these are now often known as bespoke suits. The suit was custom made to the measurements, taste, and style of the man. Since the Industrial Revolution, most suits are massproduced, and, as such, are sold as ready-towear garments (though alteration by a tailor prior to wearing is common). Currently, suits are sold in roughly four ways: Bespoke, in which the garment is custommade by a tailor from a pattern created
Fabric Suits are made in a variety of fabrics, but most commonly from wool. The two main yarns produce worsteds (where the fibres are combed before spinning to produce a smooth, hard wearing cloth) and woollens (where they are not, thus remaining comparatively fluffy in texture). These can be woven in a number of ways producing flannel, tweed, gabardine, and fresco among others.
Types of Jacket
However, the finer the fabric, the more delicate and thus less likely to be longwearing it will be. Although wool has traditionally been associated with warm, bulky clothing meant for warding off cold weather, advances in making finer and finer fibre have made wool suits acceptable for warmer weather, as fabrics have accordingly become lighter and more supple. Other materials are used sometimes, either alone or blended with wool, such as cashmere. Silk alone or blended with wool is sometimes used. Synthetic materials, while cheaper, e.g., polyester, are very rarely recommended by experts. At most, a blend of predominantly wool may be acceptable to obtain the main benefit of synthetics, namely resistance to wrinkling, particularly in garments used for travel; however, any synthetic, blended or otherwise, will always be warmer and clammier than wool alone. For hot weather, linen is also used, and in (Southern) North America cotton seersucker is worn.
Pattern making o 0-1: nape to waist = 14 o 1-2: waist to hips = 9 ¼ o 0-3: ¼ scale + 4” (armhole depth) o 0-4: midpoint of 0-3 = 4 ¼ Square out from all the points o 1-5: Jacket length (waist to hip + 2”) o 1-6 = ¾” o 5-7: ½” Join point 6-7 in a straight line And 6-4 in a curved line o 0-8: 1/6 scale – ¼ scale = 2 7/8 – ¼ = 2
5/8 o 8-9: ¾” and square up Join 0-9 to curve the back neck o 4-10: 1/3 scale + 1” 5 ¾” + 1” = 6 ¾ o Point 11: Square up to line 0 o Point 13: Square down to waist o Point 14: Square down to jacket length o 3-15: scale + 2 ½” ease 17 + 2 ½” = 19 ½” o 15-16: ½ scale – 1” = 8” o 16-17: 1/6 scale = 2 7/8 Square up to point 19 on line 0 o 19-20: ¾” upwards o 4-21: ¾” upwards Join point 21-20 and continue to intersect Cf in diagonal line o Point 22 is the intersection point on line 11-10 o 22-23: ½” on diagonal line Join points 9-23 in a slight inward curve o Point 20-24: measurement of point 9-23 Join point 24-17 o Point 25 is midpoint of point 16-15 Square up to point 26 on diagonal line o 27-28: 1/6 scale – ¼ scale 2 7/8 – ¼ = 2 5/8 Where point 28 is on CF line and 27 on diagonal line o 26-30: ¼ scale o Point 31 on CF line at waist level Square down from point 25 to point 32 on waistline o 30-33: Mid shoulder to apex (9 ½) o 30-34: Measure from 20-27 (2 5/8) o 33-34: dart leg (30-33) (9 ½) o Point 35: ¼” down from 24 o Point 36: 1” diagonal line from 12
o Point 37: 7/8” diagonal from 16 o Point 38: Midpoint of 16-12 o 16-39: 1 ½” Square down from point 39 to 40 on waistline And 41 on hem o 12-42 = 1 ¾” up o 10-43: 1 ¼” down o 33-44: 1 ½” down o Pocket and back vent level: 2 ½” from waist Button stand o Go out ¾” from pocket line o 51-51: ¾” (button stand outfit) o 52-53: Squared up by 3 ½” o From point 27, go out by ¾” and join 53-54 and go up o Back neck ( 2 7/8”) + 3/8 scale (3 ½”) is 54-55 Jacket sleeves o 0-1: 1/6 scale chest o 1-2: 3/8” o 2-3: 3/8” o 1-4: 1 1/8” o 1-5: ¼ scale chest (8 ½”) o Point 6 is the midpoint of 1-5 Square up from point 6 to get point 7 Square up from point 5 to get point 8 o 8-9: 1 ½” o 7-10: (Sleeve length) draw a line from point 7 to point 0 where: o 7-10: Sleeve length o 10-11: 1” o 11-12: 1/6 scale chest o 12-13: 3/8” Join points 13-10 o Point 14 is the midpoint of 1-10 o 14-15: 3/8” o 10-16: 1/8” less than 1-4 o 14-17: ¼ scale chest – 1” = 7 ½”
o 8-18: 7/8” Join point 5-18 and 9-7 Join point 7-1 Join points 4, 15 and 16 using a hip curve (forearm sleeve) Join points 13, 17 and 5 using a hip curve (hind arm sleeve) o Point 19 is the midpoint of 7-1 o Point 19-20: 7/8” o Point 21: the intersecting point from line 5-18 and 9-7 o Point 22 is the midpoint of 22-7 o 8-24: 2 ¼” and square out o Point 25 intersects line 5-18 Top arm curve: Join points 5, 25, 22, 7, 20, 1 and 23 Under sleeves o 13-26: 2 ¼” o 17-27: 2 ¾” Using a hip curve, join points 26,27 and 7 o Point 27 at line 5-4 o Point 29 at line 24 on the curved line o 28-30: Midpoint of point (28-4) – 1” Join points 29, 30, 32 and 23 for the under sleeves
Formal trousers, also known as formal striped trousers or colloquially spongebag trousers, grey striped or patterned formal trousers for day attire in traditional Western dress code, primarily associated with formal morning dress or secondly its semi-formal equivalent black lounge suit. Traditionally made from heavy wool ranging from worsted, melton to partial twill weave, the pattern is most often of a muted design in stripes of black, silver, white and charcoal grey in various combinations.
Pattern making
Formal trousers were originally introduced in the first half of the 19th century as a complement to the then widely worn frock coat. As established formal day attire trousers, they were subsequently introduced to go with the morning dress, which in turn gradually replaced the frock coat as formal day attire standard by 20th century, along with its semiformal equivalent black lounge suit.
Finishing Final + Photoshoot Garment construction