Summary Of 2021: Looking Forward To 2022

2021 didn’t necessarily go as I had hoped, though I still have many things to be thankful for. Compared to other years, the following list of completed projects seems short, but for a year of continued turmoil, few events, and other things occupying much of my time I think it’s a reasonable pile of accomplishments.

Projects I completed in 2021

January: Vintage Inspired Black Wool ¾ Circle Skirt

January: Gaiter Masks From Old T Shirts

February: 1950s Lady’s Raglan Cardigan

March: 1884 Plaid Wool Dress

April: 1885 Wool Mantle & Accessories (HSM #5)

May: New Grey SweatpantsJune: 1880s Blush Duchess Satin Corset

September: 1836 Chemisette (HSM #3)

September: 1838 Bodice (HSM #4)

November: 1928 Egyptomania Inspired Green & Teal Dress (HSM #2)

December: 1920s Star Fancy Dress

General Blog News

In September, I published my 500th post on the blog, which shared details about about my 1836 chemisette. That’s quite a bit of writing over the years!

I participated in the Historical Sew Monthly for the ninth year. This year I completed 4 out of 12 challenges. That’s certainly not my most participation over the years, but given that I made fewer things this year it makes sense.

Additional Opportunities 

This year I featured one of my commissions here on the blog. The commission, from the Massachusetts Chapter of the National Society of the Colonial Dames of America (NSCDA-MA), was for two dresses: one from about 1810 and one from about 1845. You can read my post about the dresses here.

Event Recap

We all know that events are still few and far between. (Oh, how I wish that wasn’t still the case! But, we carry on…) Given that, the year contained only 1 dance (not quite fancy enough to be a ball, though it did have live music and I did get to dance) and 6 other events (a mix of picnics, outdoor trekking, watching 1860s baseball, and volunteering to interpret quilting).

To Do Lists

Last year’s modest to do list is entirely complete! I love the results of my 1885 plaid ensemble. The 1838 yellow bodice is also wonderfully detailed and enjoyable. I guess it pays to be a bit reserved in the goals if you want to complete them!

I also completed a few modern items, including my black wool skirt, 1950s raglan cardigan, and grey sweatpants.

I don’t really have ‘definitely do’ list for this year. There’s nothing needed for any particular event that I know of and I have many life commitments on my plate that are likely to take up a lot of my free time. Instead, I’ll list my ‘maybe’ to do items, some of which are carry-overs from last year:

  • The replacement of the 1790s stays I started in the winter of 2018 and have since decided are a failure (the new stays are super close to being done… I just need to finish the binding and add a lining)
  • 1790s petticoat
  • 1790s dress
  • 1836 blue print cotton day dress (this is all cut out and ready to be assembled)
  • Modern dresses, pants, and skirts

Despite this year’s challenges and sorrows, I still have so many things to be grateful for. The lower number of events has allowed me to spend a lot more time trying to be active in modern ways, including hiking, biking, and rock climbing. While not in historical clothes, the exercise is great and it’s quite neat to be able to watch the seasons change and see the beauty of the outdoors at all times of the year.

I hope that you are also able to find joy and express gratitude in your life.

1920s Star Fancy Dress

The theme recommendation for the evening soiree at Gatsby On The Isles earlier this year was a masquerade. I took that to heart and decided to adapt an existing dress in my closet to make it fancy dress. (It turns out that the majority of people who attended didn’t adhere to the guidelines, so I was a bit out of place, but I enjoyed my fancy dress regardless!)

My requirements for this outfit were: to use a dress as a base that was already in my closet, to not cost much, to not take much time, and to have the elements of fancy dress be easily reversible.

I looked through my 20th Century Fancy Dress Pinterest board and settled on the image below as my inspiration. (Unfortunately, I can’t find a source for the image that isn’t Pinterest. If anyone has information, please share.)

I thought the idea of stars would work well with my 1926 Silver Lace Robe de Style. I briefly considered creating the stars myself and then I remembered that I didn’t want this too take too much time and I started researching purchasable stars. I wanted something nice looking but not costly, remember, and I also wanted to stay away from glitter–the shedding! Ugh! While considering various metallic and cardboard style stars I realized that: 1- those may not travel well (I didn’t want bent stars!) and 2- they probably wouldn’t be comfortable to wear. So I started researching felt stars!

I decided on these felt stars. They were a good size, I liked the color, and they weren’t supposed to be too stiff. Not being stiff would be more comfortable to wear and also easier to sew through! I’d considered making garlands of the stars but I figured they would get tangled, so instead I opted to sew the stars directly onto the lace.

I started by placing the stars in a line diagonally across the top of the dress. The goal was to capture the feeling of my inspiration but didn’t feel the need to add as many stars as the drawing has, so I stopped with the one line. I liked the stars hanging from the hem, so I did those next–one star per each dip in the pattern of the lace.

After that I didn’t have many stars left! I used a scrap of metallic knit fabric to make a veil and put a star on each corner. The veil is a square, with one corner turned under, gathered, and stitched to a hair comb.

I also used some black felt scraps to cut a few stars by hand to accent the star at the waist. I thought this might tie in the metallic knit veil and also draw attention to the grey stars on the grey dress!

I added some sparkly shoe clips, pearl bracelets, and sparkly stars for my hair (reused from my 1885 Night Sky Fancy Dress) and the outfit was complete! It pays off to reuse themes for fancy dress, I guess!

1928 Egyptomania Inspired Green & Teal Dress (HSM #2)

I was inspired to make a dress! That seems like quite an accomplishment these days as I’ve been so busy with other things that I haven’t made much for myself this year.

It was summer, you see, and I knew that Gatsby On The Isles was coming up. (I’ve attended in the past, check out the past posts from 2019, 2018, and 2016.)

I have plenty of dresses (and let’s be honest, not many of them have been worn in the last two years or so), but I also had fabric that was waiting to be turned into a dress… So it didn’t take too much self-convincing to decide that the fabric ought to be turned into a dress, right now!

My first idea was to create something like the dress on the bottom right (#2346) in next image, but after making a mockup I realized that I didn’t have enough yardage of my proposed fabric.

Needlework Magazine, March, 1925

I’d bought the fabric thinking I’d make a rather simple 1920s dress, but the dress I’d been pursuing wasn’t quite that–and the length was longer than I had yardage for. So it was back to Pinterest to find another idea. I settled on using the green dress below, another one I’d been eyeing for years, as my inspiration.

1928

I’d purchased the green and teal accent fabrics in 2021 and thought they would work well for this second design idea.

My bodice pattern was adapted from my 1925 Blue Coral Dress, to get the general size, in combination with my late 18th century shift, to get the cut on sleeves. The skirt is just a tube made from what was leftover after that. I wanted to get two full widths of 45″ but didn’t have enough, so the skirt is one full width and two additional sections.

I wanted to match the pattern perfectly at the seams, but that ate up too many inches of my circumference so I settled on not matching them–and frankly, you can’t tell! I spent a lot of time making perfect pleats (the print on the fabric makes that pretty easy, actually), but of course they smoothed out as soon as I wore the dress. Oh well!

The dress qualifies for the Historical Sew Monthly Challenge #2

The Roaring 20s: Make something from the 20s (any century) or that somehow incorporates a number in the 20s. .

Just the facts:

Fabric/Materials: 2 yds green cotton and 1 yd of teal cotton.

Pattern: Created by me.

Year: 1928.

Notions: Thread.

How historically accurate is it?: 95%. The pattern and construction methods are quite good. The fabrics are a bit stiffer than those that I think would have been used 90 years ago.

Hours to complete: Perhaps 12? I didn’t keep track.

First worn: August 2021.

Total cost: Approximately $9.

This dress is mostly machine sewn. The goal was to entirely machine sew the dress, including attaching and top stitching the trim, but then as I was reaching the end of the sewing process I realized there were a few things that would look nicer with a bit of hand sewing.

Why is this Egyptomaina inspired?

Well, ancient Egypt was all the rage in Europe and America in the 1920s, particularly after Howard Carter and Lord Carnarvon discovered the tomb of the Pharaoh Tutankhamun in 1922. Egyptian motifs were used in Art Deco design elements for furnishings, jewelry, and clothing. So, while not exactly Egyptian… the colors and patterns in my fabrics remind me of Egyptian things: the Nile river, lapis lazuli, the Egyptian lotus flower, and the tops of many ancient Egyptian columns, for example.

Obelisks were often erected in pairs at the entrances to ancient Egyptian temples, so given the Egyptian association of my dress, I wanted to try and get a photo of my dress with the obelisk on the island. The photo is not quite just me and the obelisk, but it will do. (The problem is that the obelisk is so tall that if you’re close to it you can’t tell what it is… but being far enough away to get the full height means that other elements make their way into the photo, too!)

There are lots of additional photos from tromping around looking for good photo opportunities for this dress, so you’ll be seeing more of it and my accompanying adventures in more posts soon!

1930s Holyhead Harpies Adventure

Some of my friends decided to make 1930s quidditch uniforms for the Holyhead Harpies team (these are all Harry Potter references, in case that sentence makes no sense to you!). I didn’t have the time to join them in that particular endeavor, but I did have a 1933 dress in my closet in the team colors (green and gold) and we decided it would be fun for me to tag along on the quidditch adventure. One could call me team manager, or a fan, or… take your pick!

My role might depend on which photo you’re looking at… I brought along a wand and my time turner and made sure to run the team through their drills!

Our initial photos were fun, but the backgrounds weren’t great, so we decided to do an autumnal outdoor photo shoot, which we combined with regular photos of my dress, too. The non-Holyhead Harpy photos of the dress can be seen here in a previous post.

You can’t really see the detail of the pennant in the last photo (but look at that gorgeous tree!), so below is a closer photo. One of my friends had great fun making the felt pennants!

We had fun taking action shots, too!

Who says quidditch brooms aren’t real?

Quidditch champions!

Sometimes a bit of silly is good for you. Certainly it brings smiles! To read more about the idea to make 1930s quidditch uniforms, check out this post about it on Plaid Petticoats.

An Autumn Outing For The 1933 Green & Gold Dress

It’s autumn! I think this is my favorite season. Chilly air mixed with sunshine… The return of wool sweaters and skirts… Crisp apples and fresh cider… Yum!

I thought I’d set the season by sharing a few photos from an autumn photo shoot that haven’t made it onto the blog yet. They are so wonderfully autumnal that I’ve been saving them until the perfect time of year!

The story behind the photo shoot is that back in 2017 I made a bias cut 1933 dress. It is green with a small windowpane woven in gold and features gold taffeta accents as well as a gold tilt hat remade from a vintage velour cloche-shaped hat. Construction details and the original photo shoot were blogged about here.

At the time I made the dress I had no particular plans for it, but I’m pleased to say that I have put it to use a few times in the last few years. Most recently, I wore it on this gorgeous autumn day in order to get updated photos of it and to join friends as we photographed them in 1930s-style Holyhead Harpy quidditch uniforms (this is a reference to Harry Potter… more on that in a future post!).

I loved the idea of the gold accents in harmony with the changing leaves, though I think it’s possible the leaves mostly stole the show!

It was such a beautiful day! With or without leaves the trees looked striking against the brilliant blue sky.

In addition to getting photos, we had a picnic followed by a lovely walk as we took in the trees, sunshine, and fresh air. Autumn is only just starting so there’s plenty of time to get some more of that, too!

1838 Yellow Bodice Construction Details (HSM #4)

Last year, I made a yellow cotton print 1834 dress (there are tons of details about it in this past post). The yardage leftover after that project wasn’t enough for another full dress, but it was enough for another bodice, and I’d been caught up in 1830s fever!

There are so many ridiculous sleeves to explore! Accordingly, I decided to make a second 1830s bodice with different sleeves. I finished the new 1838 bodice earlier this year and over the summer I was able to wear it with my recently finished chemisette.

The 1834 dress was made in two parts, a skirt and separate bodice, so that it was easy to make a second bodice and save yardage on the skirt.

Construction Overview

First, the construction details of the new 1838 bodice, starting with the HSM facts, because this bodice fits Challenge #4:

The Costumer’s New LookGive an old costume a new look, either by creating a new accessory or piece which expands or changes the aesthetic and use of an outfit, re-fashioning something into a costume item, or re-making an old costume.

Fabric/Materials:Approximately 2.5 yds reproduction print cotton and 1 yd of muslin.

Pattern: The pattern for this bodice is based on patterns contained in Janet Arnold’s Patterns of Fashion 1 and Norah Waugh’s The Cut of Women’s Clothes, as well as sleeve information fromThe Workwoman’s Guide.

Year: 1838.

Notions: 2 ½ yds narrow cotton yarn for cording, about 10 hooks and loops, and thread..

How historically accurate is it?: 90%. The pattern, construction methods, and fabric are all quite good. Inside seams are sewn by machine.

Hours to complete: 22.

First worn: August 2021.

Total cost: Approximately $15.

Construction Details

The back of this bodice is made just like the 1834 bodice, with piping in the side back seams. The armsceyes and neck are also finished with piping.

The main difference in the bodice (aside from the sleeves, which we’ll get to shortly) is the front, which has a deep V shape.

I looked at extant garments to see how this style was constructed. There are a collection of pertinent ones on my Pinterest board for this sewing project. The main inspiration for my observations was this garment, featured on All The Pretty Dresses blog (and included on my Pinterest board).

What I saw is that instead of being flatlined (as with the yellow and muslin layers of the back pieces), the lining was stitched separately from the gathered front panels. The muslin provides a fitted shape for the yellow exterior layer. There is a photo of the inside of the bodice of the extant bodice that shows this very clearly.

For my dress, the piping that finishes the back neck continues around the muslin to finish the edge. The yellow exterior pieces of the V edges (which are cut on the straight of grain) are simply pressed under twice.

Here is a closeup of the armhole of my bodice from the inside. The muslin front edge and exterior yellow layer are on the right of the photo. You can also see the ties that hold the sleeve puffs in place.

In addition to those details, the photo below also shows the hooks that are used to attach this bodice to the skirt.

Ok, but the sleeves are the star of the show here, so let’s discuss them! Being from 1838, they still use a lot of fabric (a yard each), but the fullness is pleated to force the puff down to the elbow level.

Here’s a closeup of the completed sleeve. The pleats are held in place by two bands of double piping that are hand sewn in place.
To make the double piping I machine sewed the cord into one side of my bias and hand sewed it into the other, then pressed the bias in half and attached it through all the layers. In my sample below I didn’t bother to put the machine stitching on the under side, but on the dress the machine stitching is not visible.

Before the piping was added, the pleats were machine basted in place. My machine basting wasn’t exactly where the piping ended up, so I removed the basting anywhere it showed.

Backing up some more in the process, below is one of the sleeves with the pleats pinned in place. I did this while the sleeves were flat, before I sewed up the inseams.

There’s no pattern for the pleats… it was just a matter of knowing what dimensions I wanted to end up with for my top edge and bicep and then eyeballing it. The pleats vary in depth on the inside, even though the outside is pretty even at ¼”. Part of this is due to the fact that the pleats have to angle in order to create an armsceye that keeps a curve up in the middle. Figuring it out is a great mind puzzle!

Below is the sleve before being pleated, etc. Between being over a yard high and also being cut on the bias you can see why each sleeve takes a yard of fabric!

After pleating and sewing the inseam the sleeves had this shape (below is my mockup sleeve). I really wanted an exaggerated elbow puff, so this isn’t quite the shape I wanted to end up with. To get the shape I wanted, I took horizontal tucks about halfway down the sleeve. This keeps the forearm relatively unwrinkled while creating lots of elbow puff. The tucks are lost in the pattern of the finished dress.

Could I have altered my pattern to not have to take tucks? Sure! I’d probably change the curve of the sleeve inseam to do that. But… I’d already cut my pieces. And adapting sleeve shapes to adjust for changes in styles seemed very appropriate and in the spirit of what 1830s ladies might have done.

So for a bit more sleeve information… These sleeves have an opening at the cuff to allow for the tight fit of the forearm. The openings are finished with self fabric facings and then the hem is turned up.

Here’s what that looks like on the inside.

And that’s it for construction!

Here’s a bonus photo of the dress with a quince tree. I’ve heard of quinces but never encountered them before.

They sort of look like pears!

I’m very pleased with this cross front bodice and the sleeves that go with them. I appreciate their minute detail even though they were definitely the most time consuming part of this bodice!

An 1836 Chemisette (HSM #3)

The third challenge for the Historical Sew Monthly 2021 is ‘small is beautiful’. Little things can make a big difference to the finished look.  Make something small but perfect. My entry for this challenge is an 1830s chemisette to fill in the neckline of my 1838 bodice (the sister of the 1834 dress I posted details about last year).

Just the facts:

Fabric/Materials: Approximately ½ yd of silky cotton voile from Dharma Trading.

Pattern: Adapted from Janet Arnold’s Patterns of Fashion 1, with adjustments for fit and style.

Year: 1836.

Notions: 1 ½ yds ¼” white cotton twill tape, 1 metal hook, 1 cameo button and thread.

How historically accurate is it?: 90%. The pattern, construction methods, and fabric are all quite good. It is entirely hand sewn. The most modern element is the plastic cameo button.

Hours to complete: 19 ¾.

First worn: August 2021.

Total cost: Approximately $5 for the fabric/shipping (though it is leftover from another project), $1 for the twill tape, and $1 for the button = approximately $7.

The chemisette pattern shape was based on this fashion plate from 1836.

Without a body in it, the chemisette looks like this. It is entirely hand sewn, with small rolled hems and drawstring channels on the bottom edges.

The shoulder seams are sewn with French seams to encase the raw edges. The collar is attached with a flat felled seam for the same reason.

The gathered ruffle on the edge is hemmed on all sides with a tiny rolled hem and then whip gathered to the hemmed collar edge. I haven’t tried whip gathers before and this seemed like it would be a fun project to try them out.

On the underside of the ruffle the whip stitches are more visible.

The inspiration fashion plate doesn’t show the back of the chemisette, so I had to decide on what I wanted. After looking at extant collars and chemisettes, I settled on a rounded point that extends just under halfway down the back.

On a body, it looks like this.

The final touch is a hook and thread loop to close the collar, with the decorative cameo button on top. The plastic is obviously not correct for the 1830s, but it does have the benefit of being lightweight! I was worried that if I used a metal brooch (not that I have one, but if I did…) it would pull the collar down or out.

And that’s it! There was no rushing with this project. I took my time and enjoyed the hours of tiny hems and whip stitching.

An 1890s Outing To Save A Munbax

It’s been awfully quiet here on the blog for awhile. Life has been busy, but the real reason for my lack of posts is that I upgraded my computer. That’s a good thing overall, but it has created multiple issues with storing/moving/accessing my photos as well as needing a new program to edit/watermark/organize them and I’ve only recently found a solution that fits my workflow and needs.

I’ve been sitting on these photos from an event in 2018, thinking that they would be fun to share, but never actually getting to it. But now is the time!  Save The Munbax was a live, interactive game created by Green Door Labs that created a magical, wizarding world set in the 1890s. As guests, we solved puzzles, interacted with magical plants and potions in classes, and followed different trails to attempt to save the rare Northern Crested Dimmoth Munbax from extinction. You can read more about Save The Munbax here.

Since this fantastic world was set in the 1890s, I decided to give my 1899 Elusive Blue Gown a night out of the closet. With no dancing involved it was a great opportunity to wear the trained skirt!

I wanted to make my 1890s outfit a bit more magical and quirky, so I pulled a few accessories together that aren’t my usual for an 1890s dress. For one thing, I wore my subtle-Harry-Potter time-turner necklace, picked up on my trip to trip the Wizarding World Of Harry Potter at Universal Studios in 2018.

I also wore my 1811 Turban Fillet instead of my usual feathers and sparkly hair accessories. Despite not being made to match my 1899 dress, it is actually made from the same fabric since I have an 1811 evening gown made from this elusive blue fabric.


The final bit of quirk was my shoes. I thought silly shoes would be fun, so I wore my 1814 Vernet shoes. The turned up toes and fur weren’t really visible, but I enjoyed knowing that they were there.

I attended this event with Plaid Petticoats, who was also dressed up in her 1890s best, including a cape!

We had fun exploring the different rooms, solving the puzzles, and exclaiming at different oddities.

We enjoyed the floating candles in the stairwell and used them as a backdrop for some our photos and also to give my pygmy puff a subtle chance to pop out of my reticule.

In the end, the guests were able to solve the mysteries necessary to save the Munbax and we were even rewarded with a glimpse of one!

First Croquet Of The Year

An event! With vintage clothes, and people, and sun, and croquet! The weather was perfectly reasonable–warm without being absurdly toasty–and the ground was dry–perfect for laying out blankets to picnic in style.

I decided to wear my rayon 1943 Mauve Print Dress. I made it in 2017, but have only worn it once, I think. I thought this would be a great opportunity, plus it allowed me the chance to wear my American Duchess Peggy spectators and do my hair in victory rolls. I’m pretty much a fan of big hair in any era, so the victory rolls sounded more appealing than close-to-the-head 1920s styles (1920s being an oft visited decade for summer events since the clothes are easy to wear even when it’s very hot).

(As a side note, I feel like this photo with Plaid Petticoats makes me look like a giant! I don’t think we’re actually that far apart in height (maybe we are?), but the combination of natural waist dress vs dropped waist dress, plus heels vs flats, plus big hair vs hat really makes us look drastically different in height!)

I was very pleased with my victory rolls. I’ve practiced them a few times over the last year or so and have tried a few different products as well. I’ve found that I can make them work (even with my curly hair, yay!) with some Lotta Body on dry hair that hasn’t been washed that day. The biggest challenge is actually that my hair is getting quite long, so the rolls start even farther away from my head than when I wore this dress the last time with victory rolls. My arms almost aren’t long enough anymore!

The long hair also makes figuring out the back a little tricky. I was pleased with what I came up with, though I don’t remember exactly how I did it. It’s something with each side separated, twisted, and then dented in the middle so it’s not one big puff. I guess I have to do it again so I can figure that out!

The picnic included a croquet tournament. I was doing unexpectedly well in the first game, but faltered towards the end and didn’t make the cut to the next round due to the fierce competition (said only somewhat jokingly!).

Croquet involves serious thinking and set up!

This was a lovely outing, perfect for easing back into events. It was wonderful to go digging in my historical clothes closet to get out all of the garments, accessories, and picnic things I would need! I’ve really missed that!

1880s Blush Duchess Satin Corset

In 2015 and 2016, I posted a ‘project journal’ series of blog posts about making a yellow duchess satin c. 1880 Steam Molded Corset (this link will take you to the whole series, which includes specific posts about the plan, inspiration, mockups and patterning, the final pattern, construction, steaming, and finished garment photo shoot). Late last year, I made another one as a commission for a friend, this time in a blush pink duchess satin I picked up at the fabric store with no particular purpose, but thinking it would be really good for this specific use (in fact, I mention this exact idea in the fabric stash additions post where I shared about the purchase of this fabric in 2020).

Having already figured it out once, I used my old blog posts as a guide for making the new corset. This post is intended to document the new corset and the changes and updates I made from the yellow one.

To start, I adjusted the pattern I’d developed for size as well as some of the boning patterns to accomodate the adjusted seam lines and to simplify some of the boning patterns, especially in the back. The yellow corset has a whole bunch of bones… It’s great and based directly off my inspiration image, but time consuming and unnecessary for this purpose.

Once I had a solid pattern, I cut out all my pieces: one layer of silk satin for the exterior and two layers of white coutil for the inner layers. For the most part, the layers for each piece are exactly the same, but there are some differences at front and back panels.

Below are the front panels, where I’ve intentionally cut the coutil to be smaller than the silk. This allows for the seam allowances to be less bulky and therefore more crisp as they fold inward around the busk. The piece on the left is for the proper left side of the corset while the two other pieces are both for the proper right side of the corset. I’ll show how these pieces are put together later in this post.

Next are the back panels, again showing that all of the layers are not cut to be exactly the same. The cut edge of the narrowest coutil layer provides a crisp edge over which to turn the other piece of coutil for the back edge. It also creates 3 layers of coutil where the grommets will be while allowing the silk to fold under the outermost edge of the coutil for a crisp line there as well.

You can see in both of the above images that I machine flat lined the layers for each piece together on almost every edge (some were strategically left alone).

Next, I prepared the center back grommet areas. The silk only seam allowance was crisply turned back over the straight cut edge of the coutil, then the coutil was crisply pressed back over the narrower layer of coutil. You can see the folds opened on the right and the resulting crisp panel on the left.

These were very carefully pinned in place (duchess satin does not hide pin marks!) and then the channels were stitched. I made sure to make them wide enough to not struggle when putting in bones (the last corset had boning channels that were a bit narrow for the bones and it was terribly hard to put them in!).

I used an edge stitch foot to get the lines of stitching right along the folds. Edge stitch feet are magical! I discovered mine while making masks last summer and have since started using it for all kinds of projects–any time I need to stitch close to the edge of a fold! My machine, which is pretty basic, came with one (though I hadn’t used it in, oh… 12 years???). I encourage you to it out if you haven’t before!

Here you can see the exterior of the grommet panels on the left and the interior on the right.

Later, I added size 0 silver grommets. Skipping ahead in construction, here’s a finished image of the corset, showing the finished grommets in place.

After preparing the grommet area, I assembled each side of the corset. No photos of that here, since I did this in the same way as my last corset: grading my seams, binding them with ⅝” cotton twill tape, and then stitching these down to create channels for the bones. (My original construction post has detailed pictures and explanation of this method. The part of the post discussing this also has some images showing the many bones on the back of that yellow corset that I mentioned earlier.)

Next, I put in the busk, starting with the socket side, which is the proper right side of the corset. I used a different method on this corset than on my yellow one. Further inspection of originals shows a seam that the busk sockets are pushed through, rather than reinforced holes without a seam, so that’s what I wanted to do!

This is where I used the two pieces I cut. In the photo below you can see that the two pieces are pinned together (pin heads are on the underside, in case you’re wondering) and I’ve marked small lines where the sockets will land on the seam. This allows me to leave openings in the seam for each socket. The openings need to be snug, but not too tight. The seam is sewn just outside of the coutil, so that the layers fold crisply. As you can see, my seam allowance is uneven. I left the side of the silk that will be visible as the busk is pulled on a little wider to make a solid facing even after years of use.

Here is the finished seam, pressed open. If you look carefully you can see the gaps in the seam that I left for the sockets of the busk. My ruler at the bottom shows the scale. (This photo also shows some of the finished seam allowances and boning channels on the other seams, as well.)

Now the socket half of the busk is pushed into place. The single layer of silk seam allowance is pressed over the cut edge of the coutil and the whole thing is carefully pinned in place. I made sure that the busk is quite snug, so that it can’t shift in any direction.

To do this, I started with pinning the inside, to ensure that the silk is perfectly wrapped under the busk–no gaps or bubbles there! Then, I very carefully pinned from the outside. As you can see, I only pushed the pins through the silk once (they come up through the coutil again, but not through the satin) to minimize holes.

After that, some very careful stitching with a zipper foot was in order. I curved my stitching around the top and bottom of the busk (a detail from extant garments). It’s tricky to make the curves look nice, but it’s a small detail that helps elevate the finished garment, I think.

On the inside, it looks like this. I was able to keep the stitching a consistent distance from the fold in the silk due to my careful pinning. I’ll admit that this turned out better than my yellow corset! The yellow corset has a few bubbles and variation in the width of the turned under seam allowance.

Here is the busk from the side. You can see the seam and the snug openings, with solid back stitching, which leave space for the sockets to push through.

Ok, on to the stud side of the busk! This is the proper left side. Here, you can see the marks I’ve made to show where the studs will poke through and where the edge of the busk will fall. It is intentionally set back from the cut edge of the coutil.

One thing I was very careful about was poking my holes for the studs, because I found that on my yellow corset the silk pulled where I used an awl to make the holes. No one but me would probably see this, but I wanted to do better with this corset. I believe I used very sharp snips to cut small holes rather than using an awl to push the fibers apart. This is fiddly work, because a hole too big can’t be saved and will fray and cause the stud to move around, but it produced better end results, I think.

After making my holes and getting all the studs through, I carefully pinned and then stitched around the busk just like I did on the socket side.

Ta da! Busk!

Next up was binding the top and bottom edges. I used almost the same method as on my last corset. To quote myself:

The bottom binding is bias strips cut 1″ wide. I stitched them first to the right side of the corset with ⅛” seam allowance on my bias, trimmed my corset seam allowance to just about ⅛”, folded the bias over the edge, turned the raw edge under on the wrong side, [basted the seam allowance in place on the inside instead of hand whip stitching the bias down on the inside (slow, but a more effective method than pinning in this case)], then turned the corset back to the right side and topstitched very close to the edge of the first fold. This narrow topstitched binding seems to be common on late 19th century extant corsets and looks very tidy.

Below you can see the bias turned to the inside, pinned, and being basted in place. On the right are finished edges from the inside and outside.

This corset is boned with spiral steel for the bulk of the seams and flat steel on either side of the grommets.

I usually apply the bottom binding first, then put in my bones, and then bind the top. It’s a bit trickier sometimes to bind the corset after the bones are in, and if the top will have decorative lace then it can help hide any struggles that occur. (Thankfully, I learned from my last experience and made a test sample of the boning channel width that was perfect, so it was relatively easy to bone this corset!)

At this point the corset was basically done! The only things left were to add ivory beading lace and ribbon around the top and silk flossing along the bottom of the boning channels.

I was excited that I had all of the necessary materials in the stash, including the silk thread in the perfect ivory color.

I’m very pleased with the end result. It takes all the struggles and things I learned along the way with my yellow corset and perfects them, creating crisper folds and finishes and a comfortable garment with a great silhouette.

There’s no trickery in the next photo, this corset holds its shape with no support other than what is built in!