Making Half-Boned Stays, 1776

So I guess this counts as another Stay Study post! But I’ve decided to drop that title since I failed miserably at keeping up with that series. It was supposed to be a study of stay patterns from the book “Corsets and Crinolines” by Norah Waugh, with the final project being a fully boned set of 18th century stays. But that didn’t happen and I haven’t even mentioned the series for a whole year. Oops!

But this post is about making a set of stays from the book “Corsets and Crinolines”!

I’m making these stays for an 18th century ensemble that I’ve had in the works for the last few weeks. I already posted about making a shift for this project, and this is the next layer! I decided to base my pattern off of the one shown below.

DSC_3410

I copied that pattern onto paper and made a few alterations. I added a half inch to the back, and a quarter inch to the front. I also took it in a little at the bust and removed the horizontal bones. I realize those add extra support to the bust but I didn’t think they were necessary for my body shape. After making a mock up I chose to lower the neckline as well.

The alterations were really minor, other than being slightly to small this pattern is pretty much perfect for me.

DSC_3409

I traced the pattern onto twill canvas (a cheaper alternative to coutil) and added half inch seam allowance around the outline. I used the twill pieces as a guide to cut out the front layer of fabric, which in this case was lightweight muslin. I added seam allowances to the muslin too, so the muslin layer ended up being a bit larger than the twill layer.

Then I marked all the boning channels with a colored pencil and pinned the layers together.

DSC_3415

And it was time to stitch all the boning channels! I used a beige colored thread because I was running out of ivory.

DSC_3416

When the boning channels were sewn I went ahead and added the boning. I used a mixture of flat steel bones and plastic boning, with the steel bones placed at the center front, center back, and sides. Only one of the diagonal boning channels has steel in it.

I tipped the metal bones the way I usually do, with athletic tape dipped in nailpolish!

DSC_3419

DSC_3420

Then the seams were “bound” which means the seam allowance was turned inward and sewn down with a whip stitch. This is why I cut the muslin layer to have larger seams. The muslin can wrap over the twill seam allowance to create a finished edge with less bulk…which sounds very confusing but makes sense during the process!

The finished edges were stitched together with heavy duty upholstery thread.

DSC_3421

Here you can see what the bound seams look like on the inside. At this point I trimmed all the edges and covered them with bias tape binding.  I managed to get really smooth curve on the top edge, but I wasn’t so lucky on the lower edge.

DSC_3425

DSC_3424

The lower edge has tabs. Tabs are horrible things which I hadn’t encountered before. I knew they wouldn’t be fun to finish, but they ended up being way worse than I had expected.

I waited until all the other edges were finished before cutting them out to prevent any fraying.

DSC_3426

I pinned and sewed bias tape to the front edge, then turned it under and sewed it to the underside. I gathered all the sharp curves because I figured I could get smooth edges that way. I was wrong!

My biggest problem was not looking at how other people do binding. I realize now that most people use really small binding (a quarter of an inch wide) and mine was twice that width. When the binding is very thin you don’t have to gather it over curves, so looks much smoother.

DSC_3427

But I persevered! They don’t look very pretty, but they are functional! At least I’ll know how to do a better job next time.

DSC_3630

DSC_3631

In the photos above you can see the eyelet holes are marked, which should be a clear hint about the next step! The back edges were turned over and sewn down. Then the eyelets were punched out with grommet pliers, made larger with an awl, and stitched.

DSC_3641

DSC_3642

And it was time for the final step: lining! The lining was cut using the same pattern. All the edges got turned over and pinned down at once. Usually I try to attach my lining in sections to avoid having a million pins in a garment at once, but this time it was unavoidable.

DSC_3643

But I managed to stitch it down without pricking myself to much. Okay, that is a lie. I pricked myself a lot. But I didn’t get any blood on the stays!

DSC_3644

So that’s it! They are done! I’m pretty happy with these because they actually fit. My last two attempts at making stays ended up in the trash – one was uneven and too long in the waist, the other was too big and never got finished. So this being functional is a huge improvement haha.

And even though they aren’t the prettiest thing in the world, all the things I don’t like about them can be resolved if I make another set. So I feel like I learned a lot!

DSC_3645

Here they are worn – I took these kind of quickly and didn’t end up with a front on shot, which is dumb. But there will be more photos taken of these at some point, i’m sure.

DSC_3922

DSC_3925

There are about four inches open in the back when laced to the point where they are supportive. Which is perfect! It also means I could lace it a little tighter if I was aiming for any waist reduction, or if the stays stretch over time. In this picture they are laced the modern way instead of the historically correct spiral lacing. I find it a lot harder to get an even gap with spiral lacing which is why I did it this way.

DSC_3927

I think that’s everything! Thanks for reading!

Making a pair of Bodies

My first “The making of” post for this year! I think it has been over a month since I’ve done one of these, which is crazy! I have quite a few things in progress right now, and two dresses i’ve completed, but I thought I would start with I finished yesterday: A pair of bodies.

As I mentioned in my last two posts, i’m going to be making a tudor ensemble! It will consist of a chemise, a pair of bodies, a hip roll, a farthingale, kirtle, sleeves, and a dress. I decided to start with the pair of bodies first, then built up and under from them.

“Bodies” were the 16th century equivalent of stays or corsets. A stiff foundation garment to give your body support and to create a conical shape, which was all the rage in the mid 1500s.

My pair of bodies isn’t meant to be seen, which is good because visually it didn’t turn out very well!! Like most of my attempts at foundation garments, it was a not complete success. But they fit, and are functional, which is more than I can say for some of my creations!

The pattern i’m using is from Norah Waugh’s “Corsets and Crinolines”. This pattern is labeled as being from the early 1600s, but i’ve seen very similar ones used for recreations from the mid 1500s, so i’ve decided to use it for just that!

DSC_2087

For materials I decided to use a hand embroidered linen napkin. I was given this a while ago and it was either embroidered by my grandmother or great grandmother many years ago. It is very pretty but stained and a little worse for wear, so I decided to repurpose it!

I’m using yellow thread for the boning channels, plastic boning, a canvas base, and green broadcloth for lining and bias tape.

DSC_2088

I copied the pattern from the book, then altered it a lot. I let it out almost two inches, changed the straps a bit, and made it longer in the waist. The tabs had to be adjusted as well.

Eventually my pattern looked like this!

DSC_2090

I cut everything out from the canvas first.

DSC_2091

Then drew out all the boning channels with pen. I also marked out where padding would go in the bust.

DSC_2092

I used the canvas as a base to cut out the top material. I tried to get this as symmetrical as possible – I thought I did an okay job, but it was almost a half inch off, boo.

DSC_2094

I stitched all the boning channels and ended up with this mess! You can’t backstitch with these things so all the threads have to be tied off and buried by hand.

DSC_2095

The fabric puckered really badly but it (luckily) ironed out with a bit of water.

DSC_2096

Unfortunately without me realizing the top layer of fabric slipped, and the pattern slid up half an inch on one side. Which makes the pattern difference almost one inch, since I cut them unevenly as well. It is my own fault for not checking the front of the garment between stitching, but still, i’m annoyed!

Here one side has the threads buried – can you tell which one I didn’t iron?

DSC_2097

Here all the pieces are just before adding boning! I was pretty pleased with how it was coming along, despite the embroidery not really lining up…

DSC_2098

Then disaster struck. I was using a purple sharpie to mark the boning lengths and a little spot got onto the front of the fabric. I, oh so cleverly, jumped into action and dabbed at it with alcohol which faded the mark completely! Unfortunately the alcohol lifted all the pen ink I used to mark the boning channels. Within minutes my tiny sharpie mark had turned into this…

DSC_2100

I scrubbed at it with dish soap and a toothbrush. I tried a bleach pen too, and it just made things wore. This was really frustrating, even though this garment won’t be seen I was trying hard to make it look pretty.

On the bright side, this has taught me a valuable lesson: Never use ink on a garment again. I don’t wash my dresses since they don’t get much wear, and it honestly never occurred to me that detergent or alcohol or potentially even water would lift the ink and damage something beyond repair.

I tend to use pen since I don’t  mind permanent markings on the interior of things and it doesn’t tug at fabric the way chalk and pencils do. But after this is experience i’m going back to wax/chalk pencils because I don’t want this to EVER happen again!

For salvaging the garment, I attempted to put patches over the mark, but the patches had raised edges which could create bumps and make the dress worn over it look a little lumpy. Which I definitely didn’t want.

DSC_2102

I tried patching it with muslin, but the ink stain showed through, and I couldn’t patch it with the linen because it frays too much. I ended up using a scrap of cotton sateen, trimmed the edges with pinking shears, and fused it over the spot. A few people suggested I dye the whole garment blue, or to add a patch on the other side, but both of those things felt wrong to me. I don’t think a mistake should effect your entire project, so I covered it and moved on!

I made bias tape from green broadcloth and stitched it on by hand.

DSC_2104

Before attaching the bias tape to the top layer, I padded the bust with some quilt batting.

DSC_2105

Then added the bias tape.

DSC_2106

I cut out the pattern from green cotton and assembled it. This is the lining.

DSC_2108

I sewed on the tabs and then pinned the lining in place.

DSC_2109

And whip stitched that in place.

DSC_2110

Then it was time for eyelets! I haven’t sewn a bunch of eyelets in a while, and after trying to do fifteen in a single evening my fingers were not happy with me. It took a few days, but I got them all done!

DSC_2119

DSC_2123

DSC_2122

DSC_2120

It definitely isn’t the prettiest thing i’ve ever made, but it is functional, and when it comes to foundation garments that is the most important thing!

Here is how it looks worn.

(Without a chemise, because I haven’t made one yet)

DSC_2198

Now I just have to make the understructure for the skirt, the chemise, kirtle, sleeves, dress and headpiece. Yikes. It is kind of scary to think that this was one of the easiest pieces of the set and gave me so many problems! Hopefully I ran into all my problems on this piece, and everything else will be easy.

Thanks for reading!